Program Music

The last of Felix Mendelssohn’s series of popular and influential concert overtures, the Overture to the Tale of the Fair Melusina of 1835 remains the least familiar of these works. It is also the most unusual with regard to formal design in its purposeful confounding of introduction and sonata-form elements alongside the dialogic relation of clearly gendered thematic materials. Such calculated ‘deformation’ of classic and early Romantic sonata form has been understood as a means of generating a kind of musical-narrative content, though the precise relation of formal experiment to such narrative content has remained elusive. This chapter reconsiders the problematic relation of experimental formal procedure to the narrative dimension and the role this may have played in the composer’s subsequent abandonment of the quasi-programmatic concert overture genre, despite his unparalleled artistic success in the field
Keywords:   Felix Mendelssohn, Die schöne Melusine, sonata form, Sonata Theory, musical narrative, programme music, deformation

Lisztian experimentation with cyclic form and techniques of thematic metamorphosis is generally associated with the masterpieces of the Weimar period (the B minor Sonata, the Grosses Konzertsolo, the final version of the two Concertos). Few know that those solutions had already been employed twenty years earlier in Paris, in an unpublished work: the De profundis for piano and orchestra, ‘instrumental psalm’ of no less than 900 bars, which is articulated in several seamless movements. The paper focuses on this work by the young Liszt, which has long been neglected by musicological enquiry, identifying possible models and the semantics of compositional strategies. The context in which the genesis of the work took place is reconstructed, with particular regard to the influences of the dedicatee, Abbot Lamennais. A reading in programmatic key is then proposed, which interprets the De profundis as a ‘symphonic poem’ ante litteram, on the basis of two contemporary sources: the Lamennaisian pamphlet Paroles d’un croyant, in which Psalm 129 was declined in terms of a social and political eschatology, and Liszt’s 1834 essay on the sacred music of the future. The analysis of the score, together with an in-depth study of the historical and cultural background, brings out the multiple values of Liszt’s project, deciphering aspects that commentators had so far considered incomprehensible, such as the meaning of the Polish intermezzo, which bursts like a foreign body into the work, or the apparent contrast between the dimension of the sacred and the ‘worldly’ theatricality of certain passages. In the De profundis the results of the mature Liszt are already contained, with surprising foresight, and, in this sense, the study proposed here can’t but help to better define the composer’s universe and the continuity of his creative path.

Hector Berlioz fit paraître son article « De l'imitation musicale » dans la Revue et gazette musi-cale en janvier 1837 1. Cet article, l'un des plus célèbres de la critique berliozienne, n'est pas une recension de concert ; il appartient à une seconde catégorie d'écrits, celle des essais d'esthétique musicale auxquels la presse spécialisée de langue française offrait, dans la première moitié du xix e siècle, un espace d'expression non négligeable 2. Pour autant, l'essai sur l'imitation n'est pas seulement le fruit d'une spéculation théorique sans rapport avec l'expérience musicale 3 : s'il se présente comme une réponse à la lettre X des Haydine de Carpani 4 , qui traite des procédés imitatifs utilisés dans La Création de Haydn, il s'inscrit surtout dans une série de textes consa-crés à la Symphonie pastorale de Beethoven, sur laquelle Berlioz ne cessa de revenir au cours des années 1830 5 .

There is a general skepticism about the possibility of establishing parallels between the literary ballad and Chopin's ballads. Even so, the evidence about a possible relationship between certain poetic ballads and the only four works by the composer (apart from his songs) that may have extra-musical content are enough to attempt an approach between both worlds. For this it will be necessary to know some of the life events of its author, as well as to make a foray into the world of the literary ballad and its most important Polish representative, Adam Mickiewicz, all against the background of the historical events that surrounded their protagonists in the second quarter of the 19th century, since both artists made the same geographical journey that, starting from Poland, reached Paris, also passing through other European cities.

Mendelssohn’s ‘Reformation’ Symphony is something of a problem-piece – biographically for the composer, historiographically in terms of its later reception, and above all aesthetically for our attempts at situating it within the traditional categories of musical criticism. To compound the issue, Mendelssohn’s actual composition is by no means an inconsiderable achievement; to put it bluntly, a very fine work seems to be hiding here within the melange of confused aesthetic criteria and reception history that surrounds it. Most fundamentally, the problem boils down to the symphony’s relationship with an aesthetic dispute concerning the relative status of absolute and programmatic music. This debate is not merely an ‘extramusical’ discourse but is in fact exemplified by the very musical materials used by Mendelssohn, specifically the use of pre-existent or cyclic themes within this symphony and its expressive succession of movements. The present study builds upon research concerning Mendelssohn’s relation to programmatic aesthetics and one of their most significant proponents, A.B. Marx, to explore this work at a deeper analytical level, suggesting finally the complex equipoise this symphony holds between rival aesthetic camps and the implications for our understanding of the music.

