Morphologie in der Musik

This work attempts to fill this gap. It asks: What is musical morphology? What are musical structures? And what are musical forms? What elements make up the latter, and what terms can be used to describe these elements? Finally, how do all these theoretical considerations lead to a technically precise analysis of musical forms?
This book is therefore three things in one: conceptual history, theory, and analysis. It provides an overview of concepts, introduces new ones, and outlines methods of representation that can be used to describe musical forms. The core of the argument is that musical morphology must take into account both the audible and the inaudible, the musically subcutaneous, so to speak, and that it must deal with musical forms and their abstract counterparts, musical structures. Musical morphology is understood as the study of forms and structures.
Special attention is given to post-traditional music, namely that in which traditional concepts such as "motif," "melody," or "theme" have lost their meaning. From the wealth of musical forms that emerged after 1950, two are singled out that differ particularly vehemently from older forms: the figure, as found in the music of Brian Ferneyhough, and the mass, as characteristic of the music of Iannis Xenakis.

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This work is also published in open access.

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