Publikationssprachen der DISSONANCE sind Deutsch, Englisch, Französisch und Italienisch. Alle Artikel werden in ihrer Originalsprache publiziert, zu den Hauptartikeln stehen jedoch Abstracts in allen vier Sprachen zur Verfügung. Durch manuelle Sprachwahl können Sie sich zwar allgemeine Inhalte dieser Webseite in der gewünschten Sprache anzeigen lassen, die Artikel werden jedoch weiterhin in ihrer Originalsprache erscheinen.

   

Les langues de publication de DISSONANCE sont l'allemand, l'anglais, le français et l'italien. Tous les articles seront publiés dans la langue originale de rédaction, avec, pour les articles principaux, des abstracts à disposition dans les quatre langues. Cette page Web dispose de quatre langues à choix, et son contenu s'affiche dans la langue choisie. Les articles, toutefois, apparaissent toujours dans leur langue originale respective.

   

La rivista DISSONANCE pubblica in lingua Francese, Inglese, Italiana e Tedesca. Gli articoli sono accessibili in lingua originale, tuttavia per quelli principali sono previsti Abstracts nelle quattro lingue di pubblicazione. Grazie alla selezione manuale della lingua è possibile visualizzare i contenuti generali di questo sito Web nella lingua desiderata mentre gli articoli resteranno comunque disponibili in lingua originale.

   

Languages of publication of DISSONANCE are English, French, German, and Italian. All articles are published in their original language, the main articles being complemented by abstracts in all four languages. Manual language choice allows you to display this web page in the desired language. However, the articles always remain in their original language.

   

Representer Benjamin II

Brian Ferneyhough and the Aesthetic of the Moment

In this text, Lois Fitch expands her exploration of the links between Benjamin and Ferneyhough, focussing on the latter’s later work (through pieces such as Plötzlichkeit, Chronos-Aion, the Sixth Quartet, Exordium, Liber Scintillarum or Finis Terrae). Just as in the first part (dissonance 122), one is again confronted with the question of musical time, in connection with the Benjaminian Jetztzeit, in the elaboration of a musical discourse based on very short successive moments.