Linda Maria Koldau (Frankfurt am Main) Der Vortrag Filmmusik als "Baukastenprinzip": Kompositorische Traditionen und ihre Wirkung im Film, der das 2. Kieler Symposium zur Filmmusikforschung am 11. Juli 2008 in Kiel eröffnete, gab Anlass zu ungewöhnlich heftiger Diskussion zwischen Vertreterinnen und Vertretern der Musikwissenschaft. Da es aus Zeitgründen nicht möglich war, in notwendiger Differenzierung auf die Kritik der Fachkollegen einzugehen, soll die Diskussion hier dokumentiert werden. Der Vortrag selbst, der einen neuen Ansatz in der Analyse von Filmmusik vorstellt, ist mittlerweile in ausgearbeiteter Form unter dem Titel "Die Arbeit mit kompositorischen Topoi: Eine Analysekategorie der Filmmusik" in der musikwissenschaftlichen Fachzeitschrift Archiv für Musikwissenschaft (2008) erschienen. Die Beispiele, die hier nur kurz umrissen werden, sind dort ausführlich analysiert. Da der Begriff des "Baukastenprinzips" trotz differenzierender Erläuterung im Vortrag zu Missdeutungen geführt hat, wird im Folgenden von "musikalischkompositorischen Topoi" gesprochen; diese Begriffswahl wird im genannten Aufsatz genauer erläutert. 1 Grundlage des Eröffnungsvortrags ist ein Ansatz, in dem Filmmusik auf ihre kompositorischen Mikrostrukturen hin untersucht wird. Da es hier nicht um Fragen eines Personalstils, einer bestimmten Filmepoche oder einer speziellen Filmmusikschule geht, sondern um die grundsätzliche Frage nach Traditionen und Konventionen in der westlichen Musiksprache, die sich in der Komposition von Filmmusik bis heute fortsetzen, wurden Beispiele aus Filmen ganz unterschiedlicher Genres, Entstehungszeiten und Inhalte ausgewählt. Berücksichtigt wurden Filmmusiken, die sich an die klassische Tradition der westlichen Musik anlehnen; ausgeklammert wurde ethnisch geprägte Musik, die eigenen Traditionen folgt und in Filmen häufig geographisch-kulturelle Verweisfunktion besitzt. Vorgestellt wurde die semantische Belegung spezifischer kompositorischer Strukturen am Beispiel von Ostinati und der Mikrostruktur der kleinen Sekunde. Dabei wurde mehrfach hervorgehoben, dass eine derartige "Mikroanalyse" eines speziellen 1 Ebenso finden sich in dem Aufsatz ausführliche Hinweise auf Sekundärliteratur aus der Filmmusikforschung und der Musikwissenschaft, die auch im Literaturverzeichnis zu diesem Beitrag aufgeführt sind. Kieler Beiträge zur Filmmusikforschung, 3, 2009 / 23 filmischen Elements selbstverständlich der Kontextualisierung und Einbindung in das filmische Ganze bedarf. Diese Einbindung kann die Deutung von kompositorischen Traditionen zu einem gewissen Grad relativieren; häufig zeigt sich jedoch, dass der Rückgriff auf bestimmte Strukturen und Konventionen in der Komposition zur Intensivierung der filmischen Aussage beiträgt und dass es deshalb in der Erforschung von Filmmusik sinnvoll und notwendig ist, eben diese Strukturen im Detail auf Traditionen ihrer Verwendung, die damit verbundene semantische Belegung und ihren Einsatz im Film zu untersuchen. Die Thesen dieses Vortrags stießen auf verschiedene Einwände von Seiten der Fachkollegen, die im Rahmen der vorliegenden Dokumentation nun ausführlicher diskutiert werden können. Als erster Einwand wurde angeführt, dass die Diskussion um die Bedeutung von Musik alt sei und dass sie letzten Endes zu nichts geführt habe. Dem ist erstens entgegenzuhalten, dass diese Frage, und zwar in detailliertem Eingehen auf spezifische musikalische Strukturen, in der Filmmusikforschung bislang nicht gestellt worden ist -demnach