- noneedit
- Lukas Haselboeck studied musicology, composing and singing in Vienna. 1997 he completed his dissertation about Max Re... moreLukas Haselboeck studied musicology, composing and singing in Vienna. 1997 he completed his dissertation about Max Reger. Since 2001 he is assistent professor for music analysis at the university of music in Vienna. He organized several symposia, f.e. Friedrich Cerha-Symposion 2004, „Klangperspektiven“ (with Tristan Murail) 2009. Favorite areas of research: Music of the 20th and 21st century. Selected publications: Zwoelftonmusik und Tonalitaet – Zur Vieldeutigkeit dodekaphoner Harmonik, Laaber 2005; Gérard Grisey: Unhoerbares hoerbar machen, Freiburg i.Br. 2009: Friedrich Cerha: Analysen – Essays – Reflexionen, Freiburg i.Br. 2006. Additionally, Haselboeck is working as a composer and singer. See www.lukashaselboeck.comedit
Prozess- und Kontrastdenken in Cerhas Streichquartetten, in: Gundula Wilscher (Hg.), Vernetztes Werk(en). Facetten des künstlerischen Schaffens von Friedrich Cerha, Innsbruck etc. 2018, S. 75-85: In this paper, excerpts of Friedrich... more
Prozess- und Kontrastdenken in Cerhas Streichquartetten, in: Gundula Wilscher (Hg.), Vernetztes Werk(en). Facetten des künstlerischen Schaffens von Friedrich Cerha, Innsbruck etc. 2018, S. 75-85: In this paper, excerpts of Friedrich Cerha's four string quartets (1989 - 2001) are analyzed from the perspective of process and contrast.
Research Interests:
The notion of sound (Klang) has been discussed intensely during the last 200 years. Similarly, in the writings of György Ligeti, timbre (Klangfarbe) is one of the crucial terms. The aim of this text is to reconsider the role of timbre and... more
The notion of sound (Klang) has been discussed intensely during the last 200 years. Similarly, in the writings of György Ligeti, timbre (Klangfarbe) is one of the crucial terms. The aim of this text is to reconsider the role of timbre and the relationship between timbre, space and time in Ligeti's music. With an analysis of Atmosphères and the first movement of the Piano Concerto, the discussion also includes two further important notions: process and threshold.
Research Interests:
In many of his texts and interviews Gérard Grisey emphasized that spectral music draws its properties out of the nature of sound itself. This implies a tendency towards purism and a rigorous criticism of any reference to levels of... more
In many of his texts and interviews Gérard Grisey emphasized that spectral music draws its properties out of the nature of sound itself. This implies a tendency towards purism and a rigorous criticism of any reference to levels of signification and meaning. A closer scrutiny of Grisey’s music shows, however, that this apparent opposition can be questioned in several ways. Grisey’s musical thinking can be localized on the threshold between sound and meaning – it is a »liminal« music (musique liminale). Analytical comments on Grisey’s L’icône paradoxale for two female voices and orchestra (1992–94) exemplify this.
Research Interests:
Vivaldis Le quattro stagioni und Haydns Tageszeiten-Sinfonien, in: Laurine Quetin, Gerold W. Gruber und Albert Gier (Hg.), Joseph Haydn und Europa vom Absolutismus zur Aufklärung (= Musicorum 7), Tours 2009, S. 183-192.
Research Interests:
Zur Klangfarbenlogik bei Schönberg, Grisey und Murail, in: Christian Utz (Hg.), Klang und Wahrnehmung in der Musik des 20. und 21. Jahrhunderts (= musik.theorien der gegenwart 6), Saarbrücken 2013, S. 137-162
Research Interests:
Zur 'Liminalität' der Musik Debussys und Griseys, in: Michael Kunkel (Hg.), Les espaces sonores. Stimmungen - Klanganalysen - spektrale Musiken, Saarbrücken: Pfau 2016, S. 99-112. Der Begriff »Liminalität« (lat. limen = Grenze, Schwelle)... more
Zur 'Liminalität' der Musik Debussys und Griseys, in: Michael Kunkel (Hg.), Les espaces sonores. Stimmungen - Klanganalysen - spektrale Musiken, Saarbrücken: Pfau 2016, S. 99-112.
