German Culture News Tive, Raising Questions About the Heinrich Jöst in 1941

Total Page:16

File Type:pdf, Size:1020Kb

German Culture News Tive, Raising Questions About the Heinrich Jöst in 1941 GermanGerman CultureCulture NewsNews Cornell University Institute for German Cultural Studies Spring 2005 Vol. XIII No. II In This Issue: Visualizing the Holocaust: Conferences Visualizing the Holocaust Taboos and Potentialities ent recognition of his mother’s the narrative created by the book Aesthetics of War Erica Doerhoff Josh Dittrich face in a pseudo-documentary in which the photographs first ap- Melanie Steiner about Theresienstadt produced peared, Im Ghetto von Warschau: Colloquium Series by the Nazis. Prager suggested Heinrich Jösts Photographien, The Most Powerful This conference stemmed from a DAAD summer seminar on this that these two passages represent published in 2001. This book, Bank to the Power of Sebald’s attempts to come to which was edited by Günther the Better Argument topic led by David Bathrick in 2003 and was an opportunity for terms with the complex terrain Schwarberg, organizes the photo- seminar participants to recon- of post-memory and the aesthetic graphs and includes captions that Encyclopedic dilemmas raised by perpetrator were derived from a 1983 inter- Aesthetics vene and present papers inspired by the seminar. The conference photography. Prager argued that view with Jöst. Magilow argued explored the questions raised by by not reproducing the photo- that “by reading Heinrich Jöst’s The Terror of graph of the Lodz ghetto that photographs not simply as a cata- Reproduction visualizations of the Holocaust through four panels with the he describes in The Emigrants, logue of thematically linked but Sebald subscribed to the often- autonomous atrocity photographs Another Hidden following themes: “In the Begin- ning was the Photo: Exploring discussed “Bilderverbot” on Ho- from 1941 but instead as a heav- Dialogue: Schmitt and locaust images. Prager suggested ily mediated photo-essay [...] one Morgenthau the Power of the Indexical”; “Postmemorial Reception of the that Sebald presented a more can better understand some of the Traumatic Event”; “Mimesis and nuanced response to the problem tensions inherent to categorizing German–American of perpetrator photography in Holocaust photographs.” Ma- Relations after 9/11 Narrative”; and “Mass Cultural Representations of a Traumatic Austerlitz. Prager read Sebald’s gilow presented an interpretation Past.” description of the protagonist’s of the book as a “narrative that Also viewing of the Theresienstadt […] produces a story of an old Hannah Arendt In the Beginning film as a complex engagement man who revisits the Holocaust Symposium with the processes of identifica- and recognizes his responsibility was the Photo: tion and fantasy that are inher- for it,” while also recognizing Interview with Stefan Exploring the Power ent the viewer’s relationship to that the photo essay is an “open Beuse of the Indexical perpetrator images. work” that resists interpretive The morning session featured Daniel Magilow’s paper, “The closure. —E.D. Kluge/Müller papers by Brad Prager (Univer- Flaneuer in the Necropolis: Hein- Digitization Project sity of Missouri-Columbia) and rich Jöst’s Warsaw Ghetto Pho- Daniel H. Magilow (University tographs,” examined a collection Postmemorial of North Texas). Both papers of photographs of the Warsaw Reception of the considered the relationship Ghetto taken by the Wehrmacht Traumatic Event between photographs and narra- officer and amateur photographer The Friday afternoon session, German Culture News tive, raising questions about the Heinrich Jöst in 1941. Magilow moderated by Cornell’s Michael Cornell University IGCS status of perpetrator photography. outlined two approaches for Steinberg (History), sought to 726 University Avenue Prager’s paper, “The Anti-Nostal- reading Jöst’s photographs, both explore the role of trauma in the Ithaca, NY 14850 gic Gaze: Against Liberating Per- of which he considered to be transmission of memory. phone: 607/ 255-8408 petrator Photographs from Their problematic. He argued that read- Elke Heckner (University of email: [email protected] Holocaust Narratives,” focused ing