ist sie in der Erforschung von Filmmusik also keineswegs "alt". Gerade in einer künstlerischen Gattung, in der das Zusammenwirken sämtlicher inhaltlicher, visueller, akustischer und technischer Parameter auf das Erzeugen einer speziellen Bedeutung abzielt, ist es sinnvoll, die Frage nach dem Ausdrucksgehalt von Musik neu zu stellen. Zweitens aber hält die Aussage, dass die Diskussion um die Bedeutung bzw. den Ausdrucksgehalt von Musik "zu nichts geführt" habe, einer Überprüfung an der Forschungsgeschichte nicht stand, da sie die Arbeit der Systematischen Musikwissenschaft auf diesem Gebiet außer Acht lässt. Über den inhaltsbezogenen Hermeneutikbegriff von Hermann Kretzschmar und Arnold Schering -der unter Einbeziehung philosophischer und rezeptionsästhetischer Überlegungen längst zu einem offenen Konzept von Hermeneutik als "eine[r] bewegliche[n] und dennoch verbindliche[n] Basis für den Vollzug musikalischer Verstehensprozesse" 2 geführt hat -lässt sich zweifellos diskutieren, ebenso über jüngere Deutungsansätze, die spätere Strömungen repräsentieren. Gleichwohl greifen diese Deutungsmuster auch in der ursprünglich von Kretzschmar und Schering vorgestellten Form auf jahrhundertealte kompositorische Traditionen, Topoi und Konventionen zurück, sie sind also historisch begründet. Eine pauschale Ablehnung hermeneutischer Verfahren in der Analyse und Deutung von Musik schreibt die im 19. Jahrhundert entwickelte Ästhetik einer "absoluten Musik" fort, die in der Musikwissenschaft längst differenziert betrachtet wird. Insbesondere die Filmmusikforschung verlangt nach einer offenen musikwissenschaftlichen Betrachtungsweise, da diese Kunstgattung in hohem Maße den Ausdrucksgehalt sämtlicher visueller und akustischer Elemente fordert und ausschöpft. Eine Weigerung, hermeneutische Verfahren in die Analyse von Filmmusik zu integrieren, würde eine entscheidende Ebene in der Deutung von Filmmusik und ihrem Zusammenwirken mit den anderen filmischen Parametern ausblenden. Hier ist demnach die Offenheit gefragt, viel diskutierte Ansätze der Musikwissenschaft in eine andere Kunstgattung zu überführen, die stark auf dem Einsatz und der Wirkung von Musik beruht und kompositorische Konventionen -gerade auch in der Deutung außermusikalischer Inhalte -gezielt einsetzt. 2 Mauser 1993, S. 47. Kieler Beiträge zur Filmmusikforschung, 3, 2009 / 24 Die im Vortrag erläuterten Beispiele der Verwendung von Ostinati in der Filmmusik wurden dahingehend kritisiert, dass den melodischen Strukturen von Ostinatoformeln letzten Endes kein spezifischer Ausdrucksgehalt zuzuordnen sei. Insgesamt ließe sich der Einsatz von Ostinatotechniken in der Filmmusik allenfalls auf rhythmische Komponenten reduzieren, die zwar antreibend wirken mögen, ansonsten aber keine spezielle Aussage im filmischen Kontext träfen. Hier ist darauf hinzuweisen, dass bestimmte Ostinatoformeln im 17. Jahrhundert mit ganz spezifischen Affekten assoziiert wurden, was sich insbesondere in der Vokalmusik durch die entsprechenden Texte belegen lässt. 3 Zu nennen ist dabei vor allem das absteigende Tetrachord, das in seiner Moll-Version zum "Emblem of Lament" wurde und als Träger von Klagen und traurigen Affekten in zahlreichen Kompositionen bis weit ins 18. Jahrhundert, punktuell auch darüber hinaus, eingesetzt wurde. 4 In Filmen tritt dieser Quartbass häufig an affektiv entsprechend geprägten Stellen auf, sowohl als isolierte musikalische Figur als auch als ostinate Bassformel unter Oberstimmen. Die 9 Flückiger 2001, S. 113, 133.