Der Begriff »Liminalität« (lat. limen = Grenze, Schwelle) wurde in den letzten Jahrzehnten in so unterschiedlichen Fachbereichen wie der Ethnologie oder der Literatur-und Medienwissenschaft diskutiert. Auch im Zusammenhang mit Neuer, insbesondere mikrotonaler Musik ist dieser Terminus relevant, geht das mikrotonale Komponieren doch häufig mit Grenz-und Schwellenphänomenen einher.
Der Begriff »Liminalität« (lat. limen = Grenze, Schwelle) wurde in den letzten Jahrzehnten in so unterschiedlichen Fachbereichen wie der Ethnologie oder der Literatur-und Medienwissenschaft diskutiert. Auch im Zusammenhang mit Neuer, insbesondere mikrotonaler Musik ist dieser Terminus relevant, geht das mikrotonale Komponieren doch häufig mit Grenz-und Schwellenphänomenen einher.
Research Interests:
Zwischenklänge, Teiltöne, Innenwelten: Mikrotonales und spektrales Komponieren, in: Jörn Peter Hiekel, Christian Utz (ed.), Lexikon Neue Musik, Kassel 2016, pp. 103-115
Research Interests:
‘A hidden commentary’: Zaïde – Adama von Chaya Czernowin, in: Wolfgang Gratzer (Hg.), Herausforderung Mozart. Komponieren im Schatten kanonischer Musik (= Schriften zur musikalischen Rezeptions- und Interpretationsgeschichte, Bd. 2),... more
‘A hidden commentary’: Zaïde – Adama von Chaya Czernowin, in: Wolfgang Gratzer (Hg.), Herausforderung Mozart. Komponieren im Schatten kanonischer Musik (= Schriften zur musikalischen Rezeptions- und Interpretationsgeschichte, Bd. 2), Freiburg i.Br./Berlin/Wien 2008, S. 171–186.
Research Interests:
Research Interests:
Jene vielfältigen Zeitkonzepte, die Haydns Oeuvre prägen, können vor der Folie eines grundlegenden Wandels des Zeitbewusstseins erörtert werden. In diesem Beitrag wird dies an Hand einiger analytischer Bemerkungen zu Haydns Symphonie Nr.... more
Jene vielfältigen Zeitkonzepte, die Haydns Oeuvre prägen, können vor der Folie eines grundlegenden Wandels des Zeitbewusstseins erörtert werden. In diesem Beitrag wird dies an Hand einiger analytischer Bemerkungen zu Haydns Symphonie Nr. 64 konkretisiert.
Research Interests:
Some remarks on the relationship between Janáček's music and contemporary musical thinking
Research Interests:
Research Interests:
»Debussy, c’est l’enigme!« Analytical Perspectives in »La terrasse des audiences du clair de lune« – In the title of this essay, the difficulty to analyze Debussy’s works is pointed out. One way to encounter this problem is to analyze his... more
»Debussy, c’est l’enigme!« Analytical Perspectives in »La terrasse des audiences du clair de lune« – In the title of this essay, the difficulty to analyze Debussy’s works is pointed out. One way to encounter this problem is to analyze his music by using different analytical methods and perspectives. However, in the history of music analysis, attempts to interpret Debussy’s works as closed organisms often lead to misunderstandings. Therefore, it is necessary to consider the relevance of often underestimated analytical aspects: register, space, contour/
Gestalt, meter/tempo, sound and voice leading. By keeping this in mind, three different ways of listening to Debussy’s Piano Prélude La terrasse des audiences du clair de lune are presented which are equally relevant. This leads to some final remarks about analysis and perception and to a re-evaluation of the term ›impressionism‹.
Gestalt, meter/tempo, sound and voice leading. By keeping this in mind, three different ways of listening to Debussy’s Piano Prélude La terrasse des audiences du clair de lune are presented which are equally relevant. This leads to some final remarks about analysis and perception and to a re-evaluation of the term ›impressionism‹.
