Viennese School Research Articles

The Study of European Ethnology in Austria (review)

Reviewed by: The Study of European Ethnology in Austria Hande A. Birkalan-Gedik The Study of European Ethnology in Austria. By James R. DowOlaf Bockhorn. (Burlington, VT: Ashgate Publishing, 2004. Pp. xiv + 287, foreword, series editor’s preface, notes, bibliography, index.) This volume is an important addition to the folklorist’s library on folklore and nationalism and should be read along with both authors’ previous writings. James R. Dow has worked on transmitting the theoretical and historical developments in German folklore to the English- speaking world and has previously collaborated with Hannjost Lixfeld on titles such as The Nazification of an Academic Discipline: Folklore in the Third Reich (Indiana University Press, 1994) and Folklore and Fascism: The Reich Institute for German Volkskunde (Indiana University Press, 1994). Austrian folklore scholar Olaf Bockhorn also collaborated with Lixfeld, Wolfgang Jacobeit, and Dow on a thick volume in German, titled Völkische Wissenschaft: Gestalten und Tendenzen der deutschen und österreichischen Volkskunde in der ersten Hälfte des 20. Jahrhunderts (Böhlau Verlag, 1994), which showed the impact of National Socialism in German and Austrian folkloristics. While German scholars declared a clean break with their Nazi past, Austrian scholars were hesitant to do so until recently. The Study of European Ethnology in Austria derives from a series of discussions in the 1980s about reconsidering folklore’s relation to the Third Reich, and it powerfully suggests that the tendencies of Austrian folklorists were not freed from Nazi inclinations. In six engaging chapters, the book brings to light the histories of the important folklore and ethnology centers in Vienna, Graz, and Innsbruck that were tainted with Nazification and also discusses museums that were affected by it. A great deal of the first chapter is devoted to clarifying the terms Volkskunde (folklore) and Völkerkunde (ethnology), which pointed to the folk “near” and “afar” respectively, and Ethnologie, which was used for both until the early twentieth century. This distinction is crucial for [End Page 233] understanding the nascent development of nationalist folkloristics in other countries, such as the work of Joseph Arthur Comte de Gobienau, Houston Stewart Chamberlain, and Franz Bopp, which influenced the study of folklore in Austria and emphasized the superiority of Aryans as more rational than other groups. Dow and Bockhorn also eloquently illustrate the influence of German scholars, who used fairy tales to promote their arguments about the behavior of Aryans, and they especially discuss Jakob Grimm, whose visit to Austria had stimulated collecting and research activity in the Kaisserreich. Starting with the second chapter, the authors describe the scholarly development of Austrian folklore, including the split of “ritualists” vis à vis the “mythologists,” which predominantly sprang from personal conflicts and academic covetousness. Here, the emphasis is laid on the Viennese school, especially Elisabeth Wieser, Otto Höfler, and Richard Wolfram, and on other scholars, such as Otto Spieß, who focused on secret societies, which were particularly influential in promoting the notion of Aryanness in Germany. In the Viennese school, folk poetry and song was the primary medium researched. Anthropological in its nature, this approach was also brought to bear on the question of the geographical distribution of the Austrian peoples. Linguistics played an important role in defining ethnic groups, particularly in the works and teachings of Friedrich Müller. Work done at Karl-Franzes Universität in Graz was influential on material culture studies, while the research at the University of Innsbruck was focused on Tyrolean myths. Here, scholars argued that the Tyrolean peasants were “living in a relict [sic] area and were thus a primary source of ancient traditions” (p. 16). The University of Innsbruck’s emphasis on the Sonderweg (special path) of the Tyrolian peoples was also used to emphasize their “true” Germanness (p. 31). An important concept discussed in the study is völkische Wissenschaft, which refers to a particular approach during the period when Austria officially had become a part of the Third Reich and folklore was used to promote the “scientific aspects” of the study of particular ethnic groups, specifically the work done at Graz by Viktor von Geramb. Völkische Wissenschaft was also taught at the University of Innsbruck, and it became more and more irrational, there resulting...

Berg and modernity: Ambivalence, synthesis, and remaking of tradition in the String Quartet op. 3

Alban Berg has long been seen as the most conservative member of the Second Viennese School, a ‘moderate modernist’, an accessible throwback to Romanticism for audiences afraid of the supposedly more radical innovations of Schoenberg or Webern, and hence for much of the 20th century has suffered from the stigma of a perceived lack of progressivism. Yet recent decades have witnessed a gradual shift in critical opinion on this issue, coinciding with a loosening of the claims of high modernity and arguably a move to a more ‘postmodern’ outlook. This paper explores further the relationship between the historical tendency in Berg’s music and the complex notion of modernity through an analysis of the early String Quartet op. 3, his first large-scale atonal composition, focusing on the idea of synthesis between old and new, conservative and progressive — the nature of the modernity which arises out of his music’s relationship with the past. This is the most problematic category in relation to advancing Berg’s credentials as a modernist but thus possibly the most interesting, and also useful since it can ultimately allow a critique of the whole notion of the modern imperative.