I saggi raccolti in questo volume discutono alcuni temi della filosofia della musica nel Novecento : dalla presenza del mito di Beethoven nella cultura centroeuropea, all’interpretazione delle rapide metamorfosi dei materiali sonori posteriori alla crisi del sistema tonale, al proposito di individuare nella musica una peculiare esperienza della temporalità. L’esame critico coinvolge i criteri d’interpretazione dell’opera musicale fondati su paradigmi quali la fenomenologia, l’ermeneutica, il pensiero dialettico, la teoria della ricezione.

The Helicopter String Quartet (1993) by German composer Karlheinz Stockhausen (1928–2007) is one of the most notorious works of classical music of the past decades.  The work is scored for a traditional string quartet, four helicopters each with a pilot and a sound technician, audio and video communications equipment, a sound engineer (or ‘sound projectionist’) and a moderator (optional). Lasting half an hour, the work features the four musicians playing the music each in their own helicopter, in the air.

The present article discusses the work from the ‘conceptual music’ perspective. Our approach is based above all on a musicological translation of the theory of conceptual art developed in visual arts scholarship, i.e. the application of that theory to art consisting of sound. Our analysis is based on the score of the work including its written instructions, the composer’s other commentaries on the work, the recording made by the Arditti Quartet and the documentary directed by Scheffer. The article is a discussion of the ways in which the Helicopter String Quartet challenges our thinking about music and the world.

We first discuss the concept of conceptual music and then a feature characteristic of conceptual music in general and this work of Stockhausen’s in particular that we call a manifestation of a concept. This means presenting ideas using concrete symbols. In the work at hand, the key concepts being manifested are the concepts of air, sound direction, the world, the cosmos and light. Also, the transgressive approach of the work to the string quartet tradition prompts reflection on the relationship of the work to (chamber) music and to music as a metaphor for the miraculous and the ineffable. Finally, we discuss the Helicopter String Quartet as music that presents as a metaphor of itself and explore conceptuality as a feature of this music.

We have two ways of knowing. Our mind knows forms, things, both subtle and gross. Faces, hands, buildings, trees, math formulas, mind knows subject and the mind knows otherness. The mind knows dualities, the mind knows me and you, us and them, and this and that. Mind knows time, mind knows the past, the present and the sense of the future. The mind knows things and entities, the mind knows beings, infinite numbers of beings and things. The mind knows difference. The mind thinks conceptually, feels affectively, imagines through imagery, the mind has sense and the mind has memory. The mind knows dualistically.

This paper seeks to understand Schleiermacher's contribution to philosophical hermeneutics by studying (1) the historical context that shaped him, (2) the philosophical thought that undergirds his system, (3) Schleiermacher's hermeneutical method, (4) his legacy, and (5) Schleiermacher's place within evangelical interpretation of the Bible.

Due to the 20th century mathematical and scientific developments of Georg Cantor, Max Karl Planck, Albert Einstein, and Werner Heisenberg, concepts once relegated to obscurity, such as irrationality, infinity, insolvability, and chaos, were brought to mainstream attention, ultimately changing the course of technological and scientific development into the 21st century. Before these seminal thinkers, concepts like numerical irrationality and infinity were considered by many to be worthless if not amoral; such attitudes can be found persisting back to the ancient Greeks under the Pythagoreans. Interestingly, the aesthetic of irrationality follows a similar historical trajectory, mostly finding relegation in peripheral movements and specific artists before the 20th century. However, the 20th century has seen the greatest and longest persisting resurgence in mathematically irrational thought within the arts. This paper compares the visual and musical experiments in irrationality, incommensurability, and infinity in the works of MC Escher and Conlon Nancarrow during the early and mid-twentieth century, showing a correlation between contemporary mathematical and physical innovations and specific aesthetic pursuits in art and music.