Jöst as an innocent bystander Oregon) discussed the possi- on the relationship between nar- “comes across as at best naïve bilities and limits of second-gen- rative and image in the writings and at worst revisionist,” while eration approaches to Holocaust Peter U. Hohendahl, Director of W.G. Sebald. Prager analyzed understanding Jöst exclusively memory, stressing in particular Robin Fostel, Editor & Designer two key passages in Sebald: in as a perpetrator “too comfortably the dangers of the identificatory The Emigrants, a description of marginalizes him as an inhuman pedagogy promoted by many Ho- Sean Franzel, Photographer & a photograph of the Lodz ghetto monster who shares nothing with locaust museums. In her paper, Graduate Student Coordinator taken by the German accountant his critics.” Magilow’s interpre- “Whose Trauma is it? Identifica- Casey Servais, Copy Editor Walter Genewein; and in Aus- tation avoided this dilemma by tion and Secondary Witnessing terlitz, the protagonist’s appar- providing a nuanced reading of in the Age of Post-Memory,” Visual representations of the Holocaust have proven to be an absolutely integral, but also highly contested means by which to understand and remember the Nazi atrocities of World War II. Beginning with the black and white photographic images emerging from the camps in the spring of 1945, these and later medial visualizations served for some as virtual access to knowledge of the horror; in a few cases, even preeminent verification that it actually hap- pened. Yet coincident with the evidentiary or even iconical certitude these images might seem to convey, there have also arisen intense concerns about the propriety, in some cases even the possibility of visually representing this event. This conference explored the dos and don’ts, the limits and the transgressions, the aesthetic quandaries and attempted solutions which have marked some of the discursive and artistic controversies within the area of Holocaust visual- ization. Key questions included the following: In what ways have images of the Shoah facilitated or inhibited our understanding of it? What are the potentialities Andreas Huyssen (Columbia Uni- and limitations of different visual media (photo, versity); Anson Rabinbach (Princ- film, comic book, painting, architecture, poem, eton University); & conference organizer, David Bathrick novel), aesthetic styles (realism, modernism, postmodernism), or genres (melodrama, comedy, documentary), as made ap- parent in their memorializations of the Holocaust? How have the debates about and practices of Holocaust visualization changed over the years in tandem with postme- morialization? —David Bathrick Holocaust testimony. Based on on images, often invoking the 500 hours of original documen- “unrepresentability” of the Ho- tary footage of the trial shot by locaust. In Ball’s view, however, Leo Hurwitz, Eyan Sivan’s 1999 this reaction speaks not to a de- film The Specialist communi- sire to protect the integrity of the cates the emotional dimension of victims, but rather to a desire to the trial by including the outcries distance oneself from the geno- from members of the audience cide by elevating and sacralizing that are otherwise not considered it. Ball furthermore suggested part of the trial. Although Sivan that the German embrace of this has been attacked for splicing negative aesthetic, expressed together pieces of the foot- via the notion of authenticity, is age and thereby manufacturing closely connected to the mecha- interactions that never occurred, nisms of repression. Referencing Buerkle, who does not read the the Freudian concept of the ego- film as a documentary, concluded ideal, Ball proposed the concept that the film nevertheless suc- of a memory-ideal—a super- Darcy Buerkle (Smith College) & Eric Kligerman ceeded in documenting the affec- egoic memory composite. In the (University of Florida-Gainsville) tive dimension of the trial for the case of Germans, this would be first time, thereby serving as the the “internal idealized locus of a Heckner analysed Marianne forbidding an identification with visual corollary to Arendt’s text. diffuse anticipation of how other Hirsch’s theory of “postmemo- the individual victim. In Libes- Karyn