FULL TEXT OF THIS ARTICLE HERE AVAILABLE on Academia.edu
Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues. Tibor Szász (with Gerard Carter and Martin Adler) “New wine into old wineskins”—such is the reception history of Franz Liszt’s Sonata in B minor. Ever since its publication in 1854 the score has suffered from textual misinterpretations which are reproduced as a matter of longstanding tradition in current editions and performances. What has led to these widespread misinterpretations of the Sonata? The answer must be the music itself—a continuum in statu nascendi (in the state of being born)—for which analysts have yet to develop adequate means of analysis and synthesis. Liszt was not a good proofreader of his own compositions, and this circumstance, together with his failure to transfer his piecemeal revisions to all similarly affected structures has led to his Sonata being misunderstood by generations of musicians. Liszt’s Sonata has in the past been viewed through the spectacles of distorted tradition. Accustomed to look for a featured “tune” in the soprano, analysts have failed to detect the completely novel structure of the opening Lento assai which comprises two interacting polyphonic elements, of which the “melodic” voice is found not in the traditional soprano but in the bass. Unable to find the expected structures, interpreters have forced out of the printed notes of the score fictional “tunes” fitted into a bed of habitual “soprano melodies.” They have been labeled with two unrelated names, “Phrygian” and “Gypsy” and incorrectly referred to as “descending scales.” Typically, the opening Lento assai was misinterpreted as unisons (staccati on G, mm. 1, 4, 7) broken up in mm. 2–3 and 5–6 by a descending scale starting on high G and a drone starting on the same high G. The Sonata in B minor was published in 1854 with flaws which continue to be restated uncritically in current Urtext editions. These flaws manifest, not as wrong notes, but as details of notation which obscure the two-voiced polyphony in octaves of the Sonata’s Urmotiv (or thème générateur). Liszt’s failure to transfer his autograph revisions of the Urmotiv to all similarly affected structures resulted in a first edition that contained seven flaws in the opening three measures which reappear in mm. 4–7. The present authors have re-examined all the extant and relevant sources: the autograph manuscript (the so-called “Lehman Manuscript”), the two Henle facsimiles thereof, the only extant sonata sketch (GSA 60/N 2), an undated “Sonate” fragment in E minor (old catalogue S701t / new catalogue S692f), the Urtext and critical editions published in the last two centuries, as well as other scholarly contributions to the literature on the Liszt Sonata. Their re-examination has yielded the following conclusions: Urtext policies perpetuate many of the flaws of the first edition and ignore Liszt’s autograph revisions; no edition of the Sonata reflects Liszt’s intended graphic layout of the score; many current performances and analyses of the Sonata are flawed; a correct edition that constitutes his Fassung letzter Hand (final authorized text) is urgently needed. The likelihood of misinterpreting the confusing graphic layout of the first edition of the Sonata was recognized by a number of pupils close to Liszt. In particular, Arthur Friedheim, José Vianna da Motta, and Alexander Siloti produced rectified graphic layouts intended to prevent misinterpretations of the Sonata’s opening measures. However, these solutions remain mostly unknown today. The aim of this article is to provide an impulse for the publication of a more correct Urtext edition of the Liszt Sonata which is free of the numerous flaws contained, not only in the first edition of 1854, but in all published Urtext and non-Urtext editions since then. Indeed, the time is ripe to excuse Liszt’s deficient proofreading, to remedy the resulting textual misinterpretations by performers, scholars, and editors, and to rehabilitate the text of the Sonata in a reliable Urtext edition based on Liszt’s previously ignored revisions. Implementation of this project will not be difficult, time-consuming, or expensive. It largely consists of amendments to the fourteen crucial measures 1–7 (Lento assai) and 453–59 (Quasi adagio). Besides making suggestions for a correct Urtext edition, the present authors have strived to point out the far-reaching consequences for performance of the rehabilitated Sonata text.

This thesis analyses by comparison the processes by which literature becomes deep-rooted and popular music noble, in Brazil, to grasp the different logics of constructing the nation through culture. We examine successively the differentiation of cultural production fields by analyzing, internally and externally, two sets of logical operators of classification : the books about history of Brazilian literature, published between 1888 and 1964, and the popular music programs broadcasted by radio between 1919 and 1964. The valorization of traditions and the consecration of artistic pantheons, in these two areas, go together with the construction of status (author, compositor, producer, critic), of cultural practices and forms (œuvre, genres, styles) that are new, from the producers to their audience. Then we confront these two processes in order to bring out variances and non-variances and apprehend the multiple forms of cultural nationalism. Putting in relation the morphological transformations of Brazilian society, the formation of national markets and of cultural policies, and also the migration and professional conversion trajectories, we contemplate the modes of transfer of essentialists schemes of classification between, on one side, the scholar and the popular, and, on the other side, the national and the foreign. It’s a question of understanding how the different strategies of objectivating the national contribute, by turning sacred a cultural heritage, to put in coherence differentiated processes, to the reification of the idea that a “national essence” would express itself in all the fields of social life.

Scholars have long framed similarities between Bedřich Smetana’s “Vyšehrad” (the first movement of Má vlast) and Zdeněk Fibich’s symphonic poem, Záboj, Slavoj, and Luděk (prem. 1874), as a threat to Smetana’s originality. In his biography of the composer, for example, Brian Large moved to “exonerate” Smetana from charges of “plagiarism” by arguing that Smetana began “Vyšehrad” at least two years before Záboj’s premiere, not six months later as Smetana’s diary attests. Rather than regarding these works’ similarities as a problem, this discussion embraces their close relationships as a starting point. Situating both symphonic poems and their reception within the discourses generated by a powerful organization called the “Umělecká beseda” (“Artistic Society,” or UB, in which both Smetana and Fibich participated) illuminates the larger intellectual and aesthetic space from which they emerged. Such a process of contextualization reveals how both composers’ works constructed each other and uncovers Smetana not as a “lone genius”—a composer untainted by influence—but as a participant in a shared conversation. Ultimately, this examination opens up new understandings of Smetana and his “Vyšehrad” and, as an extension of Michael Beckerman’s landmark “In Search of Czechness in Music,” invites scholars to reengage with the deliberate subjectivity of Czechness and nationalistic sounds more broadly.