Ancient oceans and continental margins of the Alpine‐Mediterranean Tethys: deciphering clues from Mesozoic pelagic sediments and ophiolites

AbstractIn contrast to Northern Europe where, in the 19th Century, a coherent lithostratigraphy and biostratigraphy was established, many of the ‘odd rocks of mountain belts’ (as christened by Alfred G. Fischer) of the Alpine‐Mediterranean region defied an easy interpretation in terms of the simple English layer‐cake stratigraphy mapped by William Smith. However, as early as 1862, Eduard Suess recognized close affinities between Mesozoic faunas of the Alps and those of the Himalaya. Suess also described many such Alpine sedimentary rocks as pelagic (a term discussed by Antoine Lavoisier in the context of sea‐level change), and the results of theChallengerExpedition (1872 to 1876) convinced the Viennese school of geologists of their deep‐water nature. Based on the composition of Jurassic–Cretaceous faunas, Melchior Neumayr postulated the existence of an equatorial ocean, the ‘Central Mediterranean’ which extended from Central America through the Alpine belt to the Himalaya and beyond, an ocean which Suess subsequently named ‘Tethys’. The question of whether or not deep‐sea sediments could occur on land, as deliberately posed by Gustav Steinmann in 1925, became central to the long‐lasting controversy on the permanency of continents and ocean basins. Indeed, the occurrence of deep‐sea deposits in mountain belts required the disappearance of oceanic areas and a mobilist concept of orogeny that was subsequently applied to the Tethyan region by Emile Argand in the wake of the continental drift hypothesis of Alfred Wegener. Implicit in the views of Wegener and Argand is the concept of an oceanic crust fundamentally different from that of the continents. Although ophiolites had been recognized as a special group of rocks in the early 19th Century, Steinmann was the first to interpret the association of (serpentinized) peridotite, ‘diabase’ (dolerite–basalt) and radiolarite (Steinmann Trinity) in a geodynamic context and to consider it as characteristic of the deep ocean. The comparison of Alpine radiolarites with Recent radiolarian oozes deposited below the calcite compensation depth did not remain unchallenged, because of the local association of these siliceous rocks with coarse clastic deposits. However, after the advent of the turbidity‐current hypothesis, these detrital deposits were reinterpreted as submarine mass‐flow deposits. Consequently, such typical Tethyan facies asRosso Ammonitico,Maiolica/Bianconeand black shales, found in close stratigraphical association with the radiolarites, could be interpreted as deposited on deeply submerged continental and/or oceanic crust where they recorded faithfully a range of interdependent palaeoceanographic phenomena: changes in the relative proportion of siliceous, carbonate and organic‐walled biota, in carbonate saturation of sea water, in oceanic circulation and in the impact of orbital‐climatic cycles. The results of the Deep Sea Drilling Project, with its discovery of typical Jurassic and Cretaceous Tethyan facies in the Atlantic Ocean, dramatically confirmed the early interpretations of European geologists of the 19th and early 20th Centuries.

Exiled Modernism: Lithuanian Music Through The Second World War

Exiled Modernism: Lithuanian Music Through The Second World War

New Music, Late Style: Adorno's ‘Form in the New Music’

ABSTRACT‘Form in the New Music’, which was originally published in a volume of Darmstädter Beiträge zur Neuen Musik devoted to the issue of form, engages with most of Adorno's earlier essays on new music, modifying and developing those ideas. In it, Adorno maintains the important perspective that a focus on technique cannot transcend subjectivity, but he depends less on the achievements of the Second Viennese School than in some earlier articles. He also contemplates contemporary approaches to composition, particularly as expressed by György Ligeti, drawing out the wider aesthetic implications of these ideas. Furthermore, as in many of Adorno's writings in the 1960s, the author explores themes that were to become prevalent in the posthumously published Aesthetic Theory. In general, the essay exhibits the characteristics of Adorno's late style: it returns to ideas located elsewhere in the author's oeuvre, but does so with altered nuances, which create an incremental shift in perspective.

Terminologie de la terminologie. Métalangage et reformulation dans l'Introduction à la terminologie générale et à la lexicographie terminologique d'E. Wüster

The large amount of positive and negative reactions expressed about the works of the Viennese School of terminology, urges one to reexamine its important (main) sources and first of all, Eugen Wuster's texts. Starting with a corpus extracted from the Einfuhrung gathering the synonymic pairs emerging from the reading of this handbook, one can study the art of reformulation used in this text and analyse how terms are being introduced in a well designed construction. These terms appear like real keywords, representative of important themes in the theory of terminology. It is interesting to find that a holder of the terminological theory resting on the principle of biunivocity uses repeated (and paradoxical) synonymy.

The bad Consciousness of Success. Some Notes about the modern Vienna and Theodor W. Adorno’s aesthetic Theory

The bad Consciousness of Success. Some Notes about the modern Vienna and Theodor W. Adorno's aesthetic Theory This paper tries to analyse how some ideas presented in Dialectic of Enlightenment and later developed in Theodor W. Adorno's aesthetic theory find their roots in the cultural atmosphere of the viennese fin de siecle. The conflicts between avant-garde art and the tastes of the general audience (conceived as a mass of consumers) had been already point- ed out by the satiric writer Karl Kraus, the architect Adolf Loos and the composers of the Second Viennese School. The paper explores the paradoxical aspect of an artistic produc- tion created for an audience that should reject it, and discusses the modern artists' «feeling of guilt» when faced with success.

