‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf
Identifieur interne : 001458 ( Istex/Corpus ); précédent : 001457; suivant : 001459‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf
Auteurs : Matthew BaileysheaSource :
- Music Analysis [ 0262-5245 ] ; 2006-10.
Abstract
The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.
Url:
DOI: 10.1111/j.1468-2249.2006.00244.x
Links to Exploration step
ISTEX:31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307CLe document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title><author><name sortKey="Baileyshea, Matthew" sort="Baileyshea, Matthew" uniqKey="Baileyshea M" first="Matthew" last="Baileyshea">Matthew Baileyshea</name><affiliation><mods:affiliation>Eastman School of Music and College of the University of Rochester</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C</idno><date when="2006" year="2006">2006</date><idno type="doi">10.1111/j.1468-2249.2006.00244.x</idno><idno type="url">https://api.istex.fr/document/31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">001458</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title><author><name sortKey="Baileyshea, Matthew" sort="Baileyshea, Matthew" uniqKey="Baileyshea M" first="Matthew" last="Baileyshea">Matthew Baileyshea</name><affiliation><mods:affiliation>Eastman School of Music and College of the University of Rochester</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music Analysis</title><idno type="ISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2006-10">2006-10</date><biblScope unit="volume">25</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="289">289</biblScope><biblScope unit="page" to="314">314</biblScope></imprint><idno type="ISSN">0262-5245</idno></series><idno type="istex">31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C</idno><idno type="DOI">10.1111/j.1468-2249.2006.00244.x</idno><idno type="ArticleID">MUSA244</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0262-5245</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.</div></front></TEI><istex><corpusName>wiley</corpusName><author><json:item><name>Matthew Baileyshea</name><affiliations><json:string>Eastman School of Music and College of the University of Rochester</json:string></affiliations></json:item></author><articleId><json:string>MUSA244</json:string></articleId><language><json:string>eng</json:string></language><abstract>The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.</abstract><qualityIndicators><score>6.848</score><pdfVersion>1.3</pdfVersion><pdfPageSize>485 x 697 pts</pdfPageSize><refBibsNative>true</refBibsNative><keywordCount>0</keywordCount><abstractCharCount>1037</abstractCharCount><pdfWordCount>8643</pdfWordCount><pdfCharCount>48605</pdfCharCount><pdfPageCount>26</pdfPageCount><abstractWordCount>154</abstractWordCount></qualityIndicators><title>‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title><genre><json:string>article</json:string></genre><host><volume>25</volume><publisherId><json:string>MUSA</json:string></publisherId><pages><total>26</total><last>314</last><first>289</first></pages><issn><json:string>0262-5245</json:string></issn><issue>3</issue><genre><json:string>Journal</json:string></genre><language><json:string>unknown</json:string></language><eissn><json:string>1468-2249</json:string></eissn><title>Music Analysis</title><doi><json:string>10.1111/(ISSN)1468-2249</json:string></doi></host><publicationDate>2006</publicationDate><copyrightDate>2006</copyrightDate><doi><json:string>10.1111/j.1468-2249.2006.00244.x</json:string></doi><id>31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C</id><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><availability><p>WILEY</p></availability><date>2006</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title><author><persName><forename type="first">Matthew</forename><surname>Baileyshea</surname></persName><affiliation>Eastman School of Music and College of the University of Rochester</affiliation></author></analytic><monogr><title level="j">Music Analysis</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="DOI">10.1111/(ISSN)1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2006-10"></date><biblScope unit="volume">25</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="289">289</biblScope><biblScope unit="page" to="314">314</biblScope></imprint></monogr><idno type="istex">31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C</idno><idno type="DOI">10.1111/j.1468-2249.2006.00244.x</idno><idno type="ArticleID">MUSA244</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2006</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.</p></abstract></profileDesc><revisionDesc><change when="2006-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="10003"><doi origin="wiley">10.1111/musa.2006.25.issue-3</doi><numberingGroup><numbering type="journalVolume" number="25">25</numbering><numbering type="journalIssue" number="3">3</numbering></numberingGroup><coverDate startDate="2006-10">October 2006</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="2" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2006.00244.x</doi><idGroup><id type="unit" value="MUSA244"></id></idGroup><countGroup><count type="pageTotal" number="26"></count></countGroup><titleGroup><title type="tocHeading1">Original Articles</title></titleGroup><eventGroup><event type="firstOnline" date="2007-11-07"></event><event type="publishedOnlineFinalForm" date="2007-11-07"></event><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.3.4 mode:FullText source:FullText result:FullText" date="2010-03-29"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-31"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="289">289</numbering><numbering type="pageLast" number="314">314</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA244.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="14"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="15"></count><count type="referenceTotal" number="6"></count><count type="wordTotal" number="0"></count></countGroup><titleGroup><title type="main">‘T<sc>he</sc> H<sc>eaviest</sc> W<sc>eight</sc>’: C<sc>ircularity and</sc> R<sc>epetition in a</sc> S<sc>ong by</sc> H<sc>ugo</sc> W<sc>olf</sc></title><title type="shortAuthors"><sc>matthew baileyshea</sc></title><title type="short">R<sc>epetition and</sc> C<sc>ircularity in</sc> W<sc>olf</sc></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>Matthew</givenNames><familyName>Baileyshea</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>Eastman School of Music and College of the University of Rochester</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the <i>Spanisches Liederbuch</i>. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf</title></titleInfo><titleInfo type="abbreviated"><title>Repetition and Circularity in Wolf</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>‘T</title></titleInfo><name type="personal"><namePart type="given">Matthew</namePart><namePart type="family">Baileyshea</namePart><affiliation>Eastman School of Music and College of the University of Rochester</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article"></genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2006-10</dateIssued><copyrightDate encoding="w3cdtf">2006</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType><extent unit="figures">14</extent><extent unit="formulas">15</extent><extent unit="references">6</extent></physicalDescription><abstract lang="en">The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co‐ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><genre type="Journal">journal</genre><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2006</date><detail type="volume"><caption>vol.</caption><number>25</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>289</start><end>314</end><total>26</total></extent></part></relatedItem><identifier type="istex">31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C</identifier><identifier type="DOI">10.1111/j.1468-2249.2006.00244.x</identifier><identifier type="ArticleID">MUSA244</identifier><recordInfo><recordContentSource>WILEY</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001458 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 001458 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:31B33D424C5C65C7E1B36AFC82ABC9BC7AA2307C
|texte= ‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf
}}
| This area was generated with Dilib version V0.6.21. |  |