Flüchtige Bilder. Über Kunst und Wirklichkeit in Weberns "Segantini-Quartett"

Schmidt, Matthias. (2015) Flüchtige Bilder. Über Kunst und Wirklichkeit in Weberns "Segantini-Quartett". Musiktheorie, 30 (4). pp. 347-363.

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What did Webern motivate to relate sounding music to a real mountain landscape and the artificial imagery of Segantini's "Alpentriptychon"? Why didn't he make the apparent reference to Segantini as in his "Form-Entwurf" public in the subsequent autograph of the string quartet? The essay follows three traces seeking answers to these questions: First it explores the relevance of varieties of monism, which belonged directly to Weberns's living environment, for his compositional aesthetic. Then it considers Webern's studies with his teacher Arnold Schoenberg. Finally, based on some analytically detailed observations on Webern's compositional practice it takes a closer look at his reception of Beethoven and the concept of the sublime. It is demonstrated how Segantini's images as a representational medium for Webern mark a strategic transitional point between reality and art in order to be absorbed in the ephemeral musical movement.
Faculties and Departments:04 Faculty of Humanities and Social Sciences > Departement Künste, Medien, Philosophie > Fachbereich Musikwissenschaft > Musikgeschichte und -ästhetik (Schmidt)
UniBasel Contributors:Schmidt, Matthias
Item Type:Article, refereed
Article Subtype:Research Article
Note:Publication type according to Uni Basel Research Database: Journal article
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Last Modified:25 Apr 2019 12:38
Deposited On:25 Apr 2019 12:38

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