The word Emptiness has many various meanings. The experience of awareness becoming aware of its own self opens the experience of emptiness in a most direct manner. Experientially emptiness has many faces. Sometimes the face of emptiness is a void or abyss like experience. This abyss can open the unhappy experience of falling and falling and falling. This void experience can at times open the experience of disappearing and dissolving into a terrifying nothingness. And sometimes emptiness is experienced as no thingness. Sometimes emptiness is experience like endless and infinite space. Sometimes emptiness is experienced as unbound openness. Sometimes emptiness is experienced as deep unmoving stillness, stillness of movement and stillness of sound. Sometimes emptiness is experienced as bliss, vast bliss. All these variations of experience unfold over time as one becomes aware of their own awareness. Sometimes emptiness is experienced as freedom of pure potentiality. Often the word sunyata implies the experience and nature of emptiness. The personal experience of emptiness is a vast range experience often beyond words and language. The human range of experiencing emptiness is vast and ineffable. The experience of emptiness can range from nihilistic experience that can not be thought to the positive experience that is unbound bliss as gnosis. This wide range of meaning of emptiness is not only personally experiential but there is vast range of the historical cultural unfolding of the appearance of emptiness and articulation of emptiness by the various spiritual traditions. Over time the phenomena of emptiness has been articulated in various ways, and at times in ways that are in opposition to each other.

This article examines the paradoxical coexistence of metaphorical and analytical language in Hoffmann’s Beethoven criticism. The ambivalence of Hoffmann’s critical language is approached through recent writings on musical analysis and metaphor by Thomas Gray and Marion A. Guck. The main goal of this article is to shed light on this ambivalence as a fruitful starting point for contemporary music criticism. In the present situation, Hoffmann paradoxical example shows a path ahead, when the impossibility of a purely objective language about music is an insight musicology cannot ignore, while the private subjectivity of taste dominates the public discourse about music. The subjective and the objective cannot exist as isolated categories in music perception, but, like Hoffmann implies, we can still gain valuable understanding by letting them play roles in a hermeneutic circle.

Musical imagery that somehow references the environment is extremely common in works by Nordic composers, both past and present. Some pieces are given titles, programmes or performance contexts that directly refer to the local environment, its natural phenomena, landscape (be it concrete or mythical) or atmosphere; others suggest more conventional musical imagery, such as topics, allusions, inter-textuality and structural tropes. Many more seem to convey or evoke in a more abstract and experiential way an acute sensitivity to the environment, like ambient music for instance. One of the most common ways in which Nordic music evokes its environment is through the use of static musical textures: barren pedal points, drones, stable chords, clusters or sound masses, and other long-lasting or repetitive gestures, combined with hushed, muted and often dark timbres. Such textures seem to suggest a mode of subjectivity beyond individuality or agency. This makes static textures a topical case to study not only from the point of view of hermeneutics and phenomenology, but also as a significant trend of contemporary aesthetics in Nordic music, related to the ecological turn of twenty-first century art. It is precisely this ‘Nordic drone’ that we aim to elucidate in this article by analysing examples of classical music of the Nordic countries from the twentieth and twenty-first centuries that use static textures, pedal points and other repetitive imagery to induce a sense of nature, environment, space and place.

First follows a historical introduction that briefly discusses Finnish music of the early 20th century. Then follows more detailed case studies of Finnish and Icelandic contemporary music, by Erik Bergman, Kaija Saariaho, and Anna Thorvaldsdottir. Methodologically, the approach draws on cultural music analysis, ecomusicology and (eco)philosophy.

Finland and Iceland, occupying geographical border zones of the Nordic region, have produced a rich repertoire of music that is characterised by various kinds of static textures. Therefore, this repertoire can exemplify the topical and global significance of Nordic music in today’s world with respect to its ability to reflect, construct and scrutinize the relationship between the individual and the environment, and between humanity and nature in general.

The life to Earth came from the Universe: the part is alive due to the Entire, this world is alive thanks to the Whole. The first tribe of our Earth w ere Scythians, people from the Moon; their selenic language was the root to earthly languages — the heart of human language. // Жизнь на Землю пришла из Вселенной: часть Целым жива, мир сей — Всем. Племя первое нашей Земли — Скифы, люди с Луны; их язык, корневой земным — лунная молвь, сердце речи людской.

