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Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
Newsletter from the Section for the Arts of Eurythmy, Speech and Music
Newsletter from the Section for the Arts of Eurythmy, Speech and Music Michaelmas 2008 1 TABLE OF CONTENTS Topical forum Meeting for Composers II at the Goetheanum (Dr Wolfram Graf) . 36 The situation of the Speech School at the Goetheanum . 3 The 2nd “Toward Genuine Tuning Conference” Thomas Parr – (Laura Langford Schnur) . 37 new manager of the Goetheanum Stage . 3 The integrative Orchestra (Danielle Volkart) . 38 Announcements / Events of the Section . 3 Concert Review (Ruth Dubach) . 38 Courage for the Soft Tone (Verena Zacher Züsli) . 39 Articles Obituaries The Eurythmical Gesture for “Reverence” (Beth Usher) . 5 “The most essential thing in eurythmical movement” Frank Michael Beyer (Michael Kurtz) . 40 Stimuli for fashioning rests, Part II Maria Jenny-Schuster (Daniel Marston) . 6 (Wilfried Hammacher, Ea Koster-Jenny) . 41 What does the Spirit of the Age demand of the arts today? (Werner Barfod) . 8 From spatial to time-orientated movement (Ursula Zimmermann) . 10 Announcements Speech (Hans-Jürgen Gorenflo) . 13 Classical and Romantic Musical Styles – Eurythmy . 44 (Julian Clarke) . 20 – Speech . 48 The Importance of Puppetry in Therapy for Children – Music . 49 with Special Disturbances (Gabriele Pohl) . 23 – Puppetry . 50 Reports Publication Toward a new eurythmy training Werner Barfod – Planetengebärden und (David-Michael and Glenda Monasch) . 26 Menschenwesen Reports on the World Eurythmy-Therapy Conference [Planetary gestures and the human being] . 51 (Heike Houben, Erika Leiste) . 28 Eurythmy Training in Spain (Elisa Betancor) . 28 Fostering Speech Development through Elementary Eurythmy in the Kindergarten? (Sabine Deimann) . 28 Miscellaneous Passing on the Sceptre (Svlvia Bardt) . 30 Two reports on the Light Eurythmy Seminar, Discussion with Maria Jenny on questions concerning Chestnut Ridge, New York, May 8—10, 2008 the work with Rudolf Steiner in music eurythmy (Maria Ver Eecke, Elizabeth Linda (Stefan Hasler, Päivi Lappalainen, Gardner Lombardi) . -
Scholarship and Vandalism
ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor: Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME SEVENTEEN, NUMBER ONE, MARCH 2013 Associate Editors Dr Crawford Howie & Dr Dermot Gault In this issue: Scholarship and Vandalism Anton Bruckner: a non-pathological view Not many letters and emails are addressed to the editor, and angry on his personality and implications for his ones are indeed a rarity. But one of a few received from those approach to the task of composing. who are unhappy about recent published criticisms of the editorial by Malcolm Hatfield Page 3 work of Robert Haas, and of Deryck Cooke and Robert Versions and Editions: Simpson’s writings about editions, was phrased in such heated Deryck Cooke’s Contribution Clarified (Part two) passion that it verged upon the libellous. The writer perceives in by Dermot Gault Page 13 some of our contributors “incontinent personal dislike” of Cooke, Eckstein, Steiner - and Bruckner sustained by “repulsive prejudices”, “nauseating views”, they are by Raymond Cox Page 23 part of a “Mafia”, an “anti-everyone-else clique” conducting a Bruckner on the Terraces “vendetta”, to quote just a selection from the ample repertoire of by Raymond Cox Page 25 invective employed. This would seem a little intemperate and, given the lack of supporting evidence, unpublishable. Book Reviews Frederick Edward Harris Jr. But what it does display is the strength of gratitude, Seeking the Infinite: The Musical Life of appreciation and emotional attachment there is for the work of Stanisław Skrowaczewski review by Ken Ward Page 27 those three great Brucknerians, Haas, Cooke and Simpson. -
