Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

“As Forming Becomes Form” Listening, Analogizing, and Analysis in Kurth's Bruckner and Musikpsychologie

“As Forming Becomes Form” Listening, Analogizing, and Analysis in Kurth's Bruckner and... Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however, is understanding just what Kurth means by form . This article proposes that his final publication, Musikpsychologie (1931), offers the greatest source of elucidation, and it focuses on a central topic in Musikpsychologie : musical listening as active and participatory. The article begins by outlining two intellectual developments in the early twentieth century on which Kurth's ideas hinge. This is followed by an examination of Kurth's general ideas about musical listening and his specific notion of Erformung —the development of an impression of form through “multitrack listening.” The article discusses why Kurth considers existing theories of form (those of Hugo Riemann and Alfred Lorenz in particular) inadequate for conveying the process of Erformung . Finally, it examines Kurth's 1925 analysis of the opening of Bruckner's Sixth Symphony Finale in light of Musikpsychologie . The discussion emphasizes ways in which Kurth's approach to the analysis of form overlaps with more recent approaches to embodied musical listening. Ernst Kurth form Erformung analysis analogy listening embodiment http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

“As Forming Becomes Form” Listening, Analogizing, and Analysis in Kurth's Bruckner and Musikpsychologie

Journal of Music Theory , Volume 61 (1) – Apr 1, 2017

Loading next page...
 
/lp/duke-university-press/as-forming-becomes-form-listening-analogizing-and-analysis-in-kurth-s-0aEFizDD0z
Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-3855702
Publisher site
See Article on Publisher Site

Abstract

Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however, is understanding just what Kurth means by form . This article proposes that his final publication, Musikpsychologie (1931), offers the greatest source of elucidation, and it focuses on a central topic in Musikpsychologie : musical listening as active and participatory. The article begins by outlining two intellectual developments in the early twentieth century on which Kurth's ideas hinge. This is followed by an examination of Kurth's general ideas about musical listening and his specific notion of Erformung —the development of an impression of form through “multitrack listening.” The article discusses why Kurth considers existing theories of form (those of Hugo Riemann and Alfred Lorenz in particular) inadequate for conveying the process of Erformung . Finally, it examines Kurth's 1925 analysis of the opening of Bruckner's Sixth Symphony Finale in light of Musikpsychologie . The discussion emphasizes ways in which Kurth's approach to the analysis of form overlaps with more recent approaches to embodied musical listening. Ernst Kurth form Erformung analysis analogy listening embodiment

Journal

Journal of Music TheoryDuke University Press

Published: Apr 1, 2017

There are no references for this article.