The experience of awareness is embodied. This unfolding of the awareness field is an embodied unfoldment. This lived experience of awareness is centered in our body that opens immediately out into the world. Perception and the perceived are given immediately to us in natural oneness. There is within knowingness itself the natural non-duality of indivisibility of the knower and the known within the context of duality of appearance.

Prelude to the Unified Field Theory created by me. // Прелюдия к созданной мною Единой теории Поля.
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Приход наш в сей мир — не рожденье, но шаг к нему: к Целому — часть, к Полноте — половина. Мир, Дом наш — единство Сего и Того: Земли и Неба, бренья и Вечности. С тем, для Земли рождены, Мира цельного ради должны мы родиться от Неба, скрепив Духом плоть как Водою живой.

Так глаголет Христос Никодиму, искателю Знания: «Истинно, истинно говорю тебе, если кто не родится свыше, не может увидеть Царствия Божия». «Как может человек родиться, будучи стар? Неужели может он в другой раз войти в утробу матери своей и родиться?», — пытает Никодим. Иисус речет: «Истинно, истинно говорю тебе, если кто не родится от воды и Духа, не может войти в Царствие Божие. Рожденное от плоти есть плоть, а рожденное от Духа есть дух» (Ин. 3:3-6).

То ж — с наукой лингвистикой. Древней порой, Неба часть, человек не искал Речь — он был с ней един, с тем — тождественен Слову, создавшему всё, и могуч его силою. Рек Иисус о том: «…истинно говорю вам: если вы будете иметь веру с горчичное зерно и скажете горе сей: «перейди отсюда туда», и она перейдет; и ничего не будет невозможного для вас» (Мф. 17:20).

Утрата единства сего породила стремление людей вернуть его, с тем — и науку исканий, лингвистику. Сильной стать ей — есть родиться вторично: от Слова, Начала. Лингвистика Мира — сакральная, труд мой — наука земная, рожденная свыше. То — Знанье, стяжавшее Силу: Ум — Сердце, Исток. Им сильны, обретем мы Себя.

Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.

In the teens and twenties of the 20th century, a variety of composers were exploring approaches to twelve-tone composition.  In this paper I focus on the early twelve-tone music of Schoenberg, Hauer, and Golyscheff, viewing their technical solutions from the dual perspectives of the history of ideas (Lovejoy) and philosophical hermeneutics (Gadamer).

The Helicopter String Quartet (1993) by German composer Karlheinz Stockhausen (1928–2007) is one of the most notorious works of classical music of the past decades. The work is scored for a traditional string quartet, four helicopters each with a pilot and a sound technician, audio and video communications equipment, a sound engineer (or ‘sound projectionist’) and a moderator (optional). Lasting half an hour, the work features the four musicians playing the music each in their own helicopter, in the air. The present article discusses the work from the ‘conceptual music’ perspective. Our approach is based above all on a musicological translation of the theory of conceptual art developed in visual arts scholarship, i.e. the application of that theory to art consisting of sound. Our analysis is based on the score of the work including its written instructions, the composer’s other commentaries on the work, the recording made by the Arditti Quartet and the documentary directed by Scheffer. The article is a discussion of the ways in which the Helicopter String Quartet challenges our thinking about music and the world. We first discuss the concept of conceptual music and then a feature characteristic of conceptual music in general and this work of Stockhausen’s in particular that we call a manifestation of a concept. This means presenting ideas using concrete symbols. In the work at hand, the key concepts being manifested are the concepts of air, sound direction, the world, the cosmos and light. Also, the transgressive approach of the work to the string quartet tradition prompts reflection on the relationship of the work to (chamber) music and to music as a metaphor for the miraculous and the ineffable. Finally, we discuss the Helicopter String Quartet as music that presents as a metaphor of itself and explore conceptuality as a feature of this music.

