DOCSLIB.ORG

Musicologica X V4.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musicologica X V4.Indd ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 34 – 2009 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 34 – 2009 MUSICOLOGICA OLOMUCENSIA X Univerzita Palackého v Olomouci Olomouc 2009 AUPO Musicologica Olomucensia Editor-in-chief: Jan Vičar Editorial Board: Michael Beckerman – New York University, NY, Mikuláš Bek – Masaryk University in Brno, Roman Dykast – Academy of Performing Arts, Prague, Jarmila Gabrielová – Charles University, Prague, Lubomír Chalupka – Komenský University in Bratislava, Dieter Torkewitz – Universität für Musik und darstellende Kunst Wien, Jan Vičar – Palacký University in Olomouc Executive editors of volume No. X: Věra Šímová and Jan Vičar MORAVIA+WORLD MORAVA+SVĚT Art in the open multicultural space Umění v otevřeném multikulturním prostoru X. svazek AUPO, Musicologica Olomucensia byl vydán v rámci výzkumného záměru Morava a svět: Umění v otevřeném multikulturním prostoru, MSM 6198959225 The present volume was submitted to print on September 21, 2009. Dieser Band wurde am 21. September 2009 in Druck gegeben. Předáno do tisku 21. září 2009. 1. vydání © Věra Šímová, Jan Vičar (editors), 2009 ISBN 978-80-244-2456-9 ISSN 1212-1193 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X CONTENTS Mark FITZGERALD: New Music, Old Music, Newer Music: The Cologne Soundscape in the Late 1970s . .11 Greg HURWORTH: Musical Ethnography in Maramureş: Fieldwork in the Shadow of Béla Bartók . .27 Marek KEPRT: Structure of Chords in Compositions of Scriabin’s Middle Period . .59 Jiří KOPECKÝ: The Opera Šárka by Zdeněk Fibich . .79 Markéta KOPTOVÁ: Alma Mahler – a Woman, Artist, Muse: From the Life of a Femme Fatale . .97 Václav KRAMÁŘ: Work of Music – Musical-Aesthetic and Legal Conception: On the Protection of the Copyright for a Work of Music in Dependence upon Transformation of the Musical Paradigma and Shifts in Terminology . .109 Markéta KRATOCHVÍLOVÁ: Music under the Sediment of Ideology: Development of the Reception of the Work of Otakar Ostrčil . .125 Lenka KŘUPKOVÁ: Why The Makropulos Case is Most Popular with the Anglo-Saxons? A Probe into the Reception of Janáček’s Opera in Germany, England and the USA. .133 Ivan POLEDŇÁK: Musicologist and Aesthetician in the Labyrinth of Politics and Ideology: Antonín Sychra . .147 5 Jan VIČAR: Ivan Poledňák (An Obituary). .165 Martina STRATILKOVÁ: Husserlian Tradition in the Conceptions of Musical Time . .169 Jan VIČAR: From Moravian Zauchtenthal through German Herrnhut to American Indians: On the Origins of Brass Music among American Moravians . .181 Eva VIČAROVÁ: St Wenceslas Cathedral in Olomouc – the Archbishop’s Sanctuary and the Centre of Cyrilian Reform . .191 List of B.A., M.A. and Dissertation Theses Defended at the Department of Musicology, Philosophical Faculty, Palacký University, Olomouc, in the Years 1993–2009 . .219 List of Studies Published in AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Contributors . .251 6 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X INHALT Mark FITZGERALD: Neue Musik, alte Musik, neuere Musik: Die Klangpalette von Köln am Rhein in den späten siebziger Jahren des zwanzigsten Jahrhunderts . .11 Greg HURWORTH: Die Musik-Ethnografi e in Maramureş: Feldforschung auf den Spuren von Béla Bartók . .27 Marek KEPRT: Akkordstrukturen in den Kompositionen von Skrjabins mittlerer Schaff ensperiode . .59 Jiří KOPECKÝ: Die Oper Šárka von Zdeněk Fibich . .79 Markéta KOPTOVÁ: Alma Mahler – Frau, Künstlerin, Muse: Aus dem Leben einer Femme fatale . .97 Václav KRAMÁŘ: Musikalisches Werk – die musikalisch-ästhetische sowie die rechtliche Auff assung: Zu dem verfassungsrechtlichen Schutz eines Musikwerkes im Zusammenhang mit den Änderungen des musikalischen Paradigmas und mit dem Fortschritt der Technologie . .109 Markéta KRATOCHVÍLOVÁ: Musik unter der Schicht der Ideologie: Die Entwicklung der Rezeption des Schaff enswerkes von Otakar Ostrčil . .125 Lenka KŘUPKOVÁ: Warum Die Sache Makropulos bei den Angelsachsen beliebter ist? Eine Sonde in die Rezeption Janáčeks Oper in Deutschland, England und den USA . .133 Ivan POLEDŇÁK: Ein Musikwissenschaftler und Ästhetiker im Labyrinth der Politik und der Ideologie: Antonín Sychra . .147 7 Jan VIČAR: Im Andenken an Ivan Poledňák . .165 Martina STRATILKOVÁ: Die Tradition Husserls in der Konzeptionen der musikalischen Zeit . .169 Jan VIČAR: Aus dem mährischen Zauchtenthal (Suchdol nad Odrou) über das deutsche Herrnhut zu amerikanischen Indianern: Über den Ursprung der Blechblasmusik bei amerikanischen Mährern . .181 Eva VIČAROVÁ: Der Wenzelsdom in Olmütz – erzbischöfl iches Gotteshaus und Zentrum der cyrillischen Reform . .191 Verzeichnis der Bakkalaureat- und Diplom-Arbeiten sowie