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  1. Rilke und die Musik
    Erschienen: 08.02.2010

    Rilke war im gebräuchlichen Sinne des Wortes unmusikalisch. Er hat das selbst wiederholt zugegeben. Er behielt keine Melodie, so einfach sie sein mochte, und so oft man sie ihm auch vorspielte. Auch seine Freunde berichten von diesem Zug. Hinzu kam... mehr

     

    Rilke war im gebräuchlichen Sinne des Wortes unmusikalisch. Er hat das selbst wiederholt zugegeben. Er behielt keine Melodie, so einfach sie sein mochte, und so oft man sie ihm auch vorspielte. Auch seine Freunde berichten von diesem Zug. Hinzu kam eine tiefe Skepsis der Musik gegenüber, in der er etwas Verführendes und Berauschendes sah, was ihn zu einer allerdings kurzfristigen völligen Ablehnung dieser Kunstgattung führte. [NOTE: This text was retyped, and typographical errors were corrected. Other changes are minor. However the pagination differs from the original. hd] The aim of this dissertation is to show Rilke's concept of music and its development. Rilke had no musical ear nor did he possess any theoretical knowledge of music. Yet, his interest in this subject is evident throughout his works. Rilke's first discussion of music is found in his earliest diary, the Florenzer Tagebuch. Speaking favorably of music, he denounces, however, any connection of music and word except in song. A change occurs in the early poem "Musik", where Rilke treats the word music as a symbol of danger and seduction, as a means of describing the creative activity of the artist before having had any real experience. The associations with the word "music" are negative. This changes during Rilke's second visit to Worpswede and the months immediately following his stay. In diary notes and poems, music is described as an element of order, salvation and inspiration. It also provides a welcome atmosphere of escapism. The attitude towards the latter aspect changes in his monograph Worspwede and becomes totally negative in a letter to Lou Andreas-Salomé, where Rilke denounces music as contrary to art. During the following years Rilke begins to point out more clearly the two main aspects of his concept of music: the danger and seduction on one hand and inspiration, order and transformation of human misery on the other. In the Beethoven-portrait of his Malte it is no longer music which is to blame for the effects described in the letter to Lou, but those who listen to it without the proper attitude and appreciation. Fabre d'Olivet's La Musique confirmed Rilke's own ideas and added to them the concept of the "number" in music. To Rilke music now represents a revelation of cosmic principles otherwise not perceivable. Rilke found similar ideas in Proust's Du Côté de chez Swann and Busoni's Entwurf einer Neuen Ästhetik der Tonkunst. Of Magda von Hattingberg, a pianist and student of Busoni's, Rilke expected in vain his final introduction to the world of music, hoping to train his ear to the same perfection that his eyes had already achieved. In Rilke's late poetry music becomes the work of art par excellence. As a human creation a n d a revelation of cosmic principles, music acts as an intermediary between our world and the "other sphere", to which we have no access.

     

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    Quelle: GiNDok
    Sprache: Deutsch
    Medientyp: Buch (Monographie)
    Format: Online
    DDC Klassifikation: Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Schlagworte: Rilke, Rainer Maria; Musik
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  2. Mother Courage : a chronicle of the thirty years war (1618-1648)
    Erschienen: 08.02.2010

    A single mother and her grown children. A team now. The fathers have come and gone and are barely remembered. These are her children. By contrast, Matthew (27; 56) identifies an anonymous woman as "the mother of Zebedee's children." We'll talk about... mehr

     

    A single mother and her grown children. A team now. The fathers have come and gone and are barely remembered. These are her children. By contrast, Matthew (27; 56) identifies an anonymous woman as "the mother of Zebedee's children." We'll talk about it, for what it may mean. More important is the fact that this group is headed by a dominant female. Let's see if it makes a difference. Demian, as you'll remember, was the product of matriarchy, as it were, and seemed to be none the worse for it. It wasn't even worth mentioning. Fifty years later, Edgar Wibeau of Plenzdorf's The New Sorrows of Young W. (1972), a modern version of Goethe's bestselling novel Werther written 200 years earlier, and one of the most brilliant pieces of theatre post-Brecht, does find it worth mentioning. He is "sick & tired" of being paraded as living proof that "a single mother can successfully raise a male."

     

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    Schlagworte: Brecht, Bertolt / Mutter Courage und ihre Kinder
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  3. Music
    Erschienen: 08.02.2010

    The musical ending [of Goethe's Novelle] recalls the fascination with "music as metaphor", "the power of music", among recent and contemporary poets from Pope and Dryden and Collins to E.T.A. Hoffmann and Kleist and, of course to Goethe himself.... mehr

     

    The musical ending [of Goethe's Novelle] recalls the fascination with "music as metaphor", "the power of music", among recent and contemporary poets from Pope and Dryden and Collins to E.T.A. Hoffmann and Kleist and, of course to Goethe himself. Music saves Faust's life on Easter morning at the end of a dreadful night, and we'll encounter a similar role of music in his Trilogie der Leidenschaft which we'll read in this context.

     

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    Sprache: Englisch
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    DDC Klassifikation: Literatur und Rhetorik (800)
    Schlagworte: Literaturwissenschaft; Musik
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  4. The Protestant Revolution or Wider die falsche Gelassenheit
    Erschienen: 08.02.2010

    This contribution was prompted by events in East Germany that ultimately led to German unification. Many forces contributed to the collapse of the GDR as a separate state, the final and most visible was the mass exodus via Hungary and Czechoslovakia.... mehr

     

    This contribution was prompted by events in East Germany that ultimately led to German unification. Many forces contributed to the collapse of the GDR as a separate state, the final and most visible was the mass exodus via Hungary and Czechoslovakia. The Communist regime resisted change when change was taking place in most of East Germanys neighbors to the east and southeast. But an ever increasing number of increasingly restless citizens insisted on it and, not given a chance to change matters by improving the system, effected the most radical change of all: they swept away an unresponsive, cynical and calcified government.

     

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    Sprache: Englisch
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    DDC Klassifikation: Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Schlagworte: Luther, Martin; Reformation
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  5. R.M. Rilke : "Music as Metaphor" ; the mystery of sound
    Erschienen: 08.02.2010

    Do you know what I think? asks Adrian Leverkuehn. "Musik ist die Zweideutigkeit als System." Music is Janus-faced by its very nature. It can move and paralyze. "What passion cannot music raise and quell," exclaims John Dryden in his Song for St.... mehr

     

    Do you know what I think? asks Adrian Leverkuehn. "Musik ist die Zweideutigkeit als System." Music is Janus-faced by its very nature. It can move and paralyze. "What passion cannot music raise and quell," exclaims John Dryden in his Song for St. Cecilia's Day, 1687. Music is an expert in the use of opiates, asserts Settembrini in The Magic Mountain, and Nietzsche speaks of her dual, intoxicating and befogging, nature. Shakespeare's Desdemona "will sing the savageness out of a bear" (IV, i) and the merchants in Novalis' Heinrich von Ofterdingen tell the story of another Orpheus whose song so charms a sea "monster" that it saves the singer's life and returns his treasure to him. John Dryden's Thimotheus "to his breathing flute and sounding lyre, could swell the soul to rage, or kindle soft desire" (Alexander's Feast, 1697). "Musica Consolatrix" and "Musica Tremenda". She is the "Mysterium tremendum et fascinosum" in Kleist's novella about the power of music. While English late 17th and early 18th century literature offers a particularly rich harvest of poetry celebrating the contradictory qualities, or effects, of music, there is in fact testimony to this at all stages of our tradition.

     

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    DDC Klassifikation: Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Schlagworte: Rilke, Rainer Maria; Musik
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