Ball (University of groups…expect Germans to ry.” Although “postmemory” is kind’s Jewish Museum in Berlin, Alberta) closed the first day of remember and mourn the Holo- distinct from original survivor Heckner suggested, identification the conference with her paper, caust.” In the case of the negative memory, the concept suggests and empathy—processes vital for “The Remediation of ‘Authen- aesthetic, then, Germans adhere the possibility of identification Hirsch—are suspended; trauma is tic’ Memory in the German to a memory-ideal that is repres- with the traumatized victim, not “built up.” Heckner conclud- Reception of Steven Spielberg’s sive insofar as it allows Germans because it involves “an affec- ed that Libeskind, unlike Hirsch, Schindler’s List”. Ball started by to view only “authentic” material tive-empathetic…interiorizing succeeds in proposing a memory describing the German public’s of the Holocaust, material that model” of transmitting Holocaust model which, because it avoids self-consciousness about the fact is in any event “unpleasurable.” memory between generations. the pitfalls of identification, is that it was being closely watched Ball concluded that this memory- Postmemorial perception of the future-oriented. Libeskind, then, by the world
Recommended publications
  • Aspects of Adorno's Theory of Musical Form
    Durham E-Theses Aspects of Adorno's Theory of Musical Form WEDLER, SEBASTIAN How to cite: WEDLER, SEBASTIAN (2013) Aspects of Adorno's Theory of Musical Form, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7763/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ASPECTS OF ADORNO’S THEORY OF MUSICAL FORM By Sebastian Wedler ABSTRACT This dissertation puts forward a musicologically-interested but philosophically- orientated reading of Adorno’s concept of musical form, building from his critique of the traditional ‘Formenlehre’ seen in the light of his idiosyncratic self- reflexive notion of musical form, and culminating in his idea of a ‘musique informelle’ and his proposed ‘material theory of musical form’ (materiale Formenlehre der Musik). Adorno criticised the traditional ‘Formenlehre’ at a fundamental level for its ahistorical and reductionist assumptions.
    [Show full text]
  • The Role of Music in European Integration Discourses on Intellectual Europe
    The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations.
    [Show full text]
  • Musicology Today Journal of the National University of Music Bucharest
    Musicology Today Journal of the National University of Music Bucharest Volume 7 Issue 2 (26) April-June 2016 Title: Laudatio for Professor Hermann Danuser Author: Valentina Sandu-Dediu E-mail: Source: Musicology Today: Journal of the National University of Music Bucharest / Volume 7 / Issue 2 (26) / April-June 2016, pp 147-151 Link to this article: musicologytoday.ro/26/MT26laudationesDanuserSanduDediu.pdf How to cite this article: Valentina Sandu-Dediu, “Laudatio for Professor Hermann Danuser”, Musicology Today: Journal of the National University of Music Bucharest, 7/2 (26) (2016), 147-151. Published by: Editura Universității Naționale de Muzică București Musicology Today: Journal of the National University of Music Bucharest is indexed by EBSCO, RILM, and ERIH PLUS Laudationes Laudatio for Professor Hermann Danuser Festive Meeting of the National University of Music Senate. Bucharest, November 3rd, 2014 ike many of my colleagues (composers and musicologists, alike), I was permanently obsessed – before 1990 – with being in tune with Western Ltrends. Foreign publications were hard to come by, as we did not enjoy the right to travel and freely converse with our Western peers. We were all the more obsessed with what was happening “beyond”, if we were interested in 20th century music. After 1990, the first major library I spent weeks in was that of the University of Vienna. My main reading – volume 7 of Die Musik des 20. Jahrhunderts, from Neues Handbuch der Musikwissenschaft (1984), which has become a classic of international musicology – afforded me the tools needed for my own research. The image I had formed of the author of the impressive volume, Hermann Danuser, quite obviously invested him with a mythical and venerable aura.
