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Jahrhunderts an einem Beispiel aus dem Stuttgarter Hoftheater}, DOI={<a href=\"https://doi.org/10.52412/mf.2005.H2.615 \">10.52412/mf.2005.H2.615 </a>}, number={58}, journal={Die Musikforschung}, author={Münzmay, Andreas}, year={2005}, pages={113–130} }","apa":"Münzmay, A. (2005). ‘Der Glöckner von Notre-Dame’. Spielräume und Problematik der Schauspielmusikpraxis um die Mitte des 19. Jahrhunderts an einem Beispiel aus dem Stuttgarter Hoftheater. <i>Die Musikforschung</i>, <i>58</i>, 113–130. <a href=\"https://doi.org/10.52412/mf.2005.H2.615 \">https://doi.org/10.52412/mf.2005.H2.615 </a>","ieee":"A. Münzmay, “‘Der Glöckner von Notre-Dame’. Spielräume und Problematik der Schauspielmusikpraxis um die Mitte des 19. Jahrhunderts an einem Beispiel aus dem Stuttgarter Hoftheater,” <i>Die Musikforschung</i>, no. 58, pp. 113–130, 2005, doi: <a href=\"https://doi.org/10.52412/mf.2005.H2.615 \">10.52412/mf.2005.H2.615 </a>.","short":"A. Münzmay, Die Musikforschung (2005) 113–130.","chicago":"Münzmay, Andreas. “‘Der Glöckner von Notre-Dame’. Spielräume und Problematik der Schauspielmusikpraxis um die Mitte des 19. Jahrhunderts an einem Beispiel aus dem Stuttgarter Hoftheater.” <i>Die Musikforschung</i>, no. 58 (2005): 113–30. <a href=\"https://doi.org/10.52412/mf.2005.H2.615 \">https://doi.org/10.52412/mf.2005.H2.615 </a>."},"quality_controlled":"1","page":"113 - 130","_id":"49973","user_id":"61139","status":"public","date_created":"2023-12-20T15:15:05Z","type":"journal_article","keyword":["Schauspielmusik","Charlotte Birch-Pfeiffer","Victor Hugo","Friedrich Siber"],"department":[{"_id":"572"}],"issue":"58","publication":"Die Musikforschung","abstract":[{"lang":"ger","text":"Die aktuelle Schauspielmusikforschung unterscheidet textbezogene, die Handlung begleitende oder kommentierend ergänzende Schauspielmusik von sogenannter Rahmenmusik, die nicht spezifisch auf die Handlung Bezug nimmt (Ouvertüren, Zwischenakts- oder Schlussmusiken). Als aus einer breiten Schauspielmusikpraxis herausgegriffenes Beispiel zeigt die umfangreiche Musik zu \"Der Glöckner von Notre-Dame\" (Schauspiel von Charlotte Birch-Pfeiffer nach Victor Hugo) des Hofmusikers Friedrich Siber (Stuttgart 1849) jedoch, dass diese Bereiche nicht getrennt voneinander zu denken sind; vielmehr bestimmte offenbar die Rezeptionshaltung gegenüber Rahmenmusik auch die Aufführungs- und Rezeptionsbedingungen textbezogener Schauspielmusik maßgeblich mit. Analysiert wird Sibers Partitur und ihr Verhältnis zu Birch-Pfeiffers Text im Vergleich zur vorausgehenden Vertonung von Wilhelm Hermann Cläpius (Berlin 1835), die in konventioneller Weise auf dramaturgisch motivierte Bühnenmusik beschränkt bleibt. (Autor)"}],"extern":"1","main_file_link":[{"open_access":"1","url":"https://journals.qucosa.de/mf/article/view/615/2477"}],"language":[{"iso":"ger"}],"doi":"10.52412/mf.2005.H2.615 ","title":"‘Der Glöckner von Notre-Dame’. 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