In daily experience, time is perceived either as repetition of the same (cycle) or as continuous, irreversable change (process). Music has, thanks to its quality of temporal existence, always had a special relation to time in tempo, meter, and rhythm. Furthermore, since Haydn’s day the perception of continuity and change, time patterns and irregular developments, has gained a sharper focus. Not incidentally, authentic titles or later added programmatic names of works by Haydn allude to time and its passing: Le matin / Le midi / Le soir / Die Uhr / Die Jahreszeiten. Therefore, our conference intends to examine applications of this sharpened perception on music.
Our topic relates to recent debates in various fields and research areas such as New Musicology (e.g., narratology), Cultural Studies (significance of memory in the reception of music) and to the discussion initiated by Reinhart Kosellek regarding the new perception of time during the 18th century (cf. the journal Das achtzehnte Jahrhundert: vol. 30/2 , „Zeitkonzepte“).
Contributions could address the perception of time in the later 18th century within the fields of Philosophy or Physics, Technology (chronometry) or within the Visual Arts and Literature. They could deal with the impact of time on the everyday life of Haydn and his contemporaries, be it in the course of a day, in the festival or court calendar, or in different motions or speeds while travelling in a carriage, marching, promenading or dancing. Research would thus relate Haydn’s music to contexts in such a way as to permit a deeper insight into Haydn’s innovations. Furter, papers could focus on Haydn’s music in terms of its formation of time frames, its narrative strategies, or its dramaturgy of forms or cycles in relation to the history or cultural setting of its composition. Topics addressed could consider accented beats, periodic structure, rubato, tempo and meter, methods and documents regarding the measurement (pulse, pendulum, mechanical clocks and instruments), the meter suspended by a fermata, cadenza and recitative, strict time (“Die Uhr”), the play with differentiated formal functions, the dramatic effect of recapitulation, the relation between real and represented time in opera, and modes of perception which are established as well as assumed in Haydn’s music, etc.
Institut für Analyse, Theorie und Geschichte der Musik
Kennwort: Zyklus und Prozess
z.H. Prof. Dr. Martin Eybl
Anton-von-Webern Platz 1
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