| Budget Amount *help |
¥2,200,000 (Direct Cost: ¥2,200,000)
Fiscal Year 2003: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2002: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2001: ¥800,000 (Direct Cost: ¥800,000)
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| Research Abstract |
The term "linear" was used as a famous slogan in "New Music" (Neue Musik) and "New Objectivity" (Neue Sachlichkeit) in the 1920s. It is important to note that the energeticians who advocated tonal music and theoreticians and performers advocate of New Music and New Objectivity who denied tonal music arrived at the same conclusion that emphasized the significance of "(linear) counterpoint" For instance, although the polemic about "Harmony" between Heinrich Schenker, an energetician, and Arnold Schoenberg could be regarded as one between the conservative and the progressive, both of them considered contrapuntal visions in musical performances and interpretations as indispensable in reversing the decline in that period's music which had been brought about by Richard Wagner. It is very noteworthy that Glenn Gould admired Schoenberg's music. Gould's emphasis on contrapuntal visions in his essays and performance practices were obviously influenced by Schoenberg. Furthermore, there are many s
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triking resemblances between Gould's aesthetics of musical performance and Schenker's music theory, derived from Goethe's aesthetics of organism. Via Artur Schnabel, Gould also was greatly influenced by the autonomous musical aesthetics in the 19^<th> century. Gould's interpretation based on contrapuntal visions could be considered an homage to tonal music, as Schoenberg's twelve-tone technique was not a rejection rather a restructuring of tonal music whose purpose was to defend the tradition of Western art music. Wilhelm Furtwaengler had a great esteem for Schenker's music theory and, at a glance, Furtwaengler's musical interpretations were so romantic that they appeared to be the opposite of Gould's modern interpretation. However, both used similar methods of music analysis to interpret "structures" in musical "masterpieces". Both Furtwaengler and Gould saw "long-span hearing" based on music analysis as a way to approach the essential structures of musical masterpieces. Consequently, this "long-span hearing" is connected with their contrapuntal visions in performance. Less
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