Personal abilities in patients undergoing peritoneal dialysis and hemodialysis. A pilot study using the existence scale

Personality psychology is increasingly used in various clinical medicine settings to help in decision-making in difficult situations, especially in chronic disease. Patients with chronic renal disease are very dependent on modern medicine, and psychological aspects could help give answers in certain circumstances. Logotherapy and Existence analysis, after Viktor Frankl (Third Viennese School of Psychotherapy), is the theory of the possibilities and conditions for a fulfilled existence and evaluates a different aspect of personality psychology, namely meaning (in life). We used the existence scale questionnaire in this pilot study to investigate the personal abilities self-distancing, self-transcendence, freedom and responsibility in dialysis patients and compared a group of hemodialysis (HD) patients with patients treated with continuous ambulatory peritoneal dialysis (CAPD). We studied a mixed dialysis cohort (24 HD, 24 CAPD) at two Austrian centers (Innsbruck Medical University Hospital and Wilhelminenspital of the City of Vienna). Overall, results for dialysis patients (n = 48) were very close to those reported for healthy persons; however, CAPD patients scored significantly better than HD patients (p = 0.017) on the subscale self-distancing. This significant difference was also seen in the overall scores (p = 0.045). Our results might indicate that contented CAPD patients have personal abilities that predestine them for this type of treatment. The existence scale might help decide between CAPD and HD treatment alternatives.

Schönbergs Zeichen: Wege zur Interpretation seiner Klaviermusik (review)

Schonbergs Zeichen: Wege zur Interpretation seiner Klaviermusik. By Jean-Jacques Dunki. (Publikationen der Internationalen Schonberg-Gesellschaft, Band 6.) Vienna: Verlag Lafite, 2006. [152 p. ISBN 3-85151-074-7. euro34.] Music examples, facsimiles, tables, appendix, bibliography, compact disc. Despite burgeoning literature on Arnold Schoenberg, performance of his music has received comparatively little scholarly attention. The principal contribution in this area, a compendium of essays (Die Lehre von der musikalischen Auffuhrung in der Wiener Schule: Verhandlungen des Internationalen Colloquiums Wien 1995, ed. Markus Grassl and Reinhard Kapp [Vienna: Bohlau, 2002]), has recently been supplemented with articles by Roland Jackson (Schoenberg as Performer of his own Music, Journal of Musicological Research 24, no. 1 [January-March 2005]: 49-69) and Avior Byron (The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered, Music Theory Online 12, no. 1 [February 2006]; http:// mto.societymusictheory.org/issues/mto.06 .12.1.byron.html, accessed 21 February 2007). Jean-Jacques Dunki's study of Schoenberg's piano music, latest in newly revived series entitled Publikationen der Internationalen Schonberg-Gesellschaft (now edited by Matthias Schmidt), is first published monograph devoted exclusively to topic of Schoenberg performance practice. His scholarly work notwithstanding (Der Grad der Bewegung: Tempovorstellungen und -konzepte in Komposition und Interpretation 1900-1950, ed. Jean-Jacques Dunki, Anton Haefeli and Regula Rapp [Bern: Peter Lang, 1998]), it is made clear from outset, both in Rudolf Stephan's preface and in Dunki's own introduction, that his approach is that of a performer: having already released recordings of piano music by Berg and Webern, book includes a compact disc containing performances of all of Schoenberg's completed works for piano. As indicated by tide, author considers performance indications (Vortragszeichen) key to interpretation and expression (p. 9). For Dunki, such indications or signs embrace all aspects of notation -pitch, duration, dynamics, articulation, phrasing, rests, etc.-and demand a contextual reading: for instance, he notes that while an accent may be considered in isolation, it is through its interaction with all other performance indications that it acquires its complete effect (p. 13). Thus, according to Dunki, appropriate interpretation entails close reading of score. This is not to suggest, however, that one is subject to text, but rather that text is central to interpretation: he posits that the score is like a landscape, in which performance indications represent signposts and that it is therefore incumbent on interpreter to choose his/her own path (p. 16). Dunki casts his net widely to explore these interpretative issues and advocates study of a variety of sources: musical scores and compositional sketches; writings such as textbooks, essays, notes, and letters; recordings; and, in contrast to much current scholarship, sources emanating from members of Viennese School-writings, comments, reports of Schoenberg's teachings and performances, and, most importantly, performances of his music, some of which were supervised by composer. Schonbergs Zeichen divides into four chapters, each of which is subdivided into several short sections. The first is loosely entitled key concepts (Schlusselbegriffe), and contains a presentation of, and a brief commentary on topics as diverse as Schoenberg, (performance) indication and symbol, reading and understanding, interpretation and performance, modern classics (Klassiker der Moderne), innovation and tradition, Viennese School, and written and oral records. Although some of earlier topics are treated in a generalized way-the section on Schoenberg begins somewhat curiously with a substantial citation from entry in 1999 edition of Meyers Groses Taschenlexikon (p. …

