Rhythm & Meter in Sigfrid Karg-Elertʼs Work

Abstract
Sigfrid Karg-Elert is well known as a polaristic theorist who adhered more closely to the theory of A. v. Oettingen than Riemann did. Alongside his theoretical works about harmony, Karg-Elert also aimed to deal with musical elements such as form, rhythm and meter. But these attempts convey no more than sketches and airy hints.
The contribution concentrates on the question of how Karg-Elert would have elaborated a theory of rhythm and meter. The (re)construction of his thoughts in this direction begs an explication of contemporary theories and their possible connection with Karg-Elert (e.g. Gustav Becking, Ernst Kurth, Paul Schenk, and Fritz Reuter).
Finally, the relationship of Karg-Elert’s rhythmic-metrical thinking to that of Riemann’s—his powerful rival in Leipzig—is hypothetically suggested through an analysis of Karg-Elert’s compositions.

Key words
Becking, Gustav; Karg-Elert, Sigfrid; Kurth, Ernst; Reuter, Fritz; Riemann, Hugo; Schenk, Paul; metre; rhythm; polarism; dualism.

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