Musical virtuosity is often studied with an emphasis on the outstanding skills of the performer and their sensory and emotional effects on the listener. However, Franz Liszt, one of the main virtuosos in music history, was convinced that what matters in virtuosity is its specific function within the semantic and communicative processing of music. This article proposes a theoretical framework to further investigate Liszt’s intuitions in light of contemporary research on musical meaning and communication. First, we analyze philological data concerning Liszt’s creative process in the Mazeppa works, a set of works including both his virtuoso and program music. Second, we compare our results with recent research on music semantics based on inferential processes about the composer/performer’s intentions (Antović, Stamenković, & Figar, 2016; Schlenker, 2017). We criticize the associationist hypothesis (the idea that the composer’s intention is that the listener infers an association between the music and a real or fictional state of the world) and we defend a causalist hypothesis (the idea that the composer’s intention is that the listener recognizes the music as being an intentional “rewriting” of the states of the world, mental or physical, that are the causes of the music itself). Third, we suggest that what distinguishes Liszt’s virtuoso and program music rewritings are the visual and gestural components of two listening experiences: the virtuoso music “rewrites” its episodic causes (memories, personal experiences) whereas the program music “rewrites” its genetic causes (the work’s creative path and intertextual relations).

Öz: Sanat türleri kendi başlarına var oldukları gibi, bir-birlerinden destek alarak da gelişmişlerdir. Hemen hemen bütün sanat dalları tarihsel süreçte birbiriyle ilintili olmuştur. Sinema da seyirciyle ilk buluştuğu andan itibaren müziğin ilgi çekme işlevinden yararlanmıştır. Bu işlev kısa sürede anlam oluşturmaya katkı sağlama fonksiyonunu üstlenmiştir. Ancak sinema kendi dilini geliştirirken diğer sanatlardan ayrıştığı gibi, müzikten aldığı desteği de azaltma yönüne gitmektedir. Sinemada gerçekçi yaklaşım klasik anlatı kalıplarının dışında kalarak, günlük yaşama daha yakın ve kurgu yerine gerçekliği aktarmaya çalışan bir anlatım tarzını tercih etmektedir. Kracauer'ın temellerini attığı gerçekçi-lik, minimalist sinemanın kuramsal dayanaklarındandır. Minimalist sinema ve etkilediği diğer yaklaşımlar müzik kullanımı konusunda da minimal bir tavrı benimsemişlerdir. Hatta günümüzde sinema, müziği hiç kullanmamaya varan bir reddetme süreciyle de karşı karşıyadır. Ancak gerçekliğe daha yakın olarak, filmin içinde gerçekleşen ses ögelerine daha çok eğilen bir yaklaşımla mizansenin desteklendiği gözlemlenmektedir. Çalışmada, film müziği işlevine evrilene kadar sinemada müzik kullanımının geçirdiği gelişme süreci ve minimalist sinemada müzik ve ses ögelerinin kullanımının anlatım diline katkısı Michael Haneke'nin Aşk (Amour, 2012) film örneğiyle incelenecektir. Abstract: Art types have existed on their own as well as they have developed by getting support from each other. Cinema has benefited from the drawing attention function of the music from the moment that first met the audience. This function makes contribution to create meaning in a short period of time. However, while cinema has been developing its own language, it has decomposed from other arts and also it has been reducing the support that it receives from music. The realistic approach in cinema prefers a narrative style that tries to transfer the reality instead of the fiction and close cases to the daily life by staying out of the classical narrative patterns. The realism, that Kracauer laid its foundation, is one of the theoretical basis of minimalist cinema. Minimalist cinema and other approaches that it affected adopted a minimal attitude for the use of music. Even in today cinema faces with a process that totally rejects the use of music. However, it is observed that the scene is supported, as closer to the reality , through an approach stating the audio elements in the movie. In the study, the developing process of the music use in cinema since the inverson to the movie soundtrack function and the contribution of the use of music and audio components in minimalist cinema to the narrative language will be examined with Michael Haneke's Amour (2012) movie example.

Franz Liszt’s symphonic poems Tasso: Lamento e Trionfo and Mazeppa portray expressions of heroic masculinity and creative genius in the nineteenth century. Both compositions are based on historical figures whose lives were reimagined to emphasize the larger socio-cultural meanings of what it means to be a man, a hero, and a genius in the Romantic era.

In the introduction, I contextualize my examination of how Liszt’s Tasso and Mazeppa emerged within the nineteenth-century debates over the meaning and merits of program music. This discussion leads to my methodological approach, which draws from Lydia Goehr’s concept of doubleness. I specifically adopt from this theoretical framework the idea that tensions and contradictions retain power by remaining unresolved. I then relate this to Liszt’s writings on program music, which emphasize the need for both formalist musical structures (e.g., form, thematic material, harmony) and extra-musical content.

Chapter one continues with the idea of doubleness by closely examining how tensions exist in discourses of masculinity and genius. I show that the men who were considered great and heroic during the Romantic era often exhibit traits of passive suffering, a concept that also relates to perceptions of the creative genius and his relationship to the whims of inspiration.