Cases and Prototypes: Constitutionalism and Photographic Portrayal of the Person in Freud's Vienna

The science of constitutionalism arose in Freud's time as an attempt to explain the psycho-physical amalgam of somatic and psychic features that characterize a person in health and in disease. Anchored in medicine and physiology, constitutionalism was a reaction to reductionism in scientific medicine. To capture the primary forms of varieties of human demeanor, constitutionalists developed several typologies to classify human diversity. Two early Viennese pioneers of constitutionalism, anatomist and politician Julius Tandler and physician Julius Bauer, drew on endocrinology as a key to understanding how types developed. They and others often used photography as a scientific tool to depict the amalgam of the whole manifest in the person and in the type. This article discusses Tandler's Viennese school of constitutionalism and the changing role of photography, as Tandler's focus on endocrinology and change later yielded to an emphasis on heredity as the cause of the human constitution.

Mathematics and the Twelve-Tone System: Past, Present, and Future

Mathematics and the Twelve-Tone System: Past, Present, and Future Robert Morris Introduction Certainly the first major encounter of non-trivial mathematics and non-trivial music was in the conception and development of the twelve-tone systemfrom the 1920s to the present. Although the twelve tone systemwas formulated byArnold Schoenberg, itwas Milton Babbitt whose ample but non-professional background inmathematics made it possible for him to identify the links between themusic of the Second Viennese School and a formal treatment of the system.To be sure, there were also important inroads inEurope aswell,1 but thesewere not often marked by the clarity and rigor introduced by Babbitt in his series of seminal articles from 1955 to 1973 (Babbitt 1955, 1960, 1962, 1974). Mathematics and the Twelve-Tone System 77 This paper has four parts. First, I will sketch a rational reconstruction of the twelve-tone system as composers and researchers applied mathematical terms, concepts, and tools to the composition and analysis of serial music. Second, I will identify some of the major trends in twelve-tone topics that have led up to the present. Third, I will give a very brief account of our present mathematical knowledge of the system and the state of this research. Fourth, Iwill suggest some futuredirections aswell as provide some open questions and unproven conjectures. But before I can start,we need to have a working definition of what the twelve-tone system is, ifonly tomake this paper's topic manageable. Research into the system eventually inspired theorists to undertake formal research into other types of music structure; moreover of late, such research has now actually identified twelve-tone music and structure as special cases of much more general musical and mathematical models, so that for instance serialmusic and Riemannian tonal theory are both aptly modeled by group theory, rather than demarked as fundamentally different or even bi-unique. Thus I will provisionally define the twelve-tone system as themusical use of ordered sets of pitch classes in the context of the twelve-pitch class universe (or aggregate) under specified transformations that preserve intervals or other features of ordered sets or partitions of the aggregate. Thus the row, while itonce was thought to be the nexus of the system, isonly one aspect of thewhole?even ifthe row embraces all of the characteristics I've mentioned: the aggregate, ordered pc sets and, not so obviously, partitions of the aggregate. Thus an object treated by the twelve-tone system can be a series or cycle of any number of pitch classes, with or without repetition or duplication, as well as multi dimensional constructs such as arrays and networks, or sets of unordered sets that partition the aggregate. The Introduction of Math into Twelve-Tone Music Research Schoenberg's phrase, "The unity of musical space," while subject to many interpretations, suggests that he was well aware of the symmetries of the system (Schoenberg 1975). In theoretic word and compositional deed he understood that therewas a singular two-dimensional "space" inwhich his music lived?that is, the space of pitch and time. Indeed, the basic transformations of the row, retrograde and inversion, plus ret rograde-inversion for closure (and P as the identity) were eventually shown to form a Klein four-group (see Example 1). That this space is not destroyed or deformed under these operations 78 PerspectivesofNew Music P R I RI R P RI I I RI P R RI I R P P! fe IJU _ m w_m\m * -*"* 01627934AB58 R! ? _ #t* .. * Ji-_ 85BA43972610 I: (| ^ ?j,?^ .^ ,fl? ^ p 0 B 6A5 3 9 8 2 1 7 4 RIs fe ^ ?* m\ -V+hm # 47128935A6B0 EXAMPLE 1 :THE SERIAL FOUR-GROUP gives itunity. Yet, from today's standpoint, the details of this symmetry are quite unclear. What kinds of pitch spaces? Pitch, or pitch-class, or merely contour? Is I mirror inversion or pitch-class inversion? Is RI a more complex operation than I or R alone? What about transposition's interaction with the P, I, R, RI group? And so forth.The lack of clarity, which is actuallymore equivocal than I've mentioned (because there isno acknowledgment of the different conceptions of intervals between...

From Garrick to Gluck: Essays on Opera in the Age of Enlightenment. By Daniel Heartz and ed. by John A. Rice. pp. xvi + 335. Opera Series, 1. (Pendragon, Hillsdale, NY, 2004, $54. ISBN 1-57647-081-4.)

