Siglind Bruhn: Articles in Scholarly Journals

 

 

 

 

 

 

button-education

button-positions
button-publications
books
editions
chapters
articles
Interplay
button-conferences
button-performances
button-life
home

 

 



2013 “Wortlose Evokation des Liturgischen: Jörg Widmanns Messe für großes Orchester,” Musik & Kirche 2013/2: 124-129.
2012
“Tröstliches Ende in der Stille: Iris Szeghys Kantate Menschheit in Bern,” Musik & Kirche 2012/4: 294-295.
2011
“The Brightness of Eternal Light: Olivier Messiaen’s Oratorio on the Transfiguration,” Yale Institute of Sacred Music Colloquium Journal vol. 6
2010
“Plötzlich bricht der große Tag des Herrn herein,” Musik und Kirche 2010/5, Thema Apokalypse (Kassel: Bärenreiter): 3284-333.
2010
“Explorations of Universal Order and Beauty in Paul Hindemith’s Symphony ‘Die Harmonie der Welt’,” Nordic Journal of Aesthetics 39: 80-99.
2008
“Traces of a Thomistic De musica in the Compositions of Olivier Messiaen,” Logos: A Journal of Catholic Thought and Culture 11/4:
2008
“Le langage musical d’Olivier Messiaen, signifiant de l’ineffable,” Prétentaine 23/24 (Devenir Musique: Musiques contemporaines, contemporanéités des musiques): 163-185.
2008
“La Nativité: Messiaens Werke zur Geburt Christi als Quelle seines muisktheologischen Schaffens,” Musik und Kirche 2008/4, Thema Olivier Messiaen (Kassel: Bärenreiter): 244-248.
2007

“Die Verwandlung in Olivier Messiaens Oratorium La Transfiguration de Notre-Seigneur Jesus-Christ,” in Verwandlungsmusik. Über Komponierte Transfigurationen, Andreas Dorschel, ed. (Vienna: Universal Edition): 485-524.

2007 “Jesus and Satan in Moscow: Three Late-20th-century Operas on Bulgakov’s Novel,” The Journal of Music and Meaning 4 (Winter 2007), section 2. (read online)
2007
“The Continuing Fascination with Orpheus: A Review of Two Recent Essay Collections,” Le Paon d’Héra / Hera’s Peacock (Éditions du Murmure): 199-208.
2006
“‘Sie entsteht aus dem Maß und wurzelt in dem großen Einen’: Musik als Inhalt, Form und Metapher in Hesses kastalischer Utopie,” in Mauro Ponzi, ed., Hermann-Hesse-Jahrbuch 3 (Tübingen: Niemeyer): 95-120.
2006 In the Arms of Lady Death: Musical Signification in Gottfried von Einem’s Opera Jesu Hochzeit (Jesus’ Wedding),The Journal of Music and Meaning 3 (Fall 2004/Winter 2005), section 3. (read online)
2005 “Die Macht der Musik in Hermann Hesses Glasperlenspiel,” in Musik & Aesthetik 37 (fall 2005) (Stuttgart: Klett-Cotta): 5-25.
2004 “Keplers Gedankenwelt in Hindemiths Musik,” in Hindemith-Jahrbuch 2004/XXXIII (Mainz: Schott): 54-122.
2004 “Christus als Opernheld,” in Musik & Kirche May/June 2004 (Kassel: Bärenreiter): 173-179.
2002 “Heilige im Rampenlicht. Darstellung religiöser Lebensausrichtung auf der Opernbühne seit 1945,” in Musik & Kirche May/June 2002 (Kassel: Bärenreiter): 158-165.

2001

“A Concert of Paintings: ‘Musical Ekphrasis’ in the Twentieth Century,” Poetics Today 22:3 (Fall 2001): 551-605.

2000 “Aesthetic Symbiosis and Spiritual Quest: Grünewald’s Isenheim Altarpiece in Hindemith's Opera Mathis der Maler,
Analecta Husserliana 63: The Orchestration of the Arts: 17-51
2000 “Paul Klee in sinfonischer Transmedialisierung,” Kunstpunkt 19: 26-27.
1998 “Religious Symbolism in the Music of Olivier Messiaen,” Signs in Musical Hermeneutics [The American Journal of Semiotics 13/1-4]: 269-301.
1997 “The Ghost in the Bedchamber: Aloysius Bertrand's Poem Scarbo in Gaspard de la nuit and Maurice Ravel’s Musical Realization,” Studia Musicologica Norvegica 22: 23-48.
1997 “Der Kaiser von Atlantis in Terezín: Kunst als politische Provokation,” Kunstpunkt 14: 18-19
1996 “Béla Bartók Composes the Third Movement to his Piano Suite: A Fairy Tale From Music Land,” Symmetry: Culture and Science 7/ 4:377-393.
1996 “Symmetry and Dissymmetry in Paul Hindemith’s Ludus Tonalis,” Symmetry: Culture and Science 7/2: 116-132.
1995 “The Exchange of Natures and the Nature(s) of Time: Two of Messiaen’s créatures immatérielles et symboliques Looking Upon the Infant Jesus,” Twentieth Century Music 9/1995: 1-5 and 10/1995: 7-12. 
1994 “Patterned Time: Boris Blacher's Play with Variable Meters,” Symmetry: Culture and Science 5/4: 287-302.
1992 “Symmetry and Irreversibility in the musical language(s) of the twentieth century,” Symmetry: Culture and Science 3/2: 187-200.
1992 “Symbolic Representations of Divine Attributes in the Musical Language of Olivier Messiaen, Exemplified in his Piano Cycle Vingt Regards sur lEnfant-Jésus,” Symmetry: Culture and Science 3/4.
1990 “The Socratic Approach to Teaching Music,” in Music Education: Facing the Future: Proceedings of the 19th World Conference of the International Society for Music Education: 43-52.
1990  “Re-considering the Teacher-Student Relationship in the Training of the Professional Musician,” International Journal of Music Education 16: 13-22. 
1990 “Some Thoughts on Music Competitions for Children,” Newsletter, Hong Kong Piano Teachers Association 3: 4-6.
1988 “Training our students to speak the language of music,” Proceedings of the Tokyo Seminar on the Education of the Professional Musician. Published by the International Society for Music Education: 63-74.
1988 “Piano Education in Hong Kong,” Newsletter, Hong Kong Society for Music Education: 6-8.
1986 “Kurt Weill’s Violin Concerto,” MELOS, Vierteljahresschrift für zeitgenössische Musik 2: 84-105.