Chapters two and three centre on the tension in Romantic-era reimagining(s) of Torquato Tasso’s legend. While Tasso’s poetry remained important—and relevant from the Renaissance to the nineteenth century and beyond—the myth surrounding his suffering, incarceration, and posthumous recognition became a potent theme to Romantic artists. Chapter two considers the biographies of Tasso that emphasize the tension in his character. He is a genius: both weak and exhibiting joy and melancholy. I then take these double relationships and show how Goethe and Byron portray the pitfalls and strengths of existing with such tension. Chapter three builds upon my discussion in chapter two and offers an interpretation of Liszt’s symphonic poem. I provide a close reading of the accompanying preface, which outlines the same tensions other writers of the period identify. My close reading of the preface guides my analysis of Tasso, where I focus on the tension that exists through form, harmony, thematic material and motive gestures. This close reading provides an interpretation that emphasizes the tension between suffering, triumph, and heroic legacy.

Chapters four and five examine doubleness in the popular Mazeppa legend. In chapter four, I introduce “the” historic Mazeppa to contrast it to the legend that grew around him. Mazeppa was a Cossack Hetman known for switching his allegiance to Peter the Great. Yet in western Europe, Mazeppa was known for his legendary ride across the steppes of the Ukraine. His legend became solidified through the writings of Voltaire and, especially, Lord Byron. Over the course of the nineteenth-century, Mazeppa came to symbolize the heroic suffering of the genius. Central to my interpretation of this legend is the idea of tension: Mazeppa is physically bound but mentally free. I include a close reading of Victor Hugo’s “Mazeppa,” the poem Liszt uses as the program, to show how sensitive Liszt was to the symbolic meanings of the legend. Musically, I examine how form, thematic transformation, musical gestures, and harmony help contribute to an interpretation of Mazeppa that exists in tension: bound and free.

The summary and conclusion provide a brief description of the dissertation, returning to the key points that emphasize Liszt’s use of doubleness as a way to interpret the legends of Tasso and Mazeppa.

From Death to Life, dating from the autumn of 1914, is both Parry’s last major orchestral work and the only such example expressly designated by the him as a symphonic poem.  Parry was not generally drawn towards the Lisztian model of the symphonic poem and From Death to Life might appear at face value anomalous within his oeuvre in suggesting an affiliation with programme music rather than the more traditional genres with which he had primarily been concerned, most evidently the post-Brahmsian symphony.  Such a clear-cut distinction between programmatic and absolute music, unsurprisingly, proves on closer investigation to be anything but watertight, for the composer’s preceding symphonies had already been heading in this less abstract direction.  From Death to Life in fact provides an ideal opportunity to explore a cluster of important themes in Parry’s musical aesthetics, the history of the genre, and at the broadest level, the relation of formal analysis to programmatic hermeneutics.  Written in the opening months of the First World War, the expressive import of the work may obviously be related to the European conflict which was just beginning, but this piece further provides rich ground for interrogating the broader aesthetic relation between more abstract or ‘purely musical’ values and questions of expressive meaning.  Specifically, the current paper interrogates Parry’s stated views on instrumental form and the relation of form to expressive content, particularly as these matters relate to the congruity or otherwise between the relatively straightforward design of the work and the programme provided at its première – a feature which allows a partial reassessment of recent analytical theories of musical form and meaning stemming from James Hepokoski.

Der deutsch-französische Kulturtransfer zwischen 1871 und 1914 im Bereich der Programmmusik, und insbesondere der Symphonischen Dichtung, wird hier anhand verschiedener Aspekte behandelt: die médiation hostile (Kostka/Lucbert) als Besonderheit der deutsch-französischen Beziehungen nach 1871, das gemeinsame Bestreben der Neudeutschen Schule und der Société nationale de musique nach einer »ernsten Musik«, die Rezeption und der Wandel der Symphonischen Dichtung und der Programmmusik in Frankreich zwischen 1871 und 1914, sowie die Rolle von Aneignung und Distanz bei der Konstruktion der »französischen Musik«. Die médiation hostile der Jahre 1871–1914 war das Vehikel eines komplexen deutschfranzösischen Musik- und Kulturtransfers. Nach dem Krieg 1870/71 stand die Société nationale de musique der Neudeutschen Schule sehr nahe, um eine »ernste« Instrumentalmusik zu fördern. Diese wurde zwar mit dem deutschsprachigen Kulturraum assoziiert, jedoch zum Wahrzeichen der Société nationale gemacht, um ihre Mitglieder dafür anzuregen, mit den Komponisten aus dem Nachbarland zu rivalisieren. Zunächst kommt es zu einer Aneignung der neudeutschen Programmmusik. Nach 1878 vollzog sich ein Wandel, der allmählich zur Verallgemeinerung von Grenzfällen der Programmmusik führte. Die Debatte über die Ästhetik der Instrumentalmusik, die um 1900 in Frankreich aufkam, richtete sich nicht mehr auf die im Deutschland der 1850er Jahre vorkommende Debatte zur Ästhetik der Instrumentalmusik, sondern auf die von Wagner geäußerte Verweigerung, Symphonien nach Beethoven zu komponieren. Diese Thematik ist auf den Erfolg der Kapellmeister aus dem deutschsprachigen Kulturraum in Frankreich zurückzuführen, die dort wesentlich zur Verbreitung der Symphonischen Dichtung beitrugen. Nach einer Aneignung der deutschen (Instrumental-)Musik ist man in Frankreich auf der Suche nach anderer Wege, u.a. den des Debussysme