Dissertationen, verteidigt am Lehrstuhl für Musikwissenschaft der Philosophischen Fakultät der Palacký-Universität in Olomouc in den Jahren 1993–2009 . .219 Verzeichnis der Studien publiziert in AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Autoren . .251 8 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X OBSAH Mark FITZGERALD: Nová hudba, stará hudba, novější hudba: Zvuková paleta Kolína nad Rýnem na konci sedmdesátých let 20. století . .11 Greg HURWORTH: Hudební etnografi e v Maramureş: Práce v terénu ve stínu Bély Bartóka . .27 Marek KEPRT: Struktura akordů ve skladbách Skrjabinova středního tvůrčího období . .59 Jiří KOPECKÝ: Opera Šárka Zdeňka Fibicha . .79 Markéta KOPTOVÁ: Alma Mahler – žena, umělkyně, múza: Ze života femme fatale . .97 Václav KRAMÁŘ: Hudební dílo – pojetí hudebně estetické a právní: K autorskoprávní ochraně hudebního díla v závislosti na proměnách hudebního paradigmatu a posunech terminologie . .109 Markéta KRATOCHVÍLOVÁ: Hudba pod nánosem ideologie: Vývoj recepce díla Otakara Ostrčila . .125 Lenka KŘUPKOVÁ: Proč je Věc Makropulos u Anglosasů oblíbenější? Sonda do recepce Janáčkovy opery v Německu, Anglii a USA . .133 Ivan POLEDŇÁK: Muzikolog a estetik v labyrintu politiky a ideologie: Antonín Sychra . .147 9 Jan VIČAR: Za Ivanem Poledňákem . .165 Martina STRATILKOVÁ: Husserliánská tradice v koncepcích hudebního času . .169 Jan VIČAR: Z moravského Suchdolu nad Odrou (Zauchtenthal) přes německý Herrnhut k americkým Indiánům: O původu žesťové hudby amerických moravanů . .181 Eva VIČAROVÁ: Dóm svatého Václava v Olomouci – arcibiskupský svatostánek i ohnisko cyrilské reformy . .191 Seznam bakalářských, diplomových a disertačních prací obhájených na Katedře muzikologie Filozofi cké fakulty Univerzity Palackého v Olomouci v letech 1993–2009 . .219 Soupis studií publikovaných v AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Autoři . 251 10 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X New Music, Old Music, Newer Music: The Cologne Soundscape in the Late 1970s Mark Fitzgerald There is something attractive about labels for historians, not to mention for concert managers and marketing strategists, and while there is much discussion of how we have left a “period of common practice” and now live in a period of freedom from various “tyrannies”1, it is quite extraordinary how many labels are used to group together the vari- ous musics from this period. Jostling together are the new romantics, new expressionists, minimalists, devotees of the new simplicity and of course some old fashioned modernists. The English composer Christopher Fox has recently posited a further “Cologne School” from the late 1970s, but whereas Cologne in the 1970s for most people would instantly suggest the names of the two recently deceased compositional rivals who attracted stu- dents from around the world to the Hochschule, Karlheinz Stockhausen (1928–2007) and Mauricio Kagel (1931–2008), Fox concentrates on a group from the younger genera- tion of students who studied in Cologne at this period, some of whom would have been associated with the Neue Einfachheit group.2 Fox focuses almost exclusively on four composers, but if one also includes all names suggested to Fox by the composers interviewed for his article the result is the following list: Michael von Biel (b. Germany 1937), John Maguire (b. USA 1942), Clarence Barlow (b. India 1945), Claude Vivier (b. Canada 1948, d. Paris 1983), Walter Zimmermann (b. Germany 1949), Kevin Volans (b. South Africa 1949), Gerald Barry (b. Ireland 1952) and Chris Newman (b. England 1958). The four names selected to form Fox’s Cologne School are Barlow, Zimmermann, Volans, and Barry. Fox outlines the reasons for his selection as follows: 1 A term that can essentially be defi ned as the type of music not written by the composer using it. 2 Christopher Fox, “Where the River Bends: The Cologne School in Retrospect”, The Musical Times 148/1901 (Winter 2007), p. 17–42. 11 It is this consistency of artistic purposes [a sharing of compositional preoccupa- tions] that convinces me, if no one else, that it is useful to group these composers together. It also confi rms me in my decision to leave other fi gures out of the frame. When I discussed this article with Volans and Zimmermann they both mentioned the importance of Michael von Biel (b.1937), [...] but Biel’s rather sporadic output demonstrates a sensibility closer to the New York School than to the Cologne School. Barry and Volans also mentioned Claude Vivier (1948–1983) but as Volans said, Vivier was “totally in love with Stockhausen and his method” so they “ignored” him. The American composer John
Load more

Recommended publications
  • A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
    MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia.
