Personanz (music)

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Personanz (from Latin per `` through '' and Latin sonare `` sound '' ) arose as a term of musicological analysis in the course of the development of the so-called New Music of the 20th century and describes the sonic character of a multi-sound ( two , three , four , five-tone ) as a term between consonance and dissonance .

Concept history

The term personanz originated in the 1950s. The university professor and composer Wilhelm Keller presented it in 1959 at the Kiel congress of the Institute for New Music and Music Education in Darmstadt . The Sender Freies Berlin broadcast the papers from this congress in 1960. They also appeared as a congress report in the series of stylistic criteria for new music .

Determination and stylistic features

Modern tonality is primarily oriented towards person (sounding Hindu). Just as the elementary, modal and cadenting tonality appear as different imprints of the tonal relationships based on the third , fifth and octave ratios, the modern tonality can be represented independently of the functional triad and without cadence. It is a play of forces of related tone elements arranged on focal points and central tone fields. In this context, the introduction of the term «personanz», between consonance and dissonance, seemed relevant and necessary. This term is understood to mean a sonic character (degree of roughness on the one hand and merging on the other), which on the one hand results in second-degree tonal relationships, the no longer consonant sounds. On the other hand, through her the elementary references sound through her mask ( personare ). In this way, they characterize the shape of a tense, yet clear multi-sound or successive field.

The term personanz denotes all non- consonant multiple sounds that only contain “pure”, “large” and “small” intervals, but not “diminished” or “excessive” intervals. According to Keller, diatonic seconds and sevenths are personified because the double fifth (cgd) in cd and the fifth third sound cg / eh in Ch “tones through”.

As a stylistic feature of conscious composing, personal structures appear for the first time after Arnold Schönberg , initially with Igor Stravinsky and gradually with Béla Bartók , Sergei Sergejewitsch Prokofjew and other composers of this generation. They then become a distinct personal style with representatives such as Joseph Suder , Carl Orff , Paul Hindemith , Johann Nepomuk David and Harald Genzmer . Personality sounds differ significantly from the atonal structure of the Schönberg School and are neither a negative term of consonance nor functional dissonance .

literature

  • Wilhelm Keller: Handbook of the theory of theory. Volume I: Composition Analysis and Volume II: Composition Technique. Bosse, Regensburg 1957/1959.
  • Stylistic criteria of new music (= publications of the Institute for New Music and Music Education Darmstadt. Volume 1). Merseburger Verlag , Berlin 1961.
  • Guitar + lute. Volume 4. Cologne 1982, p. 232.
  • Gerd Lisken: Personanz. In: Musica. Monthly for all areas of musical life. Volume 36, 1982, ISSN  0027-4518 .

Individual evidence

  1. ↑ Wilhelm Keller: Tonsatzanalytische method of displaying style criteria New Music. In: Stylistic Criteria of New Music. Berlin 1961, p. 70.
  2. ^ Elisabeth Buck: The music experience in moving religious instruction. Styles in Moving Religious Education. In: Come and play. Moving religion lessons. Vandenhoeck & Ruprecht , Göttingen 1999, 2001, 2004, ISBN 3-525-61388-1 , pp. 26-35.
  3. ↑ Wilhelm Keller: Handbook of the theory of theory. Volume I: Composition Analysis. Bosse, Regensburg 1957, p. 67.
  4. ^ Siegfried Gmeinwieser: Joseph Suder . Schneider Verlag , Hohengehren 1987, ISBN 3-7952-0533-6 , p. 77.
  5. ↑ Thomas Rösch: The music in the Greek tragedies by Carl Orff . Schneider Verlag, Hohengehren 2003, ISBN 3-7952-0976-5 , p. 165.
  6. ↑ Hermann Müllich: The a cappella choral works Harald Genzmer . Ries & Erler music publisher , Berlin 1984.
  7. ↑ Hermann Müllich, Peter Reverse: Harald Genzmer . Schneider Verlag, Hohengehren 1999, ISBN 3-7952-0963-3 .
  8. ↑ Wilhelm Keller: Tonsatzanalytische method of displaying style criteria New Music. In: Stylistic Criteria of New Music. Berlin 1961, p. 79.