Following publication of his immense volumes for Norton (Haydn, Mozart, and the Viennese School: 1740–1780 (1995), and Music in European Capitals: The Galant Style, 1720–1780 (2003)), this welcome compilation of Daniel Heartz’s essays on eighteenth-century opera complements the earlier Mozart’s Operas (Berkeley and Los Angeles, 1990, edited, and with contributing essays, by Thomas Bauman). One volume within each pair has a title implying emphasis on composers favoured by posterity, notably Mozart; the other titles imply exploration of the environment of these and other composers, in literary, artistic, cultural, and social life. Like the Mozart opera volume, the essays are selected from a variety of sources. The earliest is the title essay, from 1967, while the most recent, a trenchant account of the significance of Grimm’s satirical essay Le Petit Prophète de Boehmischbroda, from 2001, has not previously been published. The title essay is justly celebrated, and is typical of Heartz’s lateral thinking, which has done so much to unearth connections and explain developments in the musical life of this period. Heartz traces the reputation of Garrick as a reforming actor, and the impression of English culture and thought upon Voltaire and Diderot, whose essay on poetic drama resonates so well—here is the characteristic Heartz touch—with contemporary concerns in the visual arts. This leads naturally to Noverre’s dramatic ballet and through him to Vienna, where his rival Angiolini collaborated with Calzabigi and Gluck and, in Orfeo ed Euridice, with Guadagni, whose time in London included not only a number of performances for Handel but also instruction in acting from Garrick. This perfectly formed argument is not circular, of course, but spiral: we return to Garrick to find ourselves far removed from where the discussion started, and on the cusp of an operatic reform that has never been forgotten.

Rokitansky and Virchow: Throes about the scientific term of disease

The scientific conception of disease became established in the 19th century and resulted in medicine becoming a branch of the natural sciences. In Vienna, the development of pathoanatomy is closely linked with the work of Carl Rokitansky, who used the postmortem examination to draw conclusions that would guide the physician in making future clinical diagnoses. It were Rokitansky and Skoda who developed the II. Viennese School, the "young Viennese School". The founder of the new school of medicine was thus a pathoanatomist. In 1846, Rokitansky published the first volume of his "Compendium of General Pathological Anatomy". In Berlin, there was at the time a particularly avid group of young physicians who had learned to "think cellularly". Rudolf Virchow, a member of the group, was asked to review the newly published volume of Rokitansky's compendium. The 25-year-old was particularly scathing in his criticism, determined to prevent a new dyscrasia theory right from the very beginning. For the next edition of his work, Rokitansky rewrote the "compendium" completely, now in natural scientific terms, and in doing so, encouraged Virchow to further develop the natural scientific conception of disease. Rokitansky's factual approval thus gave Virchow valuable support on his way to cellular pathology.

Discordant Melody: Alexander Zemlinsky, His Songs, and the Second Viennese School

Preface Introduction Fin de siecle Vienna Getting Started The Real World Prague Berlin The Gates of Hell Had Opened Flight Zemlinsky, Arnold Schoenberg, and Schoenberg's Circle Zemlinsky and the Eternal Feminine, Alma Schindler Poetry and Song The Songs Apprenticeship: Early Unpublished Songs A New Path: Unpublished Songs Maturity Unpublished Songs of 1916 Symphonic Songs Two Songs Appendix Bibliography Song Index: Listing by Title Subject Index