    [Show full text]
  • Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
    Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8.
    [Show full text]
  • John Clark Brian Charette Finn Von Eyben Gil Evans
    NOVEMBER 2016—ISSUE 175 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM JOHN BRIAN FINN GIL CLARK CHARETTE VON EYBEN EVANS Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East NOVEMBER 2016—ISSUE 175 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : John Clark 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : Brian Charette 7 by ken dryden General Inquiries: [email protected] On The Cover : Maria Schneider 8 by john pietaro Advertising: [email protected] Encore : Finn Von Eyben by clifford allen Calendar: 10 [email protected] VOXNews: Lest We Forget : Gil Evans 10 by eric wendell [email protected] LAbel Spotlight : Setola di Maiale by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Festival Report Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, CD Reviews Stuart Broomer, Thomas Conrad, 14 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Miscellany 33 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Event Calendar 34 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Contributing Writers Robert Bush, Laurel Gross, George Kanzler, Matthew Kassel, Mark Keresman It is fascinating that two disparate American events both take place in November with Election Contributing Photographers Day and Thanksgiving.
    [Show full text]
  • Darmstadt As Other: British and American Responses to Musical Modernism. Twentieth-Century Music, 1 (2)
    Heile, B. (2004) Darmstadt as other: British and American responses to musical modernism. Twentieth-Century Music, 1 (2). pp. 161-178. ISSN 1478-5722 Copyright © 2004 Cambridge University Press A copy can be downloaded for personal non-commercial research or study, without prior permission or charge The content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/52652/ Deposited on: 03 April 2013 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk twentieth century music http://journals.cambridge.org/TCM Additional services for twentieth century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Darmstadt as Other: British and American Responses to Musical Modernism BJÖRN HEILE twentieth century music / Volume 1 / Issue 02 / September 2004, pp 161 ­ 178 DOI: 10.1017/S1478572205000162, Published online: 22 April 2005 Link to this article: http://journals.cambridge.org/abstract_S1478572205000162 How to cite this article: BJÖRN HEILE (2004). Darmstadt as Other: British and American Responses to Musical Modernism. twentieth century music, 1, pp 161­178 doi:10.1017/S1478572205000162 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 130.209.6.42 on 03 Apr 2013 twentieth-century music 1/2, 161–178 © 2004 Cambridge University Press doi:10.1017/S1478572205000162 Printed in the United Kingdom Darmstadt as Other: British and American Responses to Musical Modernism BJO}RN HEILE Abstract There is currently a backlash against modernism in English-language music studies.