    [Show full text]
  • Hierauf Eine Antwort Zu Versuchen, Sondern Vielmehr Die Position Dahlhaus’ Zu Der Gesamten Fragestellung Der Kritischen Ausgaben Zu Rekonstruieren
    Carl Dahlhaus: Werk, Wirkung, Aktualität – Staatliches Institut für Musikforschung Berlin, 10. – 13. Juni 2008 Programm [Dienstag, 10. Juni, 17.00 Uhr: Eröffnungsveranstaltung] Mittwoch, 11. Juni: 10.00 – 13.00 Uhr Ästhetik und Musikphilosophie Leitung: Peter Gülke, Berlin Gianmario Borio, Cremona: Über den sozialen Gehalt des musikalischen Werkes Simone Mahrenholz, Berlin: Die Bedeutung des (nicht) Notierten in der Musik Albrecht Wellmer, Berlin: Überlegungen zum Werkbegriff Christoph Hubig, Stuttgart: „Tragödie der Kultur“ revisited: Carl Dahlhaus’ Konzeption des Kunstwerks als Alternative zur Simmel-Cassirer-Kontroverse 14.00 – 15.30 Uhr Zur Edition Carl Dahlhaus: Gesammelte Schriften in 10 Bänden Leitung: Burkhard Meischein, Dresden Pietro Cavallotti, Bergamo: Dahlhaus und die Editionskritik Clemens Fanselau, Berlin: Beziehungsnetze – Über einen Aspekt des Nutzens von Schrifteneditionen Musikgelehrter Tobias Plebuch, Oldenburg: Zur Entwicklung des Schriftstellers Carl Dahlhaus 16.00 – 19.00 Uhr Kritik Leitung: Stephen Hinton, Palo Alto, CA Eleonore Büning, Berlin: Die Kunst der Pointe. Carl Dahlhaus als Musikkritiker Silke Leopold, Heidelberg: Carl Dahlhaus und das Regietheater – mit den Augen von heute gelesen Giselher Schubert, Frankfurt a. M.: Strawinsky und andere. Dahlhaus’ Einstellung zum Neoklassizismus Elisabeth Schwind, Konstanz: Vom Elend der Musikkritik. Anspruch und Wirklichkeit 1 Carl Dahlhaus: Werk, Wirkung, Aktualität – Staatliches Institut für Musikforschung Berlin, 10. – 13. Juni 2008 Donnerstag, 12. Juni: 10.00 –
    [Show full text]
  • Literaturempfehlungen Zum Studium Der Musikwissenschaft (Pdf)
    / GEORG-AUGUST-UNIVERSITÄT GÖTTINGEN VORBEREITENDE LEKTÜREEMPFEHLUNGEN FÜR STUDIERENDE DES FACHES MUSIKWISSENSCHAFT – EINE AUSWAHL Einführung • Cook, Nicholas: Music; A very short introduction. Oxford: Oxford University Press 1998. • Eisenlohr, Henning: Einblick in das Studium der Musikwissenschaft. München: OPS-Verlag 2000. • Gardner, Matthew und Sara Springfield: Musikwissenschaftliches Arbeiten: eine Einführung. Kassel u.a. 2014. • Rösing, Helmut und Peter Petersen: Orientierung Musikwissenschaft. Was sie kann, was sie will. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag 2000. • Schwindt-Gross, Nicole: Musikwissenschaftliches Arbeiten. Hilfsmittel-Techniken-Aufgaben. Erschienen in der Reihe Studienbücher Musik, hrsg. von Silke Leopold, Bd. 1. 5., überarb. Aufl. Kassel etc.: Bärenreiter 2003 (11992). • Tagg, Philip: Music’s Meanings; A modern musicology for non-musos ―“also useful for musos” –. New York & Huddersfield: The Mass Media Music Scholars’ Press, Inc., 2012. Nachschlagewerke • Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik. 2., neubearbeitete Ausgabe. Hrsg. von Ludwig Finscher. Kassel: Bärenreiter und Stuttgart: Metzler 1994 ff. • The new Grove dictionary of music and musicians, 2nd edition. Hrsg. von Stanley Sadie. 29 Bde. New York: Oxford Univ. Press 2001. Kulturelle Musikwissenschaft/Musikethnologie • Barz, Gregory F. & Cooley, Timothy J.: Shadows in the Field; New Perspectives for Fieldwork in Ethnomusicology. Oxford: Oxford University Press 2008. • Merriam, Alan P.: The Anthropology of Music. Evanston: Northwestern University Press 1964. • Stobart, Henry: The New (Ethno)Musicologies. Scarecrow Press 2008. Historische Musikwissenschaft • Neues Handbuch der Musikwissenschaft. Hrsg. von Carl Dahlhaus, fortgeführt von Hermann Danuser. 13 Bde., Wiesbaden: Athenaion und Laaber: Laaber 1980 – 1995. • Brzoska, Matthias und Michael Heinemann (Hg.): Die Geschichte der Musik. 3 Bde, Laaber: Laaber 22004. (1. Ausgabe von 2001) • Ehrmann-Herfort, Sabine, Ludwig Finscher und Giselher Schubert (Hg.): Europäische Musikgeschichte.