Surface Elaboration of Pitch-Class Sets Using Nonpitched Musical Dimensions

surface elaboration of pltch Class Sets Using Nonpitched musical dimensions IE_7fa 1 Jason Eckardt For listeners, music is not an undifferentiated stream of perceptual stimuli, but rather a rich interaction of elements, which are grouped together into segments, compared, and retroactively assessed to infer a formal structure.While composers may begin their creative process by defining motivic material, considering the timbrai constraints dictated by a particular instrumentation, devising harmonic plans, or by using some other compositional strategy, considering how these compositional ideas will influence segmentation isparamount. The generating compositional material may itselfeven suggest possible approaches for articulating these segments, but the composer may also need to shape the material in vari ous musical dimensions to provide the listenerwith events that encour age segmentation. Surface Elaboration of Pitch-Class Sets 121 My attraction to pitch-class sets as fundamental units of harmonic organization inposttonal music stems frommy early interest in the reper toire towhich set-theory analysis is often applied. This music of the Sec ond Viennese School and postwar composers Milton Babbitt, Elliott Carter, Donald Martino, Mel Powell, and others with similar technical and aesthetic concerns formed the core ofmy early compositional iden tity. Their works, and the compositional techniques introduced inor sug gested by thewritings of Babbitt, Martino, and Robert Morris, present formidable organizational strategies that remain amajor influence on my compositional thinking. In my mid-twenties, I was concerned that the pitch-class sets that I was so carefully constructing a priori were getting farther and farther away from a perceptible interaction on themusical surface.My segmentation of pitch-class sets did not reflecthow I had deployed them locally in the flow ofmusical events. This problem found its solution in a flexible sys tem of subset and superset derivations of pitch-class sets that are com posed out using nonpitch musical dimensions. My preoccupation with harmonic continuity stemming from pitch class set-type similarity led me to derive pitch-class set types thatwere either subsets or supersets of some "generating" pitch-class set type. Ech oes^ White Veil, for piano solo, features generating set type [0,1,2,3,6,7], a hexachord chosen for both itsparticular intervallic profile and its com binatorial properties. From this hexachord type, unordered subsets and supersets are derived to supply the pitch material for local gestures. Using T and Imatrices (Morris 1987, 70-3), the degree of pitch-class intersec tion is controlled by transpositional and inversional operators as deter mined by thematrices. While aggregate formation isnot a prerequisite of my harmony, I often seek an environment of chromatic saturation. How these pitch-class sets are articulated on the musical surface is cru cial to the elaboration of the harmonic materials inmy music. I conceive the musical surface as the succession of the local, moment-to-moment events which constitute themusical flow. While I seek to establish conti nuity through my harmony, I also try to encourage perceptual segmenta tion, the mental chunking of this flow into smaller parts, using nonpitched musical dimensions. The harmonic motion of the musical surface, for example, may be characterized by distinct harmonies that change at various rates; as subset- and superset-related pitch-class sets are used to define harmonic segments, the beginning and ending of these segments are defined by nonpitched changes in other dimensions on the musical surface. By differentiating segments this way, I articulate the aforementioned pitch-class sets as perceptually discrete, independent local structures. I intend that the listener infer patterns and invariances 22 Perspectives of New Music among these segments, ultimately leading to the inference of middle ground and large-scale formal structures. Research inmusic theory and cognitive psychology supports my intui tions regarding how various musical dimensions, in collaboration, encourage perceptual segmentation. In theirwritings on the contempo rary repertoire, JamesTenney and Larry Polansky,Wallace Berry,Marilyn Nonken, and Fred Lerdahl and Ray Jackendoff concur that changes in individual musical dimensions on themusical surface contribute to per ceptual segmentation (Lerdahl and Jackendoff 1983, 297-8; Tenney 1988; Tenney and Polansky 1980; Berry 1976, 37; Nonken 1999). These scholars agree that the strongest factors for segmentation are prox imity (in time) and similarity (in all other musical dimensions). If the determination of...

Die „Dreier Regel” für die Akupunktur und Tuina im Westen

In consideration of the different approach the combination of Modern Medicine (MM) and Traditional Chinese Medicine (TCM) enlarges the possibilities of medical treatment. The non-invasive method of TCM allows the description of a functional system without knowing much about morphology. The „Triple Rule” as described by the Viennese School of Acupuncture should simplify the selection of acupuncture points. The location of the disorder is to be considered to get information first about the Meridian and second about Zang Fu. The third anamnestic indication is aiming to get information about the different modalities. This leads to the Traditional Chinese diagnosis.

Schulreform, Pädagogik und Psychologie: Zur Geschichte des Wiener Psychologischen Instituts

The founding of the Vienna Psychological Institute in 1922 seemed to offer great opportunities for developing a disciplinary field in empirical pedagogy. Organizationally, the new institute was closely related to the Vienna Pedagogical Institute, which was the central teachers’ training college in Red Vienna and therefore the institutional centre of the socialdemocratic educational reforms. Besides their lectures at the university, Karl and Charlotte Bühler were lecturing psychology for teachers at the Pedagogical Institute. Despite their initial programmatic promise to build up an international centre of pedagogical psychology in Vienna, they and their co‐workers largely refrained from applied research in pedagogical fields during the following years. In view of the good occasions for cooperation it is surprising that contact between the research interests of the Bühler‐School and the work of the educational reformers was rare. The most important person in this context was Karl Reininger who dedicated his own social‐psychological research to the problems of group‐forming in school classes. Shortly after her arrival in Vienna, Charlotte Bühler conducted research on the reading preferences of Viennese school pupils. Getting money from the Rockefeller Foundation, she turned away from applied research and contributed substantially to elaborating a biological theory of mental development.

Besedy s Al'fredom Shnitke by A. G. Shnitke A. V. Ivashkin (review)