In late 1785 or early 1786 Carl Ditters von Dittersdorf travelled to Vienna, his native city, from his home in the Silesian town of Johannisberg. The main purpose of his visit was to present a new Italian oratorio,"Giobbe," commissioned by the Tonkünstler-Sozietät for the concerts that it regularly organized near the end of Advent and Lent. Like other musicians who contributed their talents to the society’s charitable concerts, Dittersdorf was not paid for his oratorio. But he brought with him to Vienna music with which he hoped to recoup his travel expenses: twelve symphonies based on stories in Ovid's "Metamorphoses," which he presented in the course of two concerts. Three of the symphonies (Nos. 1–3) were later published by the Viennese firm of Christoph Toricella; three (4–6) survive in manuscript parts and three (7, 9, and 12) in manuscript arrangements for piano-four hands. Three symphonies (8, 10, and 11) are apparently lost. Several documents related to the Ovid symphonies allow us a clearer understanding of their origins, contents, performance, and dissemination than has previously been possible. In 1781 Dittersdorf proposed to Artaria, another Viennese publisher, a project involving the publication of not twelve but fifteen Ovid symphonies, one for each book of the Metamorphoses. The surviving proposal is little known; it is published here for the first time in its entirety (Appendix 1). Envisioning an ambitious multi-media project, Dittersdorf proposed to offer the symphonies by subscription in a luxurious edition in which each movement was to be preceded by a large and elaborate engraving of a scene from the story told in music. A hitherto unknown analysis of the first six symphonies was published in Vienna in 1786, probably for distribution at the concert in which these symphonies were performed (Les Métamorphoses d’Ovide mises en musique, par Mr. Charles Ditters Noble de  Dittersdorf, Vienna: Kurzbeck, 1786; edition in Appendix 2). This thirty-page pamphlet begins with a preface in which Dittersdorf tells how he came to compose the symphonies. The rest of the pamphlet, although it refers to Dittersdorf in the third person, was probably written by him as well, and presents a movement-by-movement explanation of each symphony’s program. The French titles that appear in this pamphlet are probably those that most closely represent Dittersdorf's intentions: 1) Les Quatre Ages du monde, 2) La Chute de Phaéton, 3) Actéon (originally Actée) changé en cerf, 4) La Délivrance d'Andromède, 5) Les Paysans changés en grenouilles, and 6) Phinée et ses partisans changés en pierres. A later performance of two of the Ovid symphonies in Naples, organized by the Austrian diplomat Norbert Hadrava, can be connected with other documents: an extract of the explanatory pamphlet in Italian and an account by Hadrava of the concert that included the Ovid symphonies.
The full article is in Studi musicali 29 (2000), 453–98.
The PDF of the article is missing p. 469.  This missing page is on a separate PDF.

Klasik Batı müziğinde, metne dayalı bir anlatımı olan enstrümantal müzik eserlerinin genelini ifade eden program müziği terimi, anlatımcı yönü dolayısıyla salt müzikten ayrılmakta ve bu türdeki tüm sanat eserleri gibi, program müziği eserleri de doğru anlaşılmayı talep etmektedir. Her bir eserin; bir başlık, gönderme veya metin yoluyla ifade ettiği anlatı, dinleyici için herhangi bir ön çalışma yapılmaksızın anlaşılması mümkün olmayan bir art alan meydana getirmektedir. Çalışmada, Alman filozof Hans-Georg Gadamer ve felsefî hermeneutiğinin sanata ve metne yaklaşımındaki anlama çabası ön planda tutularak bir değerlendirme zemini hazırlanmıştır. Seçilen program müziği eser kesitleri üzerinden, bestecinin zihnindeki art alana, hangi yolla ve ne derecede yaklaşılabileceği konusuna odaklanılmış; bu türdeki eserlerin layıkıyla anlaşılabilmesi için önerilen okumaların bir gereklilik mi yoksa bir zorunluluk mu olduğu konusu tartışılmıştır.

Abstract
The term program music refers to the instrumental compositions which have text-based narration in Western classical music. It is separated from absolute music through this characteristic, and it requires understanding properly like all artworks which have a narrative aspect. In each work, the narrative expressed by a title or text creates a background that cannot be understood for the audience without any preliminary work. In this study, the concept of program music is evaluated by considering the endeavor of insight on the approach to art and text of Hans-Georg Gadamer and his philosophical hermeneutics. Through selected music compositions, it is focused on how and to what extent it can be reached to the background of the composer's mind, and it is discussed whether the proposed readings are a necessity or an obligation for a good understanding of such works.

Composed in 1937, Paul Ben-Haim’s String Quartet Op. 21 was one of the first works composed by the composer in the Land of Israel, and one of his works he was most satisfied with. This article presents and examines a programmatic autobiographic interpretation to the quartet related by Ben-Haim’s colleague, Haim Alexander and by Ben-Haim’s student, Ben-Zion Orgad to Michael Wolpe. The interpretation places the otherwise seemingly classically molded quartet within contemporary historical context, composed as a response to the plight of European Jews.

Ioannis Foustanos (1856-1933) was an important figure of the 19th century  Hermoupolis, not only because of his intense activity in the field of medicine (doctor at the city hospital and private doctor, medical researcher, editor of two medical periocals – the Greek 'Iatriki Proodos' the French  'Grèce Medicale') but also because of his intense and varied involvement with music: he wrote music reviews for opera performances - which he published in a book, the first of its kind in Greece: 'Harmony and Melody' (1887) - he gave lectures on music, he published studies on the history, theory and aesthetics of music; he participated in concerts as a flutist, he composed music, and he was responsible for the first musicological controversy in Greece, a controversy over absolute and descriptive music (an issue that had divided Europe a few years earlier). Foustanos, being a follower of program music, gave his last fight on the controversy, composing a work that described the awakening of the day, only to proove that music can be descriptive.

