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76<br />
i sin femte symfoni. Dette var løsningen. Solisten skulle sidde inde i orkestret <strong>og</strong> fungere<br />
som en slags klangport for tilhøreren ind i orkesterteksturen«. Citeret fra Svend Ravnkilde<br />
(ed.). Nordiske Musikdage København 20.-27. oktober 1984. Pr<strong>og</strong>ramb<strong>og</strong> udgivet af Dansk<br />
Komponistforening, København 1984. Upagineret.<br />
15. Impulse der Forschung bd. 28. Wissenschaftliche Buchgesellschaft, Darmstadt 1972, hvorfra<br />
fig. 2 stammer (s. 15).<br />
16. Op. cit. s. 7.<br />
17. Philip Tagg, Kojak: 50 seconds of television music: towards the analysis of affect in popular<br />
music. Goteborg 1979.<br />
18. Ballade 1984 nr. 2 s. 27, jfr. note 13.<br />
19. Jfr. note 14.<br />
20. Takttallene forvirrer her, fordi tempoet i 2. halvdel er langsommere end i 1.<br />
21. Op. cit. kap. 2 <strong>og</strong> 3.<br />
22. Jfr. Jirånek, op. cit. s. 92 f, hvis karakterisering af stilintonationen er parafraseret her.<br />
23. Dorothy L. Sayers »The Nine Taylors« er Poul Ruders inspiration til at bruge systemet.<br />
24. Carl Dahlhaus: Neues Handbuch der Musikwissenschaft bd. 6, Die Musik des 19. Jahrhunderts,<br />
Wiesbaden 1980 s. 126.<br />
25. Sozialgeschichte der Kunst und Literatur, Miinchen 1975, s. 998.<br />
26. Die Formbildenden Tendenzen der Harrnonie. Mainz 1957 s. 190.<br />
27. Umberto Eco: Efterskrift til 'Rosens navn' oversat af Nina Gross. København 1985 s. 65 ff.<br />
Summary<br />
Proceeding from the author's article »Towards a post-modem aesthetic of music« (Musik <strong>og</strong><br />
Forskning no. 10), the present article discusses music as material and as language. Some of the<br />
theories of semiotics of music are critizised with respect to their application to sonol<strong>og</strong>y of music<br />
with special regard to Olav Anton Thommessen's work at the Norwegian Academy of Music,<br />
and the theory of intonation is recommended as a more appropriate way of treating the dialectic<br />
relations between material and language in postmodem music.<br />
After these theoretical considerations, the article analyses two post-modem orchestral works:<br />
Olav Anton Thommessen's »Beyond Neon« (1982) and Poul Ruders, »Manhattan Abstraction«<br />
(1981-82) and discusses their aesthetical approach to post-modemism.
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