Christian Utz
Biographic Data
| ID | 1609300 |
|---|---|
| NAME | Christian Utz |
| GIVEN NAMES | Christian |
| FAMILY NAME | Utz |
| SIGNATURE | UTZ C |
| AFFILIATIONS | University of Music and Performing Arts Graz |
| ORCID | 0000-0002-5528-8780 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Tunnel und Weitungen
This article takes its cue from Martin Kaltenecker’s thesis that during the 1980s a fundamental shift took place from the ideal of listening as a “critical structure” towards a performative listening that actively co-constitutes musical phenomena. This dichotomy is scrutinized from two perspectives. First, it is demonstrated that performative listening was already a crucial implicit motive in early periods of musical modernity, culminating in the…
Orientierungen im Klang
The Points of Discontinuity (PoD) research project explored temporal dimensions in listening strategies of post-tonal music. The study was guided by a morphosyntactic approach to musical perception and the hypothesis that performative, creative listening does not depend on a formal musical education, even in cases of highly complex musical structures. A large-scale listening experiment featured a total of 920 tasks: 23 instrumental and electronic…
Performative Form im ersten Satz von Gustav Mahlers Neunter Symphonie
The concept of “performative composition,” guided by his conducting experience, leads Gustav Mahler to implement variable tempo design as a formal principle in the first movement of his Ninth Symphony (1909-10). The Schoenberg student and conductor Erwin Stein, who held Mahler’s conducting in high esteem, argued that the movement’s tempo design, that is, the various tempi employed throughout the movement’s sections, should be oriented toward the …
Reimagining Formal Functions in Post-Tonal Music
Modernist concepts of temporality (“non-linear time”) are variously cross-related to conventional concepts and qualities of time (“linear time”) (Kramer 1988, 20–65). This is exemplified by Salvatore Sciarrino’s creative method, which reconciles more conventional elements of discursive organicist design (processes of accumulation, multiplication, and transformation) with strategies of rupture and formal deterioration (“little bang,” “window form”…
Zur Poetik und Interpretation des offenen Schlusses
This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open…
Shaping Form
Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Little Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form-shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the int…
Nonsimultaneity of the Simultaneous
Time-Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough
The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent research into the temporal qualities of musical perception. Taking three key works from the solo cello repertoire of the 1960s and '70s - Helmut Lachenmann'sPression, Iannis Xenakis'sNomos Alphaand Brian Ferneyhough'sTime and Motion Study II- as a basic co…
Lexikon Neue Musik
Die Neue Musik seit 1945. Das Lexikon zeigt, jenseits von ästhetischen Wertungen, den großen Facettenreichtum der Neuen Musik. In einem breit aufgefächerten lexikalischen Teil werden die Verästelungen
Lexikon Neue Musik
Paradoxien musikalischer Temporalität in der neueren Musikgeschichte
Im 20. Jahrhundert wird vor dem Hintergrund der ästhetischen Moderne eine umfassende "Emanzipation" von Klang und Zeit in der Musik projektiert. Dabei ist deutlich, dass eine "Befreiung" des Klangs von etablierten Klangbeziehungen bzw. von jeglicher metaphorischer Kausalität eng verbunden ist mit einer "Befreiung" der Zeit von "chronometrisch" organisierten oder dramaturgisch ausgestalteten Zeit-Konzepten. Bernd Alois Zimmermann hat mit seinen Üb…
Vocal Music and Contemporary Identities
Time-Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough
The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent research into the temporal qualities of musical perception. Taking three key works from the solo cello repertoire of the 1960s and '70s - Helmut Lachenmann'sPression, Iannis Xenakis'sNomos Alphaand Brian Ferneyhough'sTime and Motion Study II- as a basic co…
Vocal Music and Contemporary Identities
Paradoxien musikalischer Temporalität in der neueren Musikgeschichte
Im 20. Jahrhundert wird vor dem Hintergrund der ästhetischen Moderne eine umfassende "Emanzipation" von Klang und Zeit in der Musik projektiert. Dabei ist deutlich, dass eine "Befreiung" des Klangs von etablierten Klangbeziehungen bzw. von jeglicher metaphorischer Kausalität eng verbunden ist mit einer "Befreiung" der Zeit von "chronometrisch" organisierten oder dramaturgisch ausgestalteten Zeit-Konzepten. Bernd Alois Zimmermann hat mit seinen Üb…
Lexikon Neue Musik
Die Neue Musik seit 1945. Das Lexikon zeigt, jenseits von ästhetischen Wertungen, den großen Facettenreichtum der Neuen Musik. In einem breit aufgefächerten lexikalischen Teil werden die Verästelungen
Lexikon Neue Musik
Time-Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough
The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent research into the temporal qualities of musical perception. Taking three key works from the solo cello repertoire of the 1960s and '70s - Helmut Lachenmann'sPression, Iannis Xenakis'sNomos Alphaand Brian Ferneyhough'sTime and Motion Study II- as a basic co…
Nonsimultaneity of the Simultaneous
Zur Poetik und Interpretation des offenen Schlusses
This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open…
Shaping Form
Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Little Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form-shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the int…
Performative Form im ersten Satz von Gustav Mahlers Neunter Symphonie
The concept of “performative composition,” guided by his conducting experience, leads Gustav Mahler to implement variable tempo design as a formal principle in the first movement of his Ninth Symphony (1909-10). The Schoenberg student and conductor Erwin Stein, who held Mahler’s conducting in high esteem, argued that the movement’s tempo design, that is, the various tempi employed throughout the movement’s sections, should be oriented toward the …
Reimagining Formal Functions in Post-Tonal Music
Modernist concepts of temporality (“non-linear time”) are variously cross-related to conventional concepts and qualities of time (“linear time”) (Kramer 1988, 20–65). This is exemplified by Salvatore Sciarrino’s creative method, which reconciles more conventional elements of discursive organicist design (processes of accumulation, multiplication, and transformation) with strategies of rupture and formal deterioration (“little bang,” “window form”…
Tunnel und Weitungen
This article takes its cue from Martin Kaltenecker’s thesis that during the 1980s a fundamental shift took place from the ideal of listening as a “critical structure” towards a performative listening that actively co-constitutes musical phenomena. This dichotomy is scrutinized from two perspectives. First, it is demonstrated that performative listening was already a crucial implicit motive in early periods of musical modernity, culminating in the…
Orientierungen im Klang
The Points of Discontinuity (PoD) research project explored temporal dimensions in listening strategies of post-tonal music. The study was guided by a morphosyntactic approach to musical perception and the hypothesis that performative, creative listening does not depend on a formal musical education, even in cases of highly complex musical structures. A large-scale listening experiment featured a total of 920 tasks: 23 instrumental and electronic…
Musicology and Musical Analysis (10 works) · Art (8 works) · Philosophy (5 works) · Art history (4 works) · Music Technology and Sound Studies (4 works) · Neuroscience and Music Perception (4 works) · Aesthetics (3 works) · Arts, Culture, and Music Studies (3 works) · Humanities (3 works) · Linguistics (3 works)