    [Show full text]
  • ZGMTH Zeitschrift Der Gesellschaft Für Musiktheorie Herausgegeben Von
    Zeitschrift der ZGMTH Gesellschaft für Musiktheorie Sonderausgabe (2010) Musiktheorie | Musikwissenschaft Geschichte – Methoden – Perspektiven Herausgegeben von Tobias Janz & Jan Philipp Sprick Gedruckt mit freundlicher Unterstützung der Fritz Thyssen Stiftung für Wissenschaftsförderung ZGMTH Zeitschrift der Gesellschaft für Musiktheorie e. V. Wissenschaftlicher Beirat: Jean-Michel Bardez (Paris), Nicholas Cook (London), Thomas Christensen (Chicago), Jonathan Cross (Oxford), Hermann Danuser (Berlin), Helga de la Motte-Haber (Berlin), Hartmut Fladt (Berlin), Allen Forte (Yale), Renate Groth (Bonn), Thomas Kabisch (Trossingen), Eckehard Kiem (Freiburg), Clemens Kühn (Dresden), Nicolas Meeús (Paris), Christian Martin Schmidt (Berlin), Michiel Schuijer (Amsterdam). Sonderband 2010 Herausgeber: Folker Froebe, Wilhelm-Brandes-Straße 2, 27570 Bremerhaven, Tel.: + 49(0)471 - 200 290, Michael Polth, Zechnerweg 4, 69118 Heidelberg, Tel.: + 49(0)6221 - 735 33 90 Stefan Rohringer, Ismaningerstraße 82, 81675 München, Tel.: + 49(0)89 - 28 92 74 81 und Jan Philipp Sprick, Willibald-Alexis-Str. 12, 10965 Berlin, Tel.: + 49(0)30 - 61 20 99 36 Die Herausgeber sind per E-Mail erreichbar unter: [email protected]. Layout: Poli Quintana, [email protected] / Oliver Schwab-Felisch. Gesetzt in Linotype Optima. Umschlag: Oliver Schwab-Felisch Satz: Folker Froebe / Jan Philipp Sprick Notensatz und Grafik: die Autoren / Folker Froebe / Jan Philipp Sprick Manuskripte und Rezensionsexemplare senden Sie bitte an die Herausgeber oder an: ZGMTH, z. Hd. Stefan Rohringer, Hochschule für Musik und Theater München, Arcisstraße 12, 80333 München. Bezug über den Buchhandel oder direkt über Georg Olms Verlag, Hagentorwall 7, 31134 Hildesheim, Tel.: + 49(0)5121 - 150 10, [email protected], www.olms.de. Preise: Einzelband 44,– €, Abonnement 37,– € (zzgl. Versandspesen). Anzeigenannahme: Georg Olms Verlag. Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bib- liographische Daten sind im Internet über http://dnb.ddb.de abrufbar.
    [Show full text]
  • Download Download
    Kerry Houston and Harry White (eds), A Musical Offering: Essays in Honour or Gerard Gillen (2018) KERRY HOUSTON AND HARRY WHITE (EDS), A MUSICAL OFFERING: ESSAYS IN HONOUR OF GERARD GILLEN (Dublin: Four Courts Press, 2018). ISBN 978-1-84682-658-0, xiv + 400pp, €45. Publishers can’t stand them, only libraries buy them and (sensible) reviewers avoid them like the plague. Yet the Festschrift as a genre has made a remarkable comeback of late, following a fallow period when the pressures of modern academic publishing threatened to subdue it altogether. True, most contemporary Festschrift volumes lack the heft of their great twentieth-century precursors such as the Festschrift Karl Gustav Fellerer (593pp) and the Festschrift Carl Dahlhaus (826pp), often appearing in the guise of journal special issues or under titles that camouflage their true character.1 The present volume—remarkably, the first Festschrift to honour an Irish classical musician—is a triumphant exception, offering a lavish and suitably titanic tribute to its dedicatee. What most impresses about the Gerard Gillen volume is not its length but the way in which its design mirrors the diversity and richness of its dedicatee’s life in music. We may take it as read that no one has had a greater impact on the development of music studies within Irish higher education than Gillen; but what makes him unusual, in an age of increasing over-specialization, is that he combined his academic career—like a latter-day Stainer or Stanford—with pre-eminence as a practising musician. Appropriately, therefore, the first three sections of the book focus on church music and organ studies, while the final section nods at Gillen’s work as an editor and encyclopaedist by addressing aspects of music and cultural history.
