{"id":8813,"date":"2019-09-19T13:20:43","date_gmt":"2019-09-19T11:20:43","guid":{"rendered":"https:\/\/musikunrat.de\/?p=1931"},"modified":"2019-09-19T13:20:43","modified_gmt":"2019-09-19T11:20:43","slug":"enzyklopaedie-der-neuen-musik-polychronia-bis-oeaioaossa-lass-die-molekuele-rasen","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2019\/09\/enzyklopaedie-der-neuen-musik-polychronia-bis-oeaioaossa-lass-die-molekuele-rasen\/","title":{"rendered":"Enzyklop\u00e4die der Neuen Musik:  \u201ePolychronia\u201c bis \u201e\u00f6\u00e1\u00ed\u00f4\u00e1\u00f3\u00df\u00e1 \u2013 lass die Molek\u00fcle rasen\u201c"},"content":{"rendered":"<p>Die Werke der Kalenderwoche 39\/2019. Speziell \u2026<\/p>\n<ul>\n<li>Violakonzert<\/li>\n<li>F\u00fcnf Romanzen<\/li>\n<li>Chagall-Zyklus I<\/li>\n<li>Ieratiki Poiisi<\/li>\n<li>Tetragrammaton<\/li>\n<li>Polychronia<\/li>\n<li>Klezmer-Suite<\/li>\n<li>Sellanraa<\/li>\n<li>Saudade<\/li>\n<li>B-A-C-H<\/li>\n<li>Belsazar<\/li>\n<li>Der Spinnerin Nachtlied<\/li>\n<li>\u00f6\u00e1\u00ed\u00f4\u00e1\u00f3\u00df\u00e1 \u2013 lass die Molek\u00fcle rasen<\/li>\n<li>A Blurring Cloud \u2013 Gesch\u00f6pfe der Fahrt<\/li>\n<li>schlafen, tr\u00e4umen, singen<\/li>\n<li>ohne Ufer, eine Einladung<\/li>\n<li>Zwei Herren aus Verona<\/li>\n<li>Falstaffiade<\/li>\n<li>Kleine Suite nach alter Art<\/li>\n<li>Eine kleine Streicherserenade<\/li>\n<li>The Cycle of Time<\/li>\n<li>Stadt (Land Fluss)<\/li>\n<li>Orchester-Divertimento<\/li>\n<li>Hubertusmesse<\/li>\n<li>Symphonie &#8220;Drones of druids on celtic ruins&#8221;<\/li>\n<li>Suite populaire<\/li>\n<li>Mobile<\/li>\n<li>Trifolium<\/li>\n<li>Non piu infelice<\/li>\n<li>Night Music<\/li>\n<li>Klavierst\u00fcck IX<\/li>\n<li>Gustav Mahler Rituals<\/li>\n<li>Das Konzert<\/li>\n<li>Sehnsucht<\/li>\n<li>Adjacent rooms II<\/li>\n<li>Cancro<\/li>\n<li>Cinq miniatures<\/li>\n<\/ul>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Enzyklop%C3%A4die%20der%20Neuen%20Musik%3A%20%20%E2%80%9EPolychronia%E2%80%9C%20bis%20%E2%80%9E%C3%B6%C3%A1%C3%AD%C3%B4%C3%A1%C3%B3%C3%9F%C3%A1%20%E2%80%93%20lass%20die%20Molek%C3%BCle%20rasen%E2%80%9C https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2019%2F09%2Fenzyklopaedie-der-neuen-musik-polychronia-bis-oeaioaossa-lass-die-molekuele-rasen%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Speziell \u2026 Violakonzert F\u00fcnf Romanzen Chagall-Zyklus I Ieratiki Poiisi Tetragrammaton Polychronia Klezmer-Suite Sellanraa Saudade B-A-C-H Belsazar Der Spinnerin Nachtlied \u00f6\u00e1\u00ed\u00f4\u00e1\u00f3\u00df\u00e1 \u2013 lass die Molek\u00fcle rasen A Blurring Cloud \u2013 Gesch\u00f6pfe der Fahrt schlafen, tr\u00e4umen, singen ohne Ufer, eine Einladung Zwei Herren aus Verona Falstaffiade Kleine Suite nach alter Art Eine [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Enzyklop%C3%A4die%20der%20Neuen%20Musik%3A%20%20%E2%80%9EPolychronia%E2%80%9C%20bis%20%E2%80%9E%C3%B6%C3%A1%C3%AD%C3%B4%C3%A1%C3%B3%C3%9F%C3%A1%20%E2%80%93%20lass%20die%20Molek%C3%BCle%20rasen%E2%80%9C 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src='https:\/\/secure.gravatar.com\/avatar\/c23aee426d58e69f14ef471114d4cac215eec702ee1bc331e2a62ea77e96ed60?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/c23aee426d58e69f14ef471114d4cac215eec702ee1bc331e2a62ea77e96ed60?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":8823,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2020\/07\/enzyklopaedie-der-neuen-musik-werke-kw-28-2020-ueo-bis-nach-oben-offen\/","url_meta":{"origin":8813,"position":0},"title":"Enzyklop\u00e4die der Neuen Musik: Werke KW 28\/2020 (\u201e\u00fc=\u00f8\u201c bis \u201eNach oben offen\u201c)","author":"der huflaikhan","date":"10. Juli 2020","format":false,"excerpt":"\u00a0 Moments musicaux III Vier gelbe Balladen Concerto lirico Aus der Matratzengruft Meyerbeer-Paraphrasen Lamento di Orlando Romanza e Danza Otaku Nation Clair-obscur Goldberg Vil Sturm & linde Zeit \u00fc=\u00f8 Tautologos IV BeethovEnBloc beethoven \u2013 innen wie au\u00dfen Schwankende Zeit Kammersymphonie A-Dur Zwei ernste Ges\u00e4nge und kehret zur Sonne zur\u00fcck Umrisszeichnung\u2026","rel":"","context":"In &quot;die Musik&quot;","block_context":{"text":"die Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/diemusik\/"},"img":{"alt_text":"Enzyklop\u00e4die der Neuen Musik: kw28_2020","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/07\/kw28_2020.png?