This essay explores the hypothesis that bringing Rancière’s political- aesthetic ideas to bear on matters of music may productively unsettle and enrich our understanding of musical modernity. Such an exploration is both timely and risky. It is timely because Rancière has consistently reflected on the politics of art in the context of a reappraisal of artistic modernity that pays particular attention to the erosion of the arts and their connection to life – a debate in which the role of music should not be underestimated. Still, it is risky, albeit worthwhile, because Rancière's references to music have been somewhat sporadic and elusive. The above-mentioned hypothesis thus takes on the form of a double challenge: to venture into a less explored area in Rancière's thought while also – indeed, with the main goal of – developing new insights into the history and politics of music.

With his extensive three-volume investigation, the author has newly drawn the image of Gustav Mahler for our time. Should Mahler’s symphonies really be categorized as "absolute music"? – Little-known manuscript sources contain significant hints to the contrary: programmatic titles and catchwords or phrases, mottos, literary allusions, associations, sighs, exclamations. Mahler fully understood his symphonies as "erlebte Musik", music of experience, as autobiography in notes, and as expressions of his "weltanschauung". All the symphonies, including the purely instrumental ones, can be traced back to programs that Mahler originally made public, but suppressed later on. A knowledge of the programmatic ideas provides access to a hitherto barely sensed interior metaphysical world that is of crucial importance for an adequate interpretation of the works. This first volume uncovers the complexity of relations between Mahler’s wide-ranging reading and education, his aesthetics and his symphonic creation.

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In the summer of 1977 Breitkopf & Hartel published the first two volumes of my Mahler trilogy. In October 1978, Carl Dahlhaus published an article in Die Zeit titled "Tönende Metaphysik” a review of the two volumes.  I am sorry to say that these pseudo criticisms are contrary to the most basic precepts of objectivity (not to say: fairness).  Dahlhaus had not understood what was presented by me or he would not understand it. 

The crux of the dispute concerned the programmatic Gustav Mahler. I could clearly demonstrate that the programs, which are based on the first four symphonies, are authentic first. Mahler withdrew them in October 1900 for two reasons; first because he feared confusion of his autobiographical symphonic with the literary tone poems of Richard Strauss. Then because Eduard Hanslick in Vienna, where Mahler was appointed as conductor and director of the Court Opera, was a fierce opponent of program music.
Dahlhaus now believes that “die ästhetische Entscheidung eines Komponisten, dass Programmatisches nicht zur Sache selbst, zum Werk als ästhetischem Gegenstand gehören soll, respektiert werden müsste”,  (the aesthetic choice of a composer has to be respected…) and he said in all seriousness: "As a musical structure came about is a private matter of the composer ". I must confess that I am amazed at such a verdict! For the study of the history of musical art is one of the most important tasks of musicology. And it is now known to everyone that Mahler ran in the conception of his symphonic works of pictures, verses and poems, of natural sounds, visions and personal experiences of literary, religious and philosophical ideas he realized musically. The plastic expression of music was most important to him.

Coniugando joik del paesaggio e sinfonia a programma, due distinte tradizioni volte in maggiore o minor misura all’espressione di contenuti extra-musicali attraverso mezzi specificamente musicali, la Juoigansinfoniija di Seppo Baron Paakkunainen e Nils-Aslak Valkeapää apre inedite prospettive all’indagine estetico-filosofica sulle dinamiche che intercorrono tra uomo e natura sul piano musicale: un’indagine che forse ancor troppo debolmente volge l’orecchio agli esiti del sincretismo creativo innescato dall’incontro tra repertori indigeni di tradizione orale e musiche della tradizione scritta occidentale. Questa relazione documenta il caso della traduzione sinfonica di un canto joik tradizionale delle popolazioni indigene sami dell’Europa artica. La fruttuosa collaborazione tra un compositore finlandese e un artista sami ha portato alla genesi di una composizione musicale multilivello, la cui completa decodificazione non può prescindere dalla conoscenza di norme estetiche idiosincraticamente indigene. All’orecchio sami, il vento, effettivo oggetto dello joik orchestrato, appare immediatamente riconoscibile e decifrabile in quanto tale e non in quanto sua rappresentazione. Ciò avviene in funzione del peculiare potere evocativo degli joik, nella cui performance è codificato un ampio insieme di percezioni, saperi e valori articolato dai sami a partire dall’esperienza sensibile del mondo abitato, costruito e attraversato. L’indagine è stata condotta attraverso lo studio di fonti orali e manoscritte, nonché interviste semistrutturate e conversazioni svolte in collaborazione con diversi musicisti sami, sul campo e a distanza.

Musik macht den Großteil von Radioprogrammen aus. Sie ist für viele Hörer(innen) zentrales Motiv, das Radio überhaupt einzuschalten und ein bestimmtes Programm auszuwählen. Radioveranstalter versuchen daher, sich über das Spielen ausgewählter Musikrichtungen auf dem Radiomarkt zu profilieren und Hörergruppen an sich zu binden. Bereits vor zehn Jahren konnte eine repräsentative Vorgängerstudie (Schramm, Petersen, Rütter & Vorderer 2002) zeigen, dass sich Radioveranstalter bei der optimalen Musikabstimmung auf ihre Zielgruppe immer weniger auf das Bauchgefühl der Musikredakteure und immer mehr auf Zahlen aus der Musikforschung verlassen. Die aktuelle, ebenfalls repräsentative Studie überprüft, ob sich dieser Trend in den letzten zehn Jahren verstärkt oder abgeschwächt hat und welchen Stellenwert die neuen zusätzlichen Online-Feedbackmöglichkeiten der Hörer(innen) für die Programmgestaltung mittlerweile einnehmen. Die Studie ist - wie vor zehn Jahren - als Vollerhebung konzipiert: Es wurden alle Radioprogramme in Deutschland kontaktiert. Die Ergebnisse verweisen auf einen unvermindert hohen Stellenwert der traditionellen standardisierten Musikforschung sowie auf einen noch untergeordneten, aber zunehmenden Stellenwert der Onlineforschung.
Unterschiede zwischen öffentlich-rechtlichen und privaten Radioveranstaltern haben sich weiter nivelliert.