REVIEWS 739 authoritativestatements'(p. 62). ForHerschkowitz,musicwas a successionof great masterworks written by Austro-German composers, though those admittedto his listof the greateventuallynumberedjust seven (Bach,Mozart, Beethoven, Wagner, Mahler, Schoenberg and Webern) and even then Beethoven was consideredto have 'only six symphonies'(p. 8). The book is neither a biography nor a study of Herschkowitz'swork;after an introductionthere follows a seriesof recollections of lessons and conversations between Herschkowitz and Smirnov over a period of nearly twenty years, with examples from Herschkowitz's writings used to provide more detailed comment on his ideas. (The introductory chapter was originally written as an article in thejournal Tempo L'990, PP. 34-38] and would have benefited from thorough rewriting since it frequently duplicates material found laterin thebook.)The book also includesa discussionof Herschkowitz's compositions, which he regarded 'in second place' (p. 227) to his writingson music. Although this part of the book is necessarily sketchy (only a few of Herschkowitz'sscores are available), Smirnov does manage with the help of musical examples to give a strong sense of what this music is like (distinctive connections with Webern and Beethoven) and to draw parallels between Herschkowitz'scompositions and his teachings. At the heart of the book is Herschkowitz's approach (following Webern's practice), to analysisof Beethoven, in particularhis piano sonatas. (The book has plentiful musical examples but is best read with a copy of the Beethoven sonatasto hand.)Analysisproceeds in the main fromconsiderationof opening thematic statements,definedas 'sentence', 'period'or 'threepartsong'. There is here perhaps an overemphasison labels at the expense of consideration of process, but Herschkowitz'spurpose is clear; 'Why is it so important [... .] to decide whether this is a sentence or period? [. . .] only by this way can we understandthe beauty of this music' (p. 148). Structuralimplicationsof these thematic definitionsare explored, but it is only in the finalpartof the book which could fruitfullyhave been expanded that Smirnovattemptsto apply Herschkowitz's methods in a more thorough examination of whole movements. But this is not a straightforwardtheory book; although Smirnov's preface expressesthe hope that it 'could help to filla gap in musicaleducation' (p. vii) it is hard to see the book having its greatestvalue as a theory textbook it simply isn'twrittenlike that. It will, however, be of immense value to anyone interestedin post-warSoviet music, or thepedagogical methods of the Second Viennese School or indeed anyone simply fascinated by the unending conundrumsof writingabout and tryingto explain music. HerfordCollege, Oxford H. R. COLLINs RICE Shnitke,A. G. and Ivashkin,A.V. Besedy sAlfredom Shnitke. Compiled with an introduction by A.V. Ivashkin. Klassika-XXI, Moscow, 2003. 3I8 pp. Index. Priceunknown. AL'FRED SHNITKE (perhaps better known as Alfred Schnittke, I934-98) was not only one of the outstanding Russian composers of the twentieth century, 740 SEER, 82, 3, 2004 but also a fascinatingpersonalityin his own right, and a perhaps emblematic figure in the music of his time, being a postmodernist through and through. Unlike such Westerncomposers as Berio, for instance, Shnitkedid not quote as such but, rather, recycled workswhich were either thoroughly cliched or drawn from his own earliercompositions. In the dozen or so years before his death he won considerablepopularityin Great Britainfor his often startling, always fresh compositions. Most of his works are now recorded on compact discs, and Professor Ivashkin, the organizer of these 'conversations', has himself recorded all Shnitke'smusic for cello, as well as writing an accessible yet learned English-language guide to his works (see SEER, 76, 3, 1998, pp. 549-5 i). He has also been successful in attracting the valuable Shnitke archiveto London where it providesa valuablesourcefor research. Besedy s AlfredomShnitke first appeared in I994 (Moscow: RIK 'Kul'tura') and was translated into various languages. The second edition here under review contains three new items:the text of Shnitke'stalkat the Molodezhnyi Klub; a shortarticleby him on the pianistMarinaludina; and a reminiscence of him by the violinist Mark Lubotskii. It also contains a corrected and expanded catalogue of Shnitke'sworks.The discography,however,whichwas alreadywell out of date and inadequate in view of the explosion of recordings of his music, has been dropped. The book is in three parts:'Conversationswith Al'fredShnitke';'Introductions , articlesand...

Music in European Capitals: The Galant Style 1720-1780 (review)

HISTORICAL AND ANALYTICAL STUDIES Music in European Capitals: The Galant Style 1720-1780. By Daniel Heartz. New York: W. W. Norton, 2003. [xxiv, 1078. ISBN 0-393-05080-7. $100.] Music examples, color plates, illustrations, bibliography, index. With his Music in European Capitals, Daniel Heartz has completed the second volume of a trilogy on the music of the eighteenth century. (The first, Haydn, Mozart, and the Viennese School, 1740-1780, appeared from W. W. Norton in 1995.) As he observes in his preface, this book invited a rethinking of musicology's traditional conception of the eighteenth century, particularly the fixation on Bach and Handel (p. xxi) that has prevented a full and fair consideration of the emerging galant style in the early part of the century. Heartz provides precisely that consideration, covering not only the usual suspects (e.g. Giovanni Battista Sammartini, Johann Stamitz, etc.) but also composers such as Antonio Vivaldi and Jean-Philippe Rameau, who normally figure only in accounts of the late baroque. It is a welcome rethinking, and his interpretation, along with his treatment of many musicians passed over in traditional historical narratives (e.g. Pietro Antonio Locatelli, Ignaz Holzbauer, Joseph Bologne, Chevalier de Saint-Georges) make this volume a valuable contribution to the literature on the eighteenth century. Even without Vienna and post-1780 music, Heartz faced a formidable task in organizing the 1,078 pages of text in this volume. He opted to concentrate on capital (p. xxii) rather than on countries, a decision that allows him to give the reader a close look at the inner workings of important musical centers. His organizational scheme has a symmetry and balance quite appropriate for the book's subject. Chapters 1 and 9 contain sketches of eighteenth-century galant figures: Jean-Antoine Watteau, Farinelli, Pietro Metastasio, and Charles Burney in Prologue: Rococo Idylls; and Johann Christian Bach, Giovanni Paisiello, and Luigi Boccherini in the last, entitled Three Apostles of the Galant Style. In between are seven chapters devoted to Naples, Venice, Dresden and Berlin, Stuttgart and Mannheim, Paris, Opera-Comique, and Gluck at the Opera. Though his reasons for choosing this plan are sensible and completely defensible, some things inevitably do not fit. Sammartini, for example, who 'must figure in any discussion of eighteenth-century music, chose inconveniently to live somewhere besides Naples or Venice. Heartz gets around the problem by including a segment on Sammarlini of Milan and the Symphony in the middle of the chapter on Venice. He also selects three of the century's many expatriate composers for his apostles of the galant style, which allows him to cover London, St. Petersburg, and Madrid. Other commercial cities, like Hamburg and Amsterdam, are omitted from consideration entirely because, bereft of opera, they lacked the prime driving force of musical modernity (p. xxii). That rationale signals the book's orientation. In orienting himself toward opera, Hearts takes a position not unlike that of Carl Dahlhaus, who argued not only that the institutional and aesthetic predominance of vocal music should be acknowledged, but also that it was historically inappropriate to consider eighteenth-century composition only in relation to the instrumental music of the first Viennese school (Carl Dahlhaus, ed., Neues Handbuch der Musikwissenschaft, Bd. 5, Die Musik des 18. Jahrhunderts [Laaber: Laaber-Verlag, 1985], 50-56). Heartz follows through on his convictions and-drawing upon his own distinguished research-gives ample consideration to vocal music. The table of contents lists thirty-six different operas as chapter subheadings, and the discussion of each can run to significant lengths: Paisiello's Il barbiere di Siviglia gets a twelve-page musical description. Heartz also shows a slight bias toward music in Paris-again reflecting his own research interests-both in the amount of space devoted to it (288 pages, as opposed to 300 for four German cities and 228 for two Italian ones) and in the boosterism that pervades the descriptions of some French composers (e. …