Research Interests:
Ernst Kurth's music theory is grounded on the proposition, most prominently developed in his study Die Romantische Harmonik und ihre Krise in Wagners »Tristan« [1920], that sound is a reverberation of powerful forces that circulate in the... more
Ernst Kurth's music theory is grounded on the proposition, most prominently developed in his study Die Romantische Harmonik und ihre Krise in Wagners »Tristan« [1920], that sound is a reverberation of powerful forces that circulate in the inaudible. According to Kurth, music is a living entity which must be conceived of as hierarchically superior to single tones. Many of his contemporaries were fascinated by these ideas, and although Kurth's concepts were not discussed on a large scale after 1945, his theoretical framework arguably can provide today appropriate means to describe transitions and relations of sound in post-tonal music. In this article, repercussions of Kurth's ideas are uncovered in the theoretical writings of Theodor W. Adorno, especially where they allude to Arnold Schönberg's idea of a »drive force of sounds« [Triebleben der Klänge], and in new French music after 1970 (mainly in aesthetics and works of Gérard Grisey), where the metaphorical idea of »forces« within sound and the intention to »make the inaudible audible« result in gestalt-derived musical structures with clear affinites to Kurth's energetics. Although Kurth's objective to discern »invariants« of musical listening has met with legitimate scepticism, a closer re-reading of his texts might provide fresh impulses to tackle the key problem of the relationship between history, perception and structure in twentieth-century music and music theory.
Research Interests:
This study deals with the relationship between Claude Debussy and the Viennese school (Arnold Schönberg, Alban Berg and Anton von Webern). As a first point, biographical aspects of this relationship are discussed: Due to aesthetical, but... more
This study deals with the relationship between Claude Debussy and the Viennese school (Arnold Schönberg, Alban Berg and Anton von Webern). As a first point, biographical aspects of this relationship are discussed: Due to aesthetical, but also jingoistic motivations, Debussy seems not to have been interested in Schönberg’s music. On the part of Schönberg, similar motives were relevant, but at the same time the situation was more complex: Schönberg often mentioned Debussy as an important pioneer of modern music (»Wegbereiter der Neuen Musik«), and Debussy’s works were frequently performed in the »Verein für musikalische Privataufführungen« (1919–21). In order to get one’s bearings in this confusing situation, the music of Debussy and Schönberg is compared analytically in the second part of this study. Aspects of melody, harmony and timbre are considered. The original and Benno Sachs’ version of Debussy’s Prélude à l’après-midi d’un faune which was written for the Verein are discussed in detail.
Research Interests:
Quite frequently, the composer Gérard Grisey is mentioned as one of the founders of the so called "spectral" movement. The term "spectral music", coined by composer Hugues Dufourt in 1979 and now in wide use (despite ongoing disputes over... more
Quite frequently, the composer Gérard Grisey is mentioned as one of the founders of the so called "spectral" movement. The term "spectral music", coined by composer Hugues Dufourt in 1979 and now in wide use (despite ongoing disputes over its appropriateness), represents a music derived from the analysis of the structure of sound itself, and explores exciting new forms, timbres, temporalities and modes of expression. It first emerged in France in the 1970s, but its roots extend back possibly as far as Rameau, and certainly to such key figures of the twentieth century as Debussy, Messiaen, Stockhausen, Ligeti, Xenakis, Partch, and still today La Monte Young. Grisey, Murail, Dufourt and Levinas were early pioneers of this aesthetic.
In this book - the first extended study about Grisey in German language - his music is analysed by reference to the sketches (Paul Sacher Stiftung Basel), and interpreted from the perspective of structuralist and poststructuralist philosophy and aesthetics. Thereby, the analytical interpretation focusses on the multiperspectivity of Grisey's music between audibility and inaudibility.
In this book - the first extended study about Grisey in German language - his music is analysed by reference to the sketches (Paul Sacher Stiftung Basel), and interpreted from the perspective of structuralist and poststructuralist philosophy and aesthetics. Thereby, the analytical interpretation focusses on the multiperspectivity of Grisey's music between audibility and inaudibility.