    [Show full text]
  • Rückspiegel : Zeitgenössisches Komponieren Im Dialog Mit Älterer Musik
    Rückspiegel : Zeitgenössisches Komponieren im Dialog mit älterer Musik. Hrsg. von Christian Thorau, Julia Cloot u. Marion Saxer, in Zusammenarbeit mit dem Institut für zeitgenössische Musik der Hochschule für Musik und Darstellende Kunst Frankfurt am Main. Mainz [u.a.] : Schott, 2010. - 271 S. : Ill., Notenbeisp. (Frankfurter Studien ; 13) ISBN: 978-3-7957-0118-5 Julia Cloot, Marion Saxer, Christian Thorau: Vorwärtsgewandtes Rückspiegeln. Bearbeitung, Aneignung und Geschichtsverständnis im zeitgenössischen Komponieren, S. 7-24 Michael Reudenbach: Die Zukunft von der Vergangenheit befreien? Die Vergangenheit von der Zukunft befreien? Gedanken zu Matthias Spahlingers adieu m’amour - hommage à guillaume dufay, S. 26-34 Regine Elzenheimer: Dramaturgie des Raumes. Luigi Nonos Prometeo und die Scuola Veneziana, S. 35-52 Marion Saxer: Dekonstruktion und Konstruktion zugleich. Zur Bearbeitungstechnik Salvatore Sciarrinos am Beispiel der Intermezzi aus der Oper Luci Mie Traditrici (Die tödliche Blume), S. 53-66 Johannes Schöllhorn: diese Furcht zu versteinern oder der notwendige Anachronismus der Bearbeitung, S. 67-77 Heraus aus dem toten Winkel. Claus Kühnl im Gespräch mit Julia Cloot, S. 78-87 Zeitgenosse Machaut. Das Projekt Miradas sobre Machaut. Elena Mendoza, José María Sánchez-Verdú und das Ensemble Taller Sonoro im Gespräch mit Peter Ackermann, S. 88-102 Markus Böggemann: Steinbruch und stille Liebe. Mozart in der Musik der Gegenwart (Lachenmann – Huber – Herrmann), S. 104-115 Sabine Sanio: Mozart und Cage – Künstler und Genie?, S. 116-129 Zaïde – Adama. Dialogkomposition im Musiktheater. Chaya Czernowin, Julia Spinola und Julia Cloot im Gespräch, S. 130- 140 Giselher Schubert: Verständnisprobleme des Neoklassizismus. Zu Hindemiths Kammermusiken Nr. 1 und Nr. 2, S. 142-154 Markus Fahlbusch: Geschichte im Vexierbild.
    [Show full text]
  • British Musical Modernism Defended Against Its Devotees
    Annika Forkert Royal Holloway College, University of London BRITISH MUSICAL MODERNISM DEFENDED AGAINST ITS DEVOTEES Submission in fulfilment of the requirements for the degree of Doctor of Philosophy Final Version, December 2014 Annika Forkert, British Musical Modernism Defended against its Devotees Declaration of Authorship I, Annika Forkert, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 16 December 2014 2 Annika Forkert, British Musical Modernism Defended against its Devotees Abstract This thesis forges a strong connection between British music of the early to mid- twentieth century and the concept of modernism. In one important tradition of criticism, modernism has increasingly been regarded as a tendentious concept, or even as a dangerous ideological disguise for what is simply the exclusion of much art from the so called peripheries of Europe and non-Western cultures. An expansion of the concept in literature and music studies has, however, resulted in the indiscriminate application of modernism and in consequence has led it to lose whatever rigour it had formerly – however problematically – enjoyed. The thesis suggests that parts of modernist exclusivity and rigorous definition can be saved, while at the same time the canon of modernist music can be expanded with a solid methodological foundation it has not possessed so far. To this end, this study articulates a new theory based on a model proposed in philosopher Alain Badiou’s recent work, which relates a concentrated, high-modernist core to ‘marginal’ music of the twentieth century.