    [Show full text]
  • Effects of Habsburg Educational Policies Measured by Census Statistics
    13.2 (2012): 373-393 UDC 37.014(436-89)=111 Original scientific paper Received on 30.03. 2012 Accepted for publication on 30.05. 2012 Pieter H. van der Plank University of Amsterdam Effects of Habsburg educational policies measured by census statistics This paper is dedicated to the multi-ethnic and multi-lingual Habsburg realm, in particular as regards school education, its effects and the census registration of linguistic qualities among its population. After almost a century of German lan- guage dominance, national revival of the Habsburg peoples forced school educa- tion to renounce the upbringing of a supra-national and linguistic uniform leader- ship. Secondary and higher education gradually chose to breed new nationally conscious elites in the variety of peoples, contributing to the decomposition of the realm. Nevertheless, promotion of the ‘national languages’ resulted in wide spread bilin- gualism, at least among the middle and higher classes. This bilingualism, how- ever, was restricted to the nationalities and not implemented to Austro-Germans and Magyars, who, in their own secondary educational institutions, stuck to a vir- tually unilingual practice, a fact that, in the end, weakened their political influ- ence. This inequality has to be taken into consideration when different school types are put in a contraposition. One of the most usual ways to investigate developments in the lingual capacity of the Habsburg subjects is found in the decennial censuses, but these are presented with rigid and dichotomous concepts, just describing ethno-lingual identities, however, aphoristically equated with political ‘nations’. This asks for clearer defi- nitions, and this paper advocates a critical reconsideration of national and linguis- tic concepts and definitions, as habitually used in Habsburg historiography.
    [Show full text]
  • David Tudor in Darmstadt Amy C
    This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 David Tudor in Darmstadt Amy C. Beal To cite this Article Beal, Amy C.(2007) 'David Tudor in Darmstadt', Contemporary Music Review, 26: 1, 77 — 88 To link to this Article: DOI: 10.1080/07494460601069242 URL: http://dx.doi.org/10.1080/07494460601069242 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, No. 1, February 2007, pp. 77 – 88 David Tudor in Darmstadt1 Amy C.
    [Show full text]
  • Beuysradio. Making Waves the Programme
    beuysradio. making waves the programme »Making Waves«: a celebration to mark the 100th birthday of Joseph Beuys and to kick off »beuysradio«. The 24-hour programme at once celebrates and examines the life and legacy of this pivotal artist: 100 voices from all over the world explore the artist's significance for the present in interviews and short statements. Rare audio documents offer an insight into his controversial understanding of art and history and convey the mood of the era in which Beuys became Beuys. Two podcasts examine the political and social meaning of myths in Beuys’ work and the democratic potential of free radio from South Africa to Tel Aviv to Halle. At the heart of »Making Waves« is the music that Beuys listened to, made, shaped and continues to inspire today. 12 May 20:00–24:00 h 1. Beuys and his old hat [1980] [in German] [6:32] 2. 100 Voices: Boris Pofalla, Olga von Schubert, Cara Jordan, Das BO [5:14] 3. Tom Waits: What’s he building? [1999] [3:16] 4. Well Beuys, you know: Susanne Titz in conversation with Kasper König [in German] [30:00] 5. Elisabeth Rosenthal: I like America [in German][7:00] 6. Noah Creshevsky: Great Performances [2021] [6:13] 7. 100 Voices: Marie Arleth Skov, André Odier, Kasia Lorenc, Kenneth Goldsmith, Ralf R. Ollertz, Toula Limnaois, Beth Stephens & Annie Sprinkle [2021] [5:07] 8. Benjamin Hasselhorn, Podcast: Die ganze Wirklichkeit – Braucht Demokratie Mythen? [in German] [35:00] Beuys described himself as a storyteller and cultivated an unbiased approach to myths.
    [Show full text]
  • Sigmar Polke Born 1941 in Oels, Silesia