Research Interests:
Artikel "Multiphonics", in: Jörn Peter Hiekel, Christian Utz (ed.), Lexikon Neue Musik, Kassel 2016, p.385f.
Research Interests:
Artikel "Musikalische Logik", in: Jörn Peter Hiekel, Christian Utz (ed.), Lexikon Neue Musik, Kassel 2016, p. 386f.
Research Interests:
Artikel "Spektralmusik", in: Jörn Peter Hiekel, Christian Utz (ed.), Lexikon Neue Musik, Kassel 2016, pp. 556-560
Research Interests:
Artikel "Klangfarbe", in: Jörn Peter Hiekel, Christian Utz (ed.), Lexikon Neue Musik, Kassel 2016, p. 336f.
Research Interests:
Struktur und Gedanke. Einige Anmerkungen zu Jean-Louis Leleu (Rezension zu: La construction de l'idée musicale. Essais sur Webern, Debussy et Boulez, Genève: Éditions Contrechamps 2015), in: Musik & Ästhetik 21 (2017), H. 81, S. 109-112
Research Interests:
There is evidence to suggest that Grisey’s music of the 1970s and early 80s can be described by the paradigm of progressive metamorphosis. In the late 1980s, however – after Espaces Acoustiques – Grisey sustained a crisis which he tried... more
There is evidence to suggest that Grisey’s music of the 1970s and early 80s can be described by the paradigm of progressive metamorphosis. In the late 1980s, however – after Espaces Acoustiques – Grisey sustained a crisis which he tried to surmount through studies in psychology, ecology and linguistics. This lead to a gradual transformation of his musical language and a new approach which could be called the »archaeology of sense«. By trying to define Grisey’s late style, Dufourt refers to G. W. Leibniz who associated the beauty of nature with fissures and unexpected intervals, with a delight intermingling the species.
Research Interests:
The premises of early spectral music can be differentiated from integral serialism through its inherent characteristics. Composers such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono operated with discrete elements which they... more
The premises of early spectral music can be differentiated from integral serialism through its inherent characteristics. Composers such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono operated with discrete elements which they integrated into structural forms. In contrast, the sound continua of Gérard Grisey, in works such as Espaces Acoustiques, were inspired by theoretical and artistic approaches, such as Henri Bergson’s philosophy of duration and Jean-Claude Risset’s exploration of timbre. In this essay, Hugues Dufourt asserts that the paradigm of sound continua should not be conceived as an inevitable accomplishment of the dialectic movement of music history, but as a new approach informed by computer science. As a result, he identifies Grisey as one of the great innovators of musical time.
Research Interests:
Timbre is doubtlessly one of the main paradigms of Debussy’s music. It is thus obvious to consider timbre research as a promising tool for the analysis of Debussy’s works. Within the scope of this text, this process is exemplified by an... more
Timbre is doubtlessly one of the main paradigms of Debussy’s music. It is thus obvious to consider timbre research as a promising tool for the analysis of Debussy’s works. Within the scope of this text, this process is exemplified by an analysis of Nuages, the first movement of Debussy’s Nocturnes for orchestra (1897–99). Timbre constellations are investigated by close listening and by implementation of the MIRtoolbox software (developed by Olivier Lartillot and Petri Toi-viainen in 2007). By comparing four different recordings, a close relationship between bars 5–8 and 80–82 of Nuages is revealed. In respect to their properties of sound and harmony, these passages are ambiguous. This might tempt us to call Debussy’s treatment of sound ‘mysterious’ or ‘inscrutable’. It should always be kept in mind, however, that these ambiguities are composed out with the utmost precision. This insight leads to a reflection on questions of form. If we locate and describe specific constellations of timbre and their precisely defined properties, we are able to compare different areas of form that feature similar properties of sound. As a result, we realise that musical elements are not merely juxtaposed in Debussy’s music, but interwoven in a complex fashion. By re-evaluating formal aspects in their relation to timbre, we approach a new perspective of form that is informed by current timbre research.