Since the early writings of Hermann Kretzschmar and Arnold Schering, the project of a musical hermeneutics has faced a major hurdle, that of identifying a key to the relationship between musical structure and its verbal description; their work is marked by contradictions, in particular the ambiguity between the aim of tracing the intentions of historical musicology and of creating a systematic musicology themselves. A firmer paradigm guides Wilhelm Dilthey's reflections according to which art is one of the forms of expression of life and individual sentiment. His reconstructive work seeks to give relativity to historical periods owing to the specific character of the experiences (Erlebnisse) that enable the critical interpreter to define the essence of the musical experience of the past; the interpretation is not so much attached to works as to musical forms, which are much more representative for the common consciousness. But this perspective is also limited: once we have passed beyond the positivist horizon, the need to focus on an alien psychologism destroys temporal distance, leading to the loss of the most specific value of a historicity in which the structural connections of living entities are inscribed. In 20th-c. hermeneutics, resolution is sought for the aporias of psychologism by shifting the question of the work to the ontological level. Hans-Georg Gadamer has noted, however, that the goal of understanding seems to appear less in the critical discourse than in the experience of the work, that is in a hearing or performance capable of corresponding to the function of 'stopping and staying', which characterizes the forms of understanding in general.

Resumen:
Enrico Fubini lanzó hace algunos años una pregunta inquietante “¿Qué estética musical hay después de Adorno?” . A la saga de esta pregunta se han lanzado pensadores como Ernst Simon Bloch, Emmanuelle Severino, Vladimir Jankelevich, Claude Lévi-Strauss, Juan David García Bacca, entre otros. Pero quizás sean Jean-Luc Nancy, Eugenio Trías y María Zambrano quienes han dado ese paso radical que permitirá a la est-ética como ethos, pasar del problema de pensar la música a la Música como pensar.
Lo anterior supone un complejo problema de investigación que esta siendo desarrollado por esta autora, y sobre el cual, sólo se planteará en este breve estudio un esbozo, cuyo objetivo es mostrar otra posibilidad de análisis en relación al enigma planteado en el texto “La Música” (16 de abril de 1955, Piazza del Popolo 3), de María Zambrano, donde aparecen los signos “< >” y “< : >”, los cuales han sido interpretados como “faltas en el texto” , y que, en la Lógica del Límite de Eugenio Trías, aparecen como [>/<] revelando otras posibles lecturas

Resumo: A presente comunicação tem como objetivo estabelecer um diálogo entre duas perspectivas sobre significado em Música: O modelo de cruzamento de domínios de Lawrence Zbikowski e o conceito de Janelas Hermenêuticas de Lawrence Kramer. Descrevendo sobre cada uma destas duas perspectivas buscamos encontrar similaridades com o intuito de ampliar a possibilidade de complementação ao invés de exclusão entre estas duas teses almejando assim fornecer uma poderosa ferramenta para a interpretação do texto musical

Abstract: This communication aims to establish a dialogue between two approaches on the topic Significance in Music: Lawrence Zbikowski's Cross Domain Maps and Lawrence Kramer's Hermeneutical Windows. After we describe both concepts we seek to find similarities between them in order to present a powerfull analytical tool to be used by those who are interested in the meaning of the musical text.

The problem of creation of Unitary Field theory, or the Theory of Everything, which the Einstein was so eager to solve by means of physics, remained unsolved since it is solvable only by means of the Word: because the Word, according to Bible — is the God and «the God has»: Universe, His Child. This particular solution is given by the linguistic work about the Existing, offered by me to you and based on the Pressing method, the founder of which is Dionysus (Bacchus) — the ancient's god of the Word, Moon and Wine. // Познать Мир, Божий Храм - есть познать Слово нам. Слово - это Луна.

Sacral cause of death of cosmonaut Vladimir Komarov.

According to the scrolls of ancient times, Eight is the number of death. Vladimir Komarow, the cosmonaut  no.8, shouldn't have tease it by the second flight: sacral law prohibits this. But he did it — and died.
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В свитках древних времен Восемь есть число смерти. Владимир Комаров, космонавт №8, не должен был дразнить его вторым полётом: сакральный закон запрещает это. Но он полетел — и погиб.