Betweenoccultismandnazism.Pdf
Between Occultism and Nazism Aries Book Series Texts and Studies in Western Esotericism Editor Marco Pasi Editorial Board Jean-Pierre Brach Andreas Kilcher Wouter J. Hanegraaff Advisory Board Alison Coudert – Antoine Faivre – Olav Hammer Monika Neugebauer-Wölk – Mark Sedgwick – Jan Snoek György Szőnyi – Garry Trompf VOLUME 17 The titles published in this series are listed at brill.com/arbs Between Occultism and Nazism Anthroposophy and the Politics of Race in the Fascist Era By Peter Staudenmaier LEIDEN | BOSTON Cover illustration: Illustration by Hugo Reinhold Karl Johann Höppener (Fidus). Staudenmaier, Peter, 1965– Between occultism and Nazism : anthroposophy and the politics of race in the fascist era / By Peter Staudenmaier. pages cm. — (Aries book series. Texts and studies in Western esotericism, ISSN 1871-1405 ; volume 17) Includes bibliographical references. ISBN 978-90-04-26407-6 (hardback : alkaline paper) — ISBN 978-90-04-27015-2 (e-book) 1. National socialism and occultism. 2. Germany—Politics and government—1933–1945. 3. Fascism and culture— Italy. 4. Italy—Politics and government—1922–1945. 5. Anthroposophy. 6. Steiner, Rudolf, 1861–1925— Influence. 7. Racism. I. Title. DD256.5.S7514 2014 299’.935094309043—dc23 2014000258 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see brill.com/brill-typeface. ISSN 1871 1405 ISBN 978 90 04 26407 6 (hardback) ISBN 978 90 04 27015 2 (e-book) Copyright 2014 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Nijhoff, Global Oriental and Hotei Publishing. -
Accepted Manuscript
Listening for the Intimsphäre: Recovering Berlin 1933 through Hans Pfitzner’s Symphony in C-sharp Minor Emily MacGregor On 23 March 1933 Hans Pfitzner’s Symphony in C-sharp Minor, Op. 36a, an orchestral transcription of his String Quartet, Op. 36 (1925), was premiered in Munich. The concert took place during the very early weeks of the Nazi administration, coinciding with the date the Enabling Act was passed, when Adolf Hitler’s political powers became total. A week later, on 30 March, it was performed again by the Philharmonic Orchestra in Berlin. This article tells the story of that second performance at the Philharmonie, a concert where the effects of new Nazi policy and persecution could be felt in an immediate way, and yet one that has completely slipped from our historical consciousness. According to a witness account of events, ten days prior to the Pfitzner concert the Nazi authorities had threatened scenes of violence at the concert hall if Jewish conductor Bruno Walter’s regular concert with the Berlin Philharmonic—part of the “Bruno Walter Series”—were to proceed as usual, triggering Walter’s immediate political exile.1 His replacement by Richard Strauss, who donated his fee to the hard-up orchestra, has been well rehearsed in the secondary literature,2 but was certainly not the only concert affected by Walter’s exit. Due to conductor “reshuffles” (as they were described in one review) between many of the major north-German concert venues in the wake of Walter’s departure,3 at the 30 March Pfitzner concert the composer himself unexpectedly took to the podium at short notice to conduct his new symphony. -
Notes and References
