Ernst Kurth Reihenfolge der Bücher

Ernst Kurth's work presents a groundbreaking exploration of music theory, emphasizing the relationship between musical structure and emotional expression. The text delves into the intricacies of rhythm, harmony, and melody, offering insights into how these elements interact to create meaning in music. Kurth's innovative approach combines analytical rigor with a deep appreciation for the artistic aspects of composition, making it a valuable resource for musicians, theorists, and anyone interested in the profound impact of music.

Featuring extensive annotated translations, this work delves into the writings of music theorist Ernst Kurth, who made significant contributions to music theory between 1886 and 1946. The annotations enhance understanding of Kurth's complex ideas, making them accessible to both scholars and enthusiasts. The book serves as a valuable resource for those interested in music theory and the historical context of Kurth's contributions.

This book provides a selection of annotated translations from Ernst Kurth's three best-known publications: Grundlagen des linearen Kontrapunkts (1917), Romantische Harmonik und ihre Krise in Wagners 'Tristan' (1920), and Bruckner (1925). Kurth's contemporaries considered these books to be pioneering studies in the music of J. S. Bach, Wagner and Bruckner. Professor Rothfarb's extensive introductory essay discusses the intellectual and socio-cultural environment in which Kurth was writing, referring to aspects of the early twentieth-century cultural renewal movements and to intellectual developments of the day in phenomenology, aesthetics and psychology. By reading Kurth against the cultural-intellectual background provided in the essay and commentaries, today's music historians and theorists can round out their picture of music theory in the early twentieth century.

Ernst Kurth analysiert in seinem Werk die polyphone Satztechnik von Johann Sebastian Bach und verbindet musikalische Phänomene mit psychologischen Prozessen. Er nutzt Konzepte der Physik, insbesondere die von potentieller und kinetischer Energie, um das Zusammenspiel der musikalischen Linien zu erklären. Potentielle Energie manifestiert sich im Auflösungsbedürfnis von Akkorden, während kinetische Energie in der Form der melodischen Linie auftritt. Diese innovative Verbindung von Musik und Psychologie bietet einen tiefen Einblick in Bachs Kompositionstechnik.