    [Show full text]
  • Danuser, Hermann (2010): Von Unten Und Von Oben? Hugo Riemanns Reflexive Theo- Rie in Der Moderne
    Zeitschrift der ZGMTH Gesellschaft für Musiktheorie Danuser, Hermann (2010): Von unten und von oben? Hugo Riemanns reflexive Theo- rie in der Moderne. ZGMTH 7/Sonderausgabe [Special Issue], 99–116. https://doi.org/10.31751/564 © 2010 Hermann Danuser Dieser Text erscheint im Open Access und ist lizenziert unter einer Creative Commons Namensnennung 4.0 International Lizenz. This is an open access article licensed under a Creative Commons Attribution 4.0 International License. veröffentlicht / first published: 01/11/2010 zuletzt geändert / last updated: 10/05/2018 Von unten und von oben? Hugo Riemanns reflexive Theorie in der Moderne Hermann Danuser Hugo Riemann repräsentiert mit seinem die Grenzen von Musiktheorie, Musikwissenschaft und Musikgeschichte übergreifenden Schaffen ein Wissenschaftsverständnis, dem man seine Zeitge- bundenheit heute – nach 100 Jahren – anmerkt. Während er selbst im Zentrum der Moderne steht, ist sein Verhältnis zur gleichzeitigen ästhetischen Moderne gespannt bis ablehnend. Wenn Riemanns Theorie in ihren reflexiven Zügen, in ihrem ordnenden, alles vermessenden Zugriff und in ihrem Systemanspruch durchaus Zeichen von Modernität trägt, so kann seine fehlende Sensibilität für das ästhetisch Moderne heute, in der postmodernen Moderne, doch als Signum für die Begrenztheit seines Ansatzes gelten. Der Beitrag kontextualisiert den Wissenschaftler Riemann mit Blick auf die Terminologie, auf Aspekte von Reflexivität in den Bereichen der Theorie, der Philosophie und der Musik und formuliert abschließend eine Kritik an Riemanns totalisierender Kartographie der Musik. Hugo Riemann’s oeuvre surpasses the borders of music theory, musicology and music history and therefore represents a conception of scholarship that seems – after 100 years – not timely any more. Located in the center of modernity around 1900, his relationship to aesthetic modern- ism remains fraught and dismissive.
    [Show full text]
  • Tonality 1900 1950
    Tonality 1900–1950 Concept and Practice Bearbeitet von Felix Wörner, Ullrich Scheideler, Philip Rupprecht 1. Auflage 2012. Buch. 276 S. Hardcover ISBN 978 3 515 10160 8 Format (B x L): 17 x 24 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Geschichte der Musik > Geschichte der Musik: Klassische Musik des 20./21. Jahrhunderts Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. IntroductIon Felix Wörner, Ullrich Scheideler, and Philip Rupprecht Tonality, 1900–1950:.our.title.aligns.a.very.broad.category.of.musical.experience. with.a.quite.specific.historical.moment ..the.rhetorical.strategy.is.deliberate,.slightly. polemical.even ..We.begin.by.recognizing.that.tonality—or.the.awareness.of.key.in. music—achieved.crisp.theoretical.definition.in.the.early.twentieth.century,.even.as. the.musical.avant-garde.pronounced.it.obsolete ..the.notion.of.a.general.collapse. or.loss.of.tonality,.ca. 1910,.has.remained.influential.within.music.historiography,. and.yet.the.textbook.narrative.sits.uneasily.with.the.continued.flourishing.of.tonal. music.throughout.the.past.century ..tonality,.from.an.early.twenty-first.century.per- spective,.never.did.fade.from.cultural.attention,.yet.it.remains.a.prismatic.forma- tion—defined.as.much.by.ideological.and.cultural.valences.as.by.more.technical. understandings.of.musical.practice . the.history.of.twentieth-century.art.music.has.often.been.told.as.a.story.of.in- novations.in.technique,.and.it.is.in.the.early.years.of.the.period.that.the.narrative.
    [Show full text]