Notes and References 1 Conservative Musical Reaction in the Weimar Republic, 1919-33 I. Alfred Morgenroth (ed.), Hiirt auf Hans Pfitzner! (Berlin, 1938) p.32. 2. Reinhold Zimmermann, 'Der Geist des Internationalism us in der Musik', Deutschlands Erneuerung (Munich), September 1920, p.580. 3. Karl Storck, Die Musik der Gegenwart (Stuttgart, 1922), p.8. 4. Storck, Die Musik, p.205. 5. Storck, Die Musik, pp.165-77. 6. 'Besprechungen', Bayreuther Bliitter, 44 (1921), p.103. 7. 'Besprechungen', Bayreuther Bliitter, 45 (1922), pp.57 and 58, and 47 (1924), p.53. 8. 'Dem ausseren Kampf muss dem inneren vorausgehen. Unser Kampf gilt dem heiligen 1nhalt' ('The internal must precede the external fight. Our fight is a necessary spiritual content') , Bayreuther Bliitter, 4 7 (1924), p.l. 9. Alfred Heuss, 'An die Leser der Zeitschrift fUr Musik', ZJM, October 1921' p.486. 10. Heuss, 'An die Leser' p.486. 11. Alfred Heuss, 'Die musikalische Internationale. Zur Gnindung einer Ortsgruppe Leipzig der "lnternationalen Gesellschaft fUr neue Musik', ZJM, February 1924, pp.49-60. 12. Alfred Heuss, 'Arnold Schoenberg- Preussischer Kompositionslehrer', ZJM, October 1925, pp.583-5. 13. Adolf Hitler, tr. E.S. Dugdale, Mein Kampf(London, 1933), p.225. 14. N.H. Baynes (ed.), The Speeches of Adolf Hitler (London, 1942), vol. 1, pp.66 and 108. 15. 'Die Kulturkrise der Gegenwart', Viilkischer Beobachter, 27 February 1929. 16. Amongst those primarily concerned with attacking cultural modernism were the Nuremberg Feierabendgesellschaft and Munich's Verein fUr kiinstlerische Interesse: see B. Miller Lane, Architecture and Politics in Germany 1918-1945 (Cambridge, Mass., 1968, 2nd edn 1985) p.148. -
La Vie Et L'œuvre Du Compositeur Autrichien Joseph Anton Bruckner (Introduction)
La vie et l'œuvre du compositeur autrichien Joseph Anton Bruckner (Introduction) AB 1 : Le Romantisme 1 Définition et problématique 1 La musique 1 Willhelm Heinrich Wackenroder (1773-1798) 2 Ludwig Tieck (1773-1853) 2 Ernst Theodor Amadeus (E.T.A.) Hoffmann (1776-1822) 2 Quelques conséquences 3 L’historicisme 3 Le musicien 4 Langage et formes 4 AB 2 : La musique dans le domaine allemand 6 Des Carolingiens à Martin Luther 6 La poésie lyrique des troubadours 6 La bourgeoisie 7 Le lied polyphonique allemand 7 L'imprimerie musicale 8 La Bavière et l'Autriche 8 Au tournant des XVIe et XVIIe siècles 9 Heinrich Schütz 9 La musique d'orgue dans l'Allemagne du XVIIe siècle 9 L'art lyrique 10 La musique instrumentale 10 Telemann, Händel et Bach 11 La primauté de la mélodie 11 Joseph Haydn, Mozart et Beethoven 12 Le Romantisme musical allemand 13 Les Romantiques de 1830 et leurs successeurs post-Romantiques 13 La Seconde École de Vienne et leurs successeurs 14 La nouvelle musique germanique après la Seconde Guerre mondiale 15 Les années 1970 16 AB 3 : La musique dans le domaine autrichien 16 Salzbourg et Vienne 16 La polyphonie 16 Le XVIIe siècle 17 Les talents autrichiens et étrangers 17 Les Symphonistes pré-Classiques autrichiens 18 L'après-Beethoven 19 La valse et l'Opérette viennoises 19 Le post-Romantisme autrichien et leurs successeurs 19 La tradition Classico-Romantique 20 AB 4 : L'histoire de l'Autriche 20 La Haute-Autriche 42 La Basse-Autriche 61 AB 5 : Le joséphisme 70 Le gouvernement des États autrichiens 71 Économie et société 71 La politique -
Framing Pfitzner, Strauss, Schreker, and Schoenberg Cinematically