The French Violin School: From Viotti to Beriot

In 1782, a young Italian violinist debuted at the Concert spirituel in Paris. His name was Giovanni Battista Viotti and he had recently toured Europe with his teacher Gaetano Pugnani. His concerts were a revelation, and have influenced violin playing and composing to the present day. Viotti was one of the first great violinists to use the newly designed Tourte bow, and this naturally had implications for the music he composed and the sound he was able to produce. The Tourte family of bow makers (especially Francois Xavier [le jeune]) is credited with the final design of the violin bow, in particular the concave stick that allowed more expressive bowing by making it easier to control dynamics and execute a wider variety of bow strokes, especially off the string bowings. The development of a new bowing was accompanied (and promoted) by a different ethos about the basic stroke .. and by an expansion of the range of special bowings. There was a movement away from a naturally articulated stroke towards a more legato style. (1) Viotti made his stunning debut with a concerto of his own composition, and for a year and a half was the talk of the Parisian, and even European, musical world. The school he founded, whose pillars were Pierre Rode, Rodolphe Kreutzer, and Pierre Baillot (all professors at the Paris Conservatoire), would follow the example of their great Italian mentor in matters of style and musical taste, and influence the violin concerto even into the late romantic age. Baillot, building on the pedagogical work he and his colleagues had accomplished at the conservatoire in the 1790s, would later write one of the greatest treatises on violin playing: The Art of the Violin. (2) In his memoirs, Carl Flesch remembered that the Paris Conservatoire used French School concertos as test pieces as late as the 1890s. And in Berlin in the winter of 1903-4, Flesch selected Viotti's nineteenth concerto as part of a series of concerts detailing the history of the violin. (3) Rode was one of the few composers whose works Nicolo Paganini consented to play, and later in the century Henryk Wieniawski composed a cadenza to Rode's Seventh Concerto. (4) The French School influenced the Viennese School. Wolfgang Amadeus Mozart added orchestra parts to Viotti's Sixteenth Violin Concerto, and French School violin writing influenced Ludwig van Beethoven. Beethoven was personally acquainted with both Kreutzer and Rode, and Baillot was one of a handful of violinists who played Beethoven's violin concerto publicly before its revival by Joseph Joachim. The Franco-Belgian School of Charles-Auguste de Beriot and later Henry Vieuxtemps is an offshoot of the French School--indeed even the Russian School is related to the French School, as both Rode and Baillot spent years in Russia, Rode from 1804 to 1808 and Baillot from 1805 to 1808. Despite the historical importance of the French Violin School of Viotti, Rode, Kreutzer, Baillot, and their colleagues, the twentieth century has not been kind to them. Scores of most Viotti and Rode concertos are difficult to acquire, and those of Kreutzer and Baillot even more so. Kreutzer, in fact, is the best-known name among the French School composers, and that is due to the fact that Beethoven's most famous violin sonata bears his name. Kreutzer's name is also featured in the title of a famous novella by Leo Tolstoy. The same pattern is true in the realm of recordings. Viotti, Rode, Kreutzer, and Baillot collectively composed about seventy violin concertos; only the twenty-nine concertos of Viotti have received much attention and most of that has focused on his Concerto no. 22 in A Minor, by far the most famous work of the French Violin School. (Interestingly, one of the few recordings of Kreutzer in the mid-twentieth century is Joe Venuti's 1940s jazz arrangement of Kreutzer's Twenty-seventh Caprice [Tempo TR 530, 78 rpm].) Despite the lean catalog, the situation is improving, at least for Viotti. …