Musik als Sprache, oder strukturalistisches Denken in der Musik am Beispiel Pierre Boulez
Music as language, or structuralist thinking in music using the example of Pierre Boulez

Summary/Abstract: Hardly any other term was as heavily used in literature about music in the 1950s and 1960s as the term structure. Structure became the key word in writing about music. In an almost precarious contrast to the prevailing consensus that Boulez's works are structurally particularly complex, attempts at definition are often neglected. What is striking is the reluctance with which Boulez's musical thinking is associated with the concept of structuralism - despite clear references from the composer. Boulez's own approach to the concept of structure, which runs through his entire writing in a variety of ways, will be outlined here. The topic of music as a language, which Boulez has also been concerned with since the beginning of his composing, will also be briefly addressed. The influence that structuralism, which comes from linguistics, has on Boulez's work and his thinking should be understood through a more detailed analysis of Boulez's writings.

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