Is Hans Zender a follower of John Cage? The title of Zender’s 1991 book, Happy New Ears, and many of his overtly Zen-inspired works and essays could seem to indicate just that. But a closer look at Zender’s aesthetics reveals that his reverence for Cage is far from uncritical. In this essay, I substantiate this claim by taking a closer look at the thoughts about listening that lie at the core of Zender’s musical philosophy, and explore how Zender’s ideas – in spite of obvious resemblances – differ in important ways from the thinking of John Cage. The theme that separates them most fundamentally is the European tradition, which Zender is unwilling to leave in the past.

Music played a central part in the thinking of Ernst Bloch. He first engaged with it in "Geist der Utopie", which contains large sections entirely dedicated to music, while it also occupies a central position in his later magnum opus "Das Prinzip Hoffnung". The trumpet call in Beethoven’s "Fidelio" that announces the arrival of the minister and thus the end of all trials and tribulations serves as Bloch’s most powerful example of a work of art anticipating how utopian hope can ultimately be fulfilled.
So far, musicological engagements with Bloch (for example by Benjamin Korstvedt, Michael Gallope, or Matthias Henke and Franceska Vidal) have mainly focused on what kind of knowledge about music Bloch had, what he had read, and also what his limitations were and how he got certain details wrong (paying special attention to "Geist der Utopie"). My proposed chapter will rather look at music’s role from a political and philosophical point of view, focusing on "Das Prinzip Hoffnung": Why did Bloch associate music with such a high degree of agency when it comes to evoking or sustaining utopian hope? What is its special potential compared to all the other arts, crafts and activities he analyses? And what has the political concept of utopian hope to offer in the early 21st century? In intellectual circles the proclamation of the end of grand narratives seemed to have killed off utopian concepts while on the other hand utopian worlds appear to have migrated to the digital universe where they can be accessed individually by role players via avatars (and where music plays yet again a central role in creating those worlds). Maybe our post-factual age of often dangerous nostalgic retro-utopias (“Make America great again!”) should re-engage with Bloch’s positive, future-oriented hope, and with it the potential music has to unlock it.

The Allgemeines Handbuch der Film-Musik was published by Hans Erdmann, Ludwig Brav, and Giuseppe Becce in 1927 by the Berlin-based publisher Schlesinger. It represents the most comprehensive and undoubtedly most significant document pertaining to the practice of "silent"-film accompaniment during the 1920s in Germany. The four hundred-page work is divided into two volumes: The first one delivers an elaborate aesthetic and theoretical debate about the prevalent and ideal methods of film accompaniment, and the second volume contains a cinema music catalog, the so-called Thematisches Skalenregister (Thematic Music Index), with over three thousand musical incipits. While the Handbuch was firmly grounded in the musical practice of cinema musicians, the two parts were not solely intended as a manual to facilitate the fast-paced working routine of practitioners, like the numerous cinema music catalogs that were published in Germany in the wake of Becce's Kinotheken (1919-1929). In these catalogs, music pieces of various origins were organized according to certain parameters in order to satisfy the musi-co-dramatic demands of day-today "silent"-film accompaniment. The pieces were interpreted for their extramusical associations and labeled under specific semantic categories in order to be used for specific and recurrent types of film scenes. This labeling of music was based on the tradition of "musical hermeneutics," and it inspired the conception of the Handbuch's second volume, the Thematic Music Index, which is a complex and multilayered classification system for cinema music. Thus, in addition to providing a precise method for film accompaniment, the Handbuch contains a theory and an aesthetics that applies the music-hermeneutical ideas of German musicologist Hermann Kretzschmar to the practice of film accompaniment. Kretzschmar (1848-1924) located the core problem of musical hermeneutics-a discipline of music analysis that essentially studies musical meaning and interpretation-in the nomenclature of musical expression, which formed the basis of the musical accompaniment method in "silent" cinema. This essay focuses on the influence of Kretzschmar's theory of musical hermeneutics on the indexing system of the Handbuch as well as on the author's intentions to ground their work in academic theory.

В начале было Слово. А бывшее — есть и пребудет: Исток не преходит. Поистине Слово есть главный Закон наш: знать Слово — знать всё. С тем, эллинское «логос» есть рáвно и «слово» и «закон», а Элевсинские таинства Вакха как Слова, Лозы лоз — оплот знаньям смертных. Увы, лживо чтя стих библейский, в потугах науки явить очам Мир человечество ведёт его от всего кроме Слова, не зная, чтó есть оно. И с тем всегда остается ни с чем.