Music, Modern Culture, and the Critical Ear: Binns Cozarinsky’s La Guerre d’un seul homme and Musical Categories: (Re)-Framing Pfitzner, Strauss, Schreker, and Schoenberg Cinematically Alexander Binns ‘Inflation music’ (Klemperer on Schreker)1 The framing of music, especially that of the late nineteenth and early twentieth centuries, is bound up not only with the effects of the two World Wars that (dis)figured the period but also with the discourse on musical value and identity within which that music’s reception was cast. When that reception is also associated with the political turbulence of the first part of the twentieth century and its aesthetic and political aftermath, it becomes yet more noteworthy as a testament to how musical reception is a powerfully engaging tool, whose historical effect can be long lived. The ‘wrecking’ of some composers and the ‘elevation’ of others—either as Aryan or ‘advanced’ modernist, as populist or old-fashioned—is a familiar story. Late-romanticism is a victim but, as Peter Franklin has observed: the late-romantic crisis, … like the post–First World War “Opernkrise” that it shadowed, was located in the interwar years, its outcomes terminally threatened, unsupported by factions or followers. Given its often localized, specifically conditioned nature, and the enormity of contemporary world- historical events, this late-romantic crisis was less widely noticed than those mythologized musical-modernist ones supposedly marked by the 1913 premiere of Stravinsky's Le Sacre du Printemps and Schoenberg's Viennese -
TBJ 14.Iii A4
ISSN 1759-1201 Issued three times a year and sold by subscription www.brucknerjournal.co.uk Editorial : [email protected] 23 Mornington Grove, Bow, London E3 4NS Subscriptions and Mailing: [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FOURTEEN, NUMBER THREE, NOVEMBER 2010 Editor: Ken Ward Managing Editor: Raymond Cox. Associate Editors: Peter Palmer, Crawford Howie, Nicholas Attfield COLLABORATION THE FOURTH Symphony of Anton Bruckner, as published in In this issue 1888, and indeed, the Third as published in 1890, represent to varying degrees a collaborative effort between Bruckner, the The 7th Bruckner Journal Readers Conference Schalk brothers and Ferdinand Löwe. Collaboration always announcement Page 2 attracts curiosity, even suspicion, about the relative levels of participation of the parties to the exercise, and indeed their Concert reviews Page 3 inc. Ebracher Musiksommer motivation and estimation of the quality of the final product. & Barenboim Berlin Cycle There is no real evidence that Bruckner was a completely unwilling participant: he was closely involved in the preparation CD reviews Page 15 and publication of these scores and was happy to promote On the Harmonic Idiom of performances of them during his lifetime. In modern parlance, Bruckner’s Eighth Symphony ‘he took ownership of them.’ Nevertheless, they remain by Prof. Julian Horton Page 20 collaborative efforts: a hypothetical ‘pure’ Bruckner edition from A Historical Overview of the that time would have been something different, and our attitude to Recordings of Mass No. 2 the collaborative entity is necessarily different than that which we by Hans Roelofs (part 2) Page 35 retain for the lone composer. -
King's Research Portal
King’s Research Portal DOI: 10.1093/musqtl/gdy008 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): MacGregor, E. (2018). Listening for the Intimsphäre: Recovering Berlin 1933 through Hans Pfitzner’s Symphony in C-sharp Minor. MUSICAL QUARTERLY, 101(1), 35-75. https://doi.org/10.1093/musqtl/gdy008 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Cold War Politics and American Culture in a Divided Germany, by Uta G