One can say that the popular music recorded by Tropicália, the collaborative circle that emerged in late 1960s Brazil, can be called program music. In fact, some of the meanings attributed to it are in part suggested by the dialogue/tension of the sonic-musical contents with song lyrics and titles, record covers, and with other signifiers that work like programs, comparable to those of the 19th century symphonic poems. This work is on another program, which comes first and it is necessary to the signification of considerable part of Tropicália sonic and musical content. This is a "program for listening" , which, through fusions of arrangements and soundscapes, and through the simulation of acoustic augmented realities, has stimulated a subjective and perceptual reconfiguration of listening selves. The familiarization with such effects has afforded these listeners to recognize meanings on these Tropicália records that are not obvious to the uninitiated in the " program for listening " that these records capture and convey.

Daniel Grimley has pointed to the conflict between European and Norwegian musical identities as a “fundamental structural tension” in the oeuvre of Edvard Grieg, and perhaps no work serves as a better paradigm of that tension than Grieg’s String Quartet in G-minor, opus 27.  In their study of Grieg’s chamber music, Finn Benestad and Dag Schjelderup-Ebbe identify the String Quartet in G-minor as the crux of Grieg’s artistic struggle to prove that characteristics of Norwegian national music could be integrated into a string quartet, “that most sophisticated of all chamber music forms.”  This paper examines the chorographic construction of Grieg’s String Quartet in G-minor: that is, how Grieg delineates European and Norwegian elements and highlights the tensive boundaries between the two.  While the structure of the Quartet is wholly European in terms of both the genre and forms used, Grieg infuses this European frame with an essentially Norwegian sense of place, specifically, that of the Hardanger region.  The Hardanger landscape held a certain enchantment for Grieg, and it provided the dramatic scene of Henrik Ibsen’s poem Spillemænd, originally published as part of the larger poem Saturday Evenings in Hardanger.  Ibsen’s poem tells the tale of a love-struck protagonist who bargains with the fossegrim [the male water sprite] to learn enchanted songs that will ensnare his beloved, only to see his beloved marry his brother instead.  Grieg used a motive from his 1876 setting of Ibsen’s Spillemænd as a “motto theme” that unites all movements of the G-minor String Quartet, and it is my contention that the quartet borrows not only melodic material, but also a narrative – even a program – from the original song.

Dit jaar herdenkt Nederland voor de vijfde maal Rembrandt van Rijn. Met tentoonstellingen, boeken, muziek, film en de nodige merchandising. Elke viering, herdenking of huldiging zei evenveel over Nederland als over de zeventiende-eeuwse schilder. En waar Rembrandt eerst diende als verenigend nationaal symbool, is hij nu vooral een exportproduct.

The history of programme music stretches back centuries, but only in the nineteenth century did it enter into widespread use. Indeed, seminal compositions by Ludwig van Beethoven and Frédéric Chopin to Arnold Schoenberg and Jean Sibelius have helped programme music to secure a position within the artistic pantheon, albeit not without bringing a significant amount of controversy in tow. Yet despite its ubiquitous presence in the nineteenth century, scholarship has not adequately articulated the full extent of programme music’s range and impact. This volume explores the diverse ways in which programme music was defined, historicized, practiced, disseminated, and judged. It considers how biography, tradition, and function informed the compositional approaches taken by Beethoven, Joseph Joachim, Ethel Smyth, and Zygmunt Noskowski, among others. It draws on extra-musical elements—novels, poems, lithographs, and other forms of creative expression—to determine the ontological profile of works by Chopin, Franz Liszt, Antonio Pasculli, Piotr Tchaikovsky, and Leoš Janáček. It situates compositions by Johannes Brahms, Gustav Mahler, Sibelius, and Schoenberg within the ongoing discourse around Hanslickian absolute and Lisztian programme music. And it visits major European cities to highlight the critical streams of reception toward the end of the century. Throughout, it repeatedly engages with questions of generic identity (with special attention given to the symphonic poem), issues of narrativity and topicality, and considerations of form and structure.

The long nineteenth century is bounded by conflicts that significantly altered the relationship between war and music. One musical genre to benefit early on was the instrumental battle piece, whose decline in popularity most scholarship assigns to around 1815. In fact, it can be argued that it survived for another century, transformed from a conveyor of heroic mythology to a politicized palimpsest of national and personal trauma through a process of disavowal, in which authors consciously projected chaos and disorder. Most battle pieces famous in the early nineteenth century, such as Kotzwara’s The Battle of Prague and Beethoven’s Wellingtons Sieg, feature a set of common ingredients that were poeticized and de-historicized toward mid-century in works such as Spohr’s Fourth Symphony. The tokenistic appearance of the traditional battle elements in Tchaikovsky’s “1812” Overture, Bartók’s Kossuth, and Debussy’s En blanc et noir suggests a widespread ontological subversion of the battle-music narrative in the generation leading up to the First World War.

