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The new edition of Truslit’s “Gestaltung und Bewegung in der Musik”

After Michael Haverkamp and I decided to release a reprint of Truslit’s book “Shaping and Motion in Music” we found in the publisher Wißner and its team the best partners we could have for this project. The preparation of the edition took us more than a year. But in the end the new edition became without exaggeration a perfect masterpiece of a reprint.
It was important for us that the new edition excited the same impressions as the original book. When you hold the original slipcase in your hands containing the three gramophone records, the book with all its removable plates and the extra music book, you immediately recognize that it is something very special and unique.reprint
The design and equipment of the new edition perfectly repeats this impression. The hardcover print is handsome and the extra folder surprises and astonishes containing not only a CD but also a DVD and two extra books, one with curves and audio waves, another with scores. Of course this edition is as unique as the original.
So the book’s concept was, and still is, that the reader is an explorer of something documented with text, scores and records, something that he should explore not only with his mind but also with his ears, motions and kinaesthetic sense by switching from one medium to another.
Many thanks again to Mr. Lamey, Mr. Schmid and Mrs. Schwenk from the publisher Wißner for their perfect work. And thank you Michael Haverkamp for the initial idea of bringing this reprint together.

For all who don’t have the new edition yet, here is a link to the publisher and the description of the edition:

The lifework of Alexander Truslit (1889–1971) on the connection between music and motion is unique in many ways. His approach to understanding musical shaping and perception through motion and connecting them with the body is as exceptional as his various engagements with and extensive presentations of the topic. His far reaching claims are fascinating due to their authenticity and are of great interest for music education and musicology as well as in terms of research on synaesthesia and the multi-sensuality of perception.
Truslit’s work has quite recently been rediscovered and its meaning realized. Now, nearly 80 years after the first printing, this new edition of his book “Gestaltung und Bewegung in der Musik” (“Shaping and Motion in Music”) makes Truslit’s magnum opus once more available to its fullest extent. The actual reprint is preceded by two comprehensive introductory prefaces by the editors and Truslit-experts Hans Brandner and Michael Haverkamp in German and English. The edition contains the original music and footage and publishes Truslit’s educational film “Musik und Bewegung” (“Music and Motion”), as well as a recently discovered film fragment for the first time, including English subtitles.

I am really curious about how Truslit’s work will be received in this second chance.


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