Jazz, Rock, and Rebels studies on the history of society and culture Victoria E. Bonnell and Lynn Hunt, Editors 1. Politics, Culture, and Class in the French Revolution, by Lynn Hunt 2. The People of Paris: An Essay in Popular Culture in the Eighteenth Century, by Daniel Roche 3. Pont-St-Pierre, 1398–1789: Lordship, Community, and Capitalism in Early Modern France, by Jonathan Dewald 4. The Wedding of the Dead: Ritual, Poetics, and Popular Culture in Transylvania, by Gail Kligman 5. Students, Professors, and the State in Tsarist Russia, by Samuel D. Kassow 6. The New Cultural History, edited by Lynn Hunt 7. Art Nouveau in Fin-de-Siècle France: Politics, Psychology, and Style, by Debora L. Silverman 8. Histories of a Plague Year: The Social and the Imaginary in Baroque Florence, by Giulia Calvi 9. Culture of the Future: The Proletkult Movement in Revolutionary Russia, by Lynn Mally 10. Bread and Authority in Russia, 1914–1921, by Lars T. Lih 11. Territories of Grace: Cultural Change in the Seventeenth-Century Diocese of Grenoble, by Keith P. Luria 12. Publishing and Cultural Politics in Revolutionary Paris, 1789–1810, by Carla Hesse 13. Limited Livelihoods: Gender and Class in Nineteenth-Century England, by Sonya O. Rose 14. Moral Communities: The Culture of Class Relations in the Russian Printing Industry, 1867–1907, by Mark Steinberg 15. Bolshevik Festivals, 1917–1920, by James von Geldern 16. Venice’s Hidden Enemies: Italian Heretics in a Renaissance City, by John Martin 17. Wondrous in His Saints: Counter-Reformation Propaganda in Bavaria, by Philip M. -
Der Arme Heinrich − Hartmann Von Aue Und Seine Moderne Rezeption Bamberg, 5.–7
MITTEILUNGEN DER HANS PFITZNER- GESELLSCHAFT Heft 75, 2015 AKTEN DER TAGUNG DER ARME HEINRICH − HARTMANN VON AUE UND SEINE MODERNE REZEPTION BAMBERG, 5.–7. FEBRUAR 2015 HERAUSGEGEBEN VON ALBERT GIER, BIRGIT SCHMIDT UND ROLF TYBOUT Herausgeber: Hans Pfitzner-Gesellschaft e.V. www.pfitzner-gesellschaft.de Geschäftsstelle: Dr. Birgit Schmidt, Schreiberstraße 14, D-97616 Bad Neustadt [email protected] Redaktion: Dr. Rolf Tybout, Hekendorperweg 37, NL-3421 VJ Oudewater [email protected] Dr. Birgit Schmidt Impressum: ISSN 0440-2863 ISBN: 978-3-924-52260-5 ©2015 Are Musik Verlag GmbH Postfach 20 143, D-55060 Mainz 1. Auflage 2015 Alle Rechte vorbehalten, insbesondere die des Nachdrucks und der Übersetzung. Ohne schriftliche Genehmigung des Verlags ist es nicht gestattet, dieses Werk oder Teile daraus in jedwedem technisch machbaren mechanischen, photomechanischen, elektronischen oder digitalen Verfahren sonstig zu vervielfältigen und zu verbreiten. Textlayout und Satz: Birgit Schmidt und Rolf Tybout Umschlag: Hans Pfitzner, Skizze (Particell) zu Palestrina, Akt I, Szene 5: „Nicht ich – nicht ich –; schwach bin ich, voller Fehle, / Und um ein Werden ist’s in mir getan, / Ich bin ein alter, todesmüder Mann / Am Ende einer großen Zeit.“ Bayerische Staatsbibliothek (Mus. ms. 9709, Nr. 27, Blatt 1r, obere Hälfte) Druck und Vertrieb: Hohnholt Reprografischer Betrieb GmbH, Bremen Printed in Germany INHALT Rolf Tybout Zum Geleit 5–6 AKTEN DER TAGUNG DER ARME HEINRICH − HARTMANN VON AUE UND SEINE MODERNE REZEPTION, BAMBERG 5.–7. FEBRUAR 2015 Albert Gier Vorbemerkung 9–10 ABTEILUNG 1 – MUSIK: REZEPTION IM 19./20. JAHRHUNDERT Walter Keller Streiflichter auf Pfitzners Musikdrama Der arme Heinrich 13–24 Oswald Panagl Rezeptionsspuren und programmatische Schneisen in der Produktionsästhetik – James Grun – Hans Pfitzner, Der arme Heinrich 25–37 Christian Rößner Erlösung durch Entsagung – Spuren von Schopenhauers Soteriologie in Hans Pfitzners Armen Heinrich 38–56 Peter P.