Program music was popular in 20th century’s composers, they wrote their music works as a description to the dramatic ideas, this was known as program music, The Jordanian composer Khasho has been one of these composers who had a very high level in music composition and not less than the composers in the western world and the Arab nationalism composers. He wrote about 14 program symphonies with special titles and narrative stories, also he describes drama with different types of expressions. Khasho didn’t get his arts and academic rights as a composer, because of Scarcity of research which discusses his works that considered Legacy humanly and culturally valuable in arts technique, no less than universal works in its value.

Cet article présente l’évolution de la place de l’enseignement de la musique dans les programmes provinciaux des niveaux primaires et secondaires des écoles publiques francophones du Québec. Facultatif de 1904 à 1936, alors qu’il consistait essentiellement à enseigner des chants à l’oreille, l’enseignement musical est devenu obligatoire de 1937 à 1980. Bien qu’il se résumait souvent au départ à des apprentissages théoriques et à de l’écoute musicale, on vit peu à peu s’implanter les pédagogies actives. Depuis 1981, la musique est une option parmi les disciplines de la famille des arts (danse, art dramatique, arts plastiques et musique). Si le chant est toujours enseigné, notamment au primaire, l’enseignement de la musique passe dorénavant par l’expérimentation du jeu instrumental en groupe et fait une plus grande part à la créativité des élèves. Certaines raisons évoquées pour son enseignement n’ont pas traversé les décennies, notamment celles de permettre l’acquisition des valeurs religieuses et patriotiques, d’autres sont toujours d’actualité comme le développement de l’enfant et le plaisir.

This study examines Arnold Schoenberg’s only published music for film,Begleitungsmusik zu einer Lichtspielscene[Accompaniment to a Film Scene], op. 34 (1929–30). Although not composed for an existing film scene, evidence ofBegleitungsmusik’s cinematic aspirations motivate this analysis, which approaches the composition as a cinematographic blueprint: a design (or program) for a scene that at the same time serves as its soundtrack. To examine this proposition, I collaborated with artist and filmmaker Stephen Sewell to create a film scene based on my analysis of the piece, which expresses the global narrative described in its program using rhythmic, textural, and structural strategies. While presenting analysis as film proves remarkably appropriate to this composition, in fact, analytical visualization can contribute to various interpretive approaches, allowing listeners to connect an analytical reading in real time to their experience.

This article takes a fresh look at Anton Bruckner's poetic remarks on his Fourth symphony by contextualizing them within the notorious 19th-century quarrel between the New German school and the proponents of so-called absolute music. Bruckner – not recognized as an ally by either of them – initially adressed his remarks to Wilhelm Tappert, an apologist for program music; when adressing the poet Paul Heyse, it was in his own defense against a critique by Heinrich Porges, who had described Bruckner as an epigonic composer of absolute music. While phrasing his remarks to please one party, he kept them unobstrusive enough to not provoke the other.

Scholars have long framed similarities between Bedřich Smetana's “Vyšehrad” (the first movement of Má vlast) and Zdeněk Fibich's symphonic poem Záboj, Slavoj, and Luděk as a threat to Smetana's originality. In his biography of the composer, for example, Brian Large moved to “exonerate” Smetana from charges of “plagiarism” by arguing that Smetana began “Vyšehrad” at least two years before Záboj's premiere in 1874; not six months later as Smetana's diary attests. Rather than regarding these works' similarities as a problem, this discussion embraces their close relationships as a starting point. Situating both symphonic poems and their reception within the discourses generated by a powerful organization called the “Umělecká beseda” (“Artistic Society,” or UB, in which both Smetana and Fibich participated) illuminates the larger intellectual and aesthetic space from which they emerged. Such a process of contextualization reveals how both composers' works constructed each other and uncovers Smetana not as a “lone genius”—a composer untainted by influence—but as a participant in a shared conversation. Ultimately, this examination opens up new understandings of Smetana and his “Vyšehrad” and invites scholars to reengage with the deliberate subjectivity of Czechness and historiography more broadly.

Program music was popular in 20th century’s composers, they wrote their music works as a description to the dramatic ideas, this was known as program music, The Jordanian composer Khasho has been one of these composers who had a very high level in music composition and not less than the composers in the western world and the Arab nationalism composers. He wrote about 14 program symphonies with special titles and narrative stories, also he describe drama with different types of expressions.
Khasho didn’t get his arts and academic rights as a composer, because of Scarcity of research which discusses his works that considered Legacy humanly and culturally valuable in arts technique, no less than universal works in its value.

استهوت الموسيقى البروجرامية مؤلفي القرن العشرين الذين صاغوا أعمالهم الموسيقية كتصوير للأفكار الدرامية والتي عرفت بالموسيقى البروجرامية ، كان خاشو واحداً منهم لا يقل في مستواه التقني والفني في التأليف عن المؤلفين القوميين العالميين والعرب ، حيث كتب خاشو نحو أربعة عشر سيمفونية تصويرية تحمل عناوين خاصة ، ولها قصة سردية يصورها بموسيقاه من خلال أساليب التعبير المختلفة. لم يأخذ خاشو حقه الفني أو الأكاديمي في الأردن بسبب قلة الأبحاب التي تتناول أعماله التي تعتبر إرثاً انسانياً وحضارياً ذو قيمة فنية لا تقل في مستواها عن الأعمال العالمية.