On abstract and ‘absolute’ music, Eduard Hanslick's auditory kaleidoscope, Heinrich Schenker's primal counterpoint, and Bach's fugues.

With a written appendix: ‘Art playing with itself’: the anti-contrapuntal prejudice. https://lodewijkmuns.nl/2024/12/31/counterpoint/












Music fragments:



16.33 J.S. Bach, Präludium F dur BWV 880, Das wohltemperierte Klavier II nr. 11



Lodewijk Muns, piano

References: see https://lodewijkmuns.nl/2024/12/31/counterpoint/#references

Complementarity: harmony and counterpoint

Bach: Prelude and fugue in F major BWV 880

J.S. Bach, Sinfonia (Three-part Invention) Nr. 1 BWV 787

Melody and harmonisations (Google doodle)

J.S. Bach, Contrapunctus I, Die Kunst der Fuge BWV 1080

H. Schenker, Zweistimmige Invention op. 5 nr. 1

J.S. Bach, Präludium und Fuge F dur BWV 880, Das wohltemperierte Klavier II nr. 11

Where does that music come from? – On music and film (1)

Lodewijk Muns, musicologist, composer and pianist, discusses topics such as music and memory, music and language, and the limits of music, with the piano at his fingertips.

Beyond the Bony Labyrinth: because the sound that enters our ears only becomes music when we recognize it. Music appeals to our memory, emotions, imagination, and capacity for language.

Philosophy: because it deals with the connections between music and other aspects of life, with clarification, and dispelling smoke screens.

This is the English version of the Dutch podcast Voorbij de oren.

Making this podcast takes some inspiration, a lot of enthusiastic labour, a lifetime of experience and a bit of money. If you’re interested, please consider making a donation. It will help to continue the podcast and means a great incentive for the author.