PD Dr. Rainer Bayreuther
Alfried Krupp Junior Fellow
Born at Esslingen on the Neckar in 1967
Studies of Musicology, Philosophy and Protestant Theology at the Ruprecht-Karls-University of Heidelberg
Outside Lecturer of Musicology at the Martin-Luther-University of Halle-Wittenberg
The Gallant Paradigm. Studies on the Rationality of Music in the Early 18th Century
Generellay speaking, somebody acts rationally when orientating his/her acting at factors he/she accepts as regulatives having the status of norms. In this sense, musical acting is rational if it followes rules a musical actor (a composer, a musician, a music listener) considers norms. However, norms change in the course of times and together with the actor him/herself. These normative changes of music are analyzed in the course of this project for the time from the Middle Age until the early 18th century. In the early 18th century there seems to happen the deepest cut in respect of understanding music since antiquity. Previously to this, musical acting was rationalized by refering to a norm which was once and for all set by nature. Just as the mathematical and physical nature of things was unchangeable, also the fundamental laws of music had to be always the same. Now, however, the purpose of music becomes the norm: music is normatively correct if it serves its purpose, for example the purpose of being liked or of praising God. This is connected to a fundamental scientific re-orientation of music: if until into the 17th century it was orientated at the natural sciences, it is now orientated at anthropology and society with its legal norms. This research approach is supposed to open up a new approach at the music of Bach´s and Telemann´s times. Furthermore, it sheds new light on the historic nature of music.
Born at Esslingen on the Neckar in 1967
Studies of Musicology, Philosophy and Protestant Theology at the Ruprecht-Karls-University of Heidelberg
Outside Lecturer of Musicology at the Martin-Luther-University of Halle-Wittenberg
The Gallant Paradigm. Studies on the Rationality of Music in the Early 18th Century
Generellay speaking, somebody acts rationally when orientating his/her acting at factors he/she accepts as regulatives having the status of norms. In this sense, musical acting is rational if it followes rules a musical actor (a composer, a musician, a music listener) considers norms. However, norms change in the course of times and together with the actor him/herself. These normative changes of music are analyzed in the course of this project for the time from the Middle Age until the early 18th century. In the early 18th century there seems to happen the deepest cut in respect of understanding music since antiquity. Previously to this, musical acting was rationalized by refering to a norm which was once and for all set by nature. Just as the mathematical and physical nature of things was unchangeable, also the fundamental laws of music had to be always the same. Now, however, the purpose of music becomes the norm: music is normatively correct if it serves its purpose, for example the purpose of being liked or of praising God. This is connected to a fundamental scientific re-orientation of music: if until into the 17th century it was orientated at the natural sciences, it is now orientated at anthropology and society with its legal norms. This research approach is supposed to open up a new approach at the music of Bach´s and Telemann´s times. Furthermore, it sheds new light on the historic nature of music.
21/05/13
Die Angst vor Vernichtung und der ewige Bund: Die Verortung des Estherbuches im Judentum und in jüdischer Theologie
3. Gustaf-Dalman-Lecture
