And spit-clang is when you got too much oomph to it, no?
M.
"David Tayler" <[EMAIL PROTECTED]> schrieb:
> I thought Spaetklang was when you can't keep the tempo.
>
>
> d
>
>
> At 02:08 AM 9/30/2008, you wrote:
> > And Splatklang is when you don't quite manage to play that difficult
> > chord....
> >
> > P
> > 2008/9/30 "Mathias Roesel" <[EMAIL PROTECTED]>
> >
> > <[EMAIL PROTECTED]> schrieb:
> >
> > > So, is "Spaltklang" the equivalent of other 20th
> > > century ideas about older music, such as terraced
> > > dynamics?
> >
> > Trying to strictly answer your question: No.
> > The term is not an equivalent of ideas, not of other ideas, not of
> > other
> > 20th century ideas. Let alone terraced dynamics >;)
> > Spaltklang does not exclusively bear on Early Music ("older music"),
> > it
> > is applied on modern music, too, e. g. some ensemble music by
> > Stravinsky.
> > My I suggest that we do not dance around this golden name. It's not
> > worth it. It's just an attempt of a descriptive term.
> > Mathias
> >
> > > --- "Mathias Roesel" <[EMAIL PROTECTED]>
> > > wrote:
> > >
> > > > "howard posner" <[EMAIL PROTECTED]> schrieb:
> > > > > So if I understand correctly, the answer to my
> > > > question about who
> > > > > mentioned "Spaltklang" is that it was 20th-century
> > > > German
> > > > > musicologists interpreting the intent of earlier
> > > > musicians
> > > >
> > > > Yes >8)
> > > >
> > > > As it seems, Heinrich Besseler was the one to coin
> > > > the term.
> > > >
> > > > > I've never encountered an English term similar to
> > > > "Spaltklang."
> > > >
> > > > As results from discussions on other lists,
> > > > spaltklang wasn't translated
> > > > into English musicology. I was told that English
> > > > spaking scholars would
> > > > quote the German term, adding a short explanation.
> > > >
> > > > > It seems to me that Harnoncourt has nearly the
> > > > opposite opinion,
> > > > > writing that the baroque orchestra was like a
> > > > baroque organ, with the
> > > > > sounds of the individual instruments designed to
> > > > blend.
> > > >
> > > > Perhaps Mr Harnoncourt has changed his mind
> > > > somewhere on his way? At any
> > > > rate, that would be contrary to what he presented in
> > > > his book
> > > > "Klangrede" where he said that different colours and
> > > > speaking positions
> > > > in an orchestra (which is what qualifies as
> > > > spaltklang) are, so to say,
> > > > the salient points of baroque music.
> > > >
> > > > > He contrasts
> > > > > the modern orchestra, in which the instruments are
> > > > designed to stand
> > > > > out (consider, for example, the sharper tone of
> > > > the modern flute,
> > > > > oboe and trumpet, in comparison to their baroque
> > > > counterparts).
> > > >
> > > > Erm, are you talking about modern, i. e. romantic
> > > > orchestras? I was
> > > > under the impression that it's baroque instruments
> > > > which stand out, as
> > > > opposed to romantic instruments which are supposed
> > > > to blend.
> > > >
> > > > > BTW, what does "MGG" stand for?
> > > >
> > > > Musik in Geschichte und Gegenwart. It's a standard
> > > > lexicon of music,
> > > > comparable to the New Grove.
> > > > --
> > > > Mathias
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