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":8803,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2019\/06\/enzyklopaedie-der-neuen-musik-neues-werk\/","url_meta":{"origin":8813,"position":1},"title":"Enzyklop\u00e4die der Neuen Musik: \u201eNeues Werk\u201c","author":"der huflaikhan","date":"27. Juni 2019","format":false,"excerpt":"Eine Woche Neue Musik in Worten, Werken, St\u00fccken, Arbeiten und Taten. Vom 1.7. bis zum 7.7.2019 werden folgende Werke, St\u00fccke, Arbeiten im Rundfunk erklingen: \u201eBlasons anatomiques du corps f\u00e9minin\u201c \u201eMonumentum\/Palimpsest\u201c \u201eStreichquartett\u201c \u201eDrei Ges\u00e4nge\u201c \u201eMoments musicaux III\u201c \u201eSechs Lieder\u201c \u201eSpiegelung\u201c \u201eSellanraa\u201c \u201eSaudade\u201c \u201eCembalokonzert\u201c \u201eDivertimento\u201c \u201eZerst\u00f6ren\u201c \u201eNeues Werk\u201c \u201eGougalon\u201c \u201eApr\u00e8s une lecture\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8403,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2013\/07\/kleine-musiklehre-betroffenheitscluster\/","url_meta":{"origin":8813,"position":2},"title":"Kleine Musiklehre: Betroffenheitscluster","author":"der huflaikhan","date":"2. Juli 2013","format":false,"excerpt":"Betroffenheitscluster: Tontraube mit Vorhalt. Synthese aus barocker Figur und alter neuer Musik. Funktioniert vor allem zur musikalischen Untermalung in Fernsehen und Film.","rel":"","context":"In &quot;Enzyklop\u00e4die der Neuen Musik&quot;","block_context":{"text":"Enzyklop\u00e4die der Neuen Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/enzyklopaedie-der-neuen-musik\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8411,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2013\/12\/enzyklopaedie-der-neuen-musik-schueler-von\/","url_meta":{"origin":8813,"position":3},"title":"Enzyklop\u00e4die der Neuen Musik: Sch\u00fcler von \u2026","author":"der huflaikhan","date":"4. Dezember 2013","format":false,"excerpt":"Seit Jahrhunderten eine einge\u00fcbte Sache. Komponisten outen sich als \u201eSch\u00fcler von und zu\u201c. Etikett druff und fertig. a) W\u00fcrde mich mal interessieren, welcher KomponistIn mal sagt: Leider! Das war K\u00e4se bei XXX oder etwas in der Art. Und b) Warum? Gew\u00e4hlt oder auserw\u00e4hlt, oder beides? Ich oute mich auch gleich\u2026","rel":"","context":"In &quot;die Musik&quot;","block_context":{"text":"die Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/diemusik\/"},"img":{"alt_text":"Mein Vater 1992.","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2005\/12\/20051201-kurt-hufner.jpg?fit=500%2C355&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8812,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2019\/09\/enzyklopaedie-der-neuen-musik-tautochronie-mensch-und-maschine\/","url_meta":{"origin":8813,"position":4},"title":"Enzyklop\u00e4die der Neuen Musik: \u201eTautochronie\u201c &#038; \u201eMensch und Maschine\u201c","author":"der huflaikhan","date":"10. September 2019","format":false,"excerpt":"Eine neue Woche mit Neuer Musik im Radio. Hier Kalenderwoche 38 (16. bis 22. September) 2019. Ein Titel stammt dabei aus meiner Feder \"op.3 g f\u00fcr Violine und Tonband\" wars glaube ich. Da ich aber vollst\u00e4ndig chronophob (oder war es phonophob, Herr Doktor?) bin, traue ich mich auch nicht zu\u2026","rel":"","context":"In &quot;die Musik&quot;","block_context":{"text":"die Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/diemusik\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":9728,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2024\/05\/enzyklopaedie-der-neuen-musik-sehr-schwer\/","url_meta":{"origin":8813,"position":5},"title":"Enzyklop\u00e4die der Neuen Musik: \u201eSehr schwer \u2026\u201c","author":"der huflaikhan","date":"27. Mai 2024","format":false,"excerpt":"Warum muss so viel Musik so schwer sein, rein technisch gesehen? Ist das ein Kriterium, um als gut wahrgenommen zu werden? Stellt man sich damit nicht ein Bein, unn\u00f6tigerweise. Man stelle sich das mal in der Literatur vor. Eben!","rel":"","context":"In &quot;Enzyklop\u00e4die der Neuen Musik&quot;","block_context":{"text":"Enzyklop\u00e4die der Neuen Musik","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/enzyklopaedie-der-neuen-musik\/"},"img":{"alt_text":"2024 05 rez neue partituren","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/05\/2024_05_rez_neue_partituren-scaled.jpg?fit=1200%2C939&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/05\/2024_05_rez_neue_partituren-scaled.jpg?fit=1200%2C939&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/05\/2024_05_rez_neue_partituren-scaled.jpg?fit=1200%2C939&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/05\/2024_05_rez_neue_partituren-scaled.jpg?fit=1200%2C939&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/05\/2024_05_rez_neue_partituren-scaled.jpg?fit=1200%2C939&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8813","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=8813"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8813\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/1932"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=8813"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=8813"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=8813"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}