Автор предлагаемой вам книги впервые в истории, длимой от времени автора и ф’ARES’ея науки мирской ARES’тотеля, покончил с этой скорбной практикой и посмотрел окрест очами Слова. И он увидел Божий Мир.

La musicologie de l'interprétation vise à une étude critique de la réception et du vécu de l'oeuvre musicale. Cette orientation permet de réunir et de confronter les travaux de théoriciens et de praticiens de la musique. Le présent volume constitue une refonte des actes du premier colloque international consacré, en France, à l'interprétation pianistique. Cette rencontre organisée par le groupe de recherche RASM (Réception-Arts-Spectacle-Musique), s'est tenue en juin 2003 à l'université d'Evry-Val-d'Essonne, sous la direction de Jean-Pierre Armengaud et de Damien Ehrhardt. Il a conduit à l'élaboration du concept d'"ingénierie artistique" comme fondement méthodologique.
Les quatorze contributions de cet ouvrage abordent divers aspects de la musicologie de l'interprétation : les gestes du musicien ont été traités dans des articles consacrés à la métamorphose du piano contemporain, aux gestes du pianiste et du chef d'orchestre et au tempo rubato; les relations entre interprète et compositeur sont étudiées à travers des analyses de Beethoven, Debussy, Satie, Duparc, Rachmaninov, Ives... Les rapports entre interprétation et musicologie font l'objet de recherches sur la vision critique du musicien ainsi que sur les conceptions de Schenker et de RIemann. D'autres contributions transdisciplinaires,dont un article concernant l'Erratum musical de Marcel Duchamp, sont venues compléter ce corpus de textes.

The conviction that music is a kind of autonomous occurrence – more than a mere function of outer events – became familiar in the European thought since the latter began considering music as an independent art. According to Hanslick, music is a “tonally moving form”, which carries its hearers with it irresistibly.
Yet, musicology – like the deliberately bound Ulysses – seems to resist the temptations of music, as musical researchers create fixed positions for secure observations of the occurrences in music (of the “moving of form”). Georgiades warns us with reason: while we have eyelids, we do not have a lid in the ear. Music overpowers its interrogators again and again, though the last ones, trying to keep up their security, are always striving for localizing the musical occurrences.
In the various branches of musicology, occurrences are thought to be found either in the score, in the acoustical phenomena, in the instruments, in the ear, or in the mind. In the meantime the pursuit of relevant occurrences in music makes more and more recognizable that the ethical dimension has always been intersecting the practice of music.

Dedicamos nuestro artículo a Notas de un método (Mondadori, 1989), uno de los textos de María Zambrano menos tratados por los especialistas, publicado al año siguiente de ser laureada con el Premio Cervantes (1988), y vinculado directamente con trabajos tan importantes como El pensamiento vivo de Séneca (1944), El hombre y lo divino (1955), o Persona y democracia: la historia sacrificial (1958). Razones más que suficientes para justificar su estudio riguroso, como uno de los grandes retos pendientes de los estudios zambranianos y el pensamiento contemporáneo. Porque María Zambrano, pensó las notas de un método capaces de seguirle en el exilio (en su “existencia exiliada” ), notas que hoy permiten encontrar los rastros de un “camino-guía”, posible en un método filosófico en sentido musical.

In the course of this article I shall put into perspective the Allgemeines Handbuch der Film-Musik of Erdmann, Brav and Becce in relation to Hermann Kretzschmar’s musical hermeneutics. The Handbuchs’s proximity to musical hermeneutics is primarily based on biographical backgrounds. Both, Erdmann and Brav were graduated musicologists. They were acutely aware of Kretzschmar’s attempt to describe and catalogue musical content and this knowledge informed their reflections on film music. In this sense, a musico-historical tradition is carried over into the conception of the Handbuch and consequently into German-language film music theory. By comparing it internationally with Ernö Rapée's mood music catalouges, the music hermeneutic profile of the Handbuch becomes even more evident.