    This document was updated on March 4, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Sigmar Polke Born 1941 in Oels, Silesia. Died 2010 in Cologne, Germany. EDUCATION 1959-1967 Trained as a glass painter 1961-67 Staatliche Kunstakademie Düsseldorf SELECTED SOLO EXHIBITIONS 1966 Sigmar Polke, Galerie René Block, Berlin, May 11 – June 10, 1966 [catalogue] Sigmar Polke on December 10, 1966 in homage to Schmela with Otto Piene, Konrad Lueg, John Latham, Heinz Mack, Gerhard Richter, Galerie Schmela, Düsseldorf, December 9-15, 1966 1967 Sigmar Polke. Zeichnungen und Ölbilder, Galerie Heiner Friedrich, Munich, January – February 1967 Sigmar Polke: Neue Bilder, Galerie Heiner Friedrich, Munich, April 4 – 23, 1967 [catalogue] 1968 Sigmar Polke, Galerie René Block, Berlin, as part of Art Cologne, October 1968 Sigmar Polke. Moderne Kunst, Galerie René Block, Berlin, December 14, 1968 – January 16, 1969 1969 Sigmar Polke, Galerie Rudolf Zwirner, Cologne 1970 Sigmar Polke. 24 Hefte, Kabinett für aktuelle Kunst, Bremerhaven, April 25 – May 20, 1970 Sigmar Polke, Konrad Fischer Galerie, Düsseldorf, June 9 – July 2, 1970 Sigmar Polke. Bilder und Zeichnungen, Galerie Toni Gerber, zu Gast im Möbelhaus Teo Jakob, Bern, September – October 1970 Sigmar Polke, Galerie Thomas Borgmann, November – December 1970 Sigmar Polke. Bilder, Galerie Michael Werner, Cologne, November 20, 1970 – January 10, 1971 1971 Sigmar Polke, Galerie Ernst, Hannover, May – June 1971 Sigmar Polke, Konrad Fischer Galerie,
    [Show full text]
  • ETNINEN SANASTO ETNINEN SANASTO Englannin-, Suomen-, Ranskan-, Saksan- Ja Venäjän- Kieliset Etniset Termit Selitettyinä Suomeksi
    ETNINEN SANASTO ETNINEN SANASTO Englannin-, suomen-, ranskan-, saksan- ja venäjän- kieliset etniset termit selitettyinä suomeksi Sinikka Hiltunen Tampere University Press Copyright © 1998 Tampere University Press Myynti: TAJU, Tampereen yliopiston julkaisujen myynti PL 617, 33101 TAMPERE Puh. (03) 215 6055, Fax (03) 215 7150 Sähköpostiosoite: [email protected] http://www.uta.fi/laitokset/kirjasto/taju/ TAITTO Sinikka Hiltunen Päivitetty syyskuussa 1998 Sähköinen julkaisu ISBN 951-44-5702-1 ISBN 951-44-4323-3 Vammalan Kirjapaino Oy, Vammala 1998 Tapanille VII Lukijalle Etnisen sanaston alkuperäinen idea on peräisin Tampereen yliopiston apulaisprofessorilta Jukka Paastelalta, joka on jo vuosia jakanut pientä parinkymmenen sivun sanastoa opintojen apuvälineeksi valtio-opin ja kansainvälisen politiikan opiskelijoille. Minä tulin kuvaan mukaan kolmisen vuotta sitten, jolloin totesimme, että tarve sanaston laajentamiseen ja systemaattiseen keräämiseen on ilmeinen. Haluankin kiittää apulaisprofessori Jukka Paastelaa paitsi siitä, että olen saanut mahdollisuuden tehdä mielenkiintoista työtä sanaston parissa, myös siitä arvok- kaasta tuesta ja avusta, jota työni edistyessä olen häneltä saanut. Hänen monipuolisen poliitti- sen tietämyksensä ja monivuotisen kokemuksensa ansiosta olen voinut välttää monia asiavir- heitä, joita työhön tahtoi pujahtaa eri lähteiden ristiriitaisuuden vuoksi. Kiitokset hänelle myös sanaston perusteellisesta tarkastustyöstä. Lähteinä sanastotyössä on käytetty erilaisia hakuteoksia tietosanakirjoista sanakirjoihin, sa- noma-
    [Show full text]
  • David Tudor Papers, 1800-1998, Bulk 1940-1996
    http://oac.cdlib.org/findaid/ark:/13030/tf2j49n5h3 Online items available Finding aid for the David Tudor papers, 1800-1998, bulk 1940-1996 Lynda Bunting and Mary K Woods Finding aid for the David Tudor 980039 1 papers, 1800-1998, bulk 1940-1996 Descriptive Summary Title: David Tudor papers Date (inclusive): 1800-1998, bulk 1940-1996 Number: 980039 Creator/Collector: Tudor, David, 1926-1996 Physical Description: 177.5 Linear Feet Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Papers of the avant-garde pianist and electronic music composer, David Tudor, comprehensively document his participation in post-World War II experimental music. Scores by other composers, notably John Cage, Earle Brown, Morton Feldman, Christian Wolff, Sylvano Bussotti, and Karlheinz Stockhausen, Tudor's realizations of their scores, and his own electronic compositional materials form the bulk of the collection. Archive includes correspondence, financial papers, programs and announcements, specifications and documentation for electronic equipment, and audio and video recordings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Born in Philadelphia, Pa. in 1926, David Tudor studied composition and analysis with Stefan Wolpe, organ and theory with H. William Hawke, and piano with Irma Wolpe Rademacher. He began his professional work at 17 as an organist, and in 1950 established himself as a formidable talent in avant-garde music when he gave the American premiere of the Second Piano Sonata by Pierre Boulez.
    [Show full text]
  • Carpathian Ruthenia As an Imagined Colonial Space
    THE CZECHOSLOVAK ORIENT: CARPATHIAN RUTHENIA AS AN IMAGINED COLONIAL SPACE BY GEOFFREY BROWN A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in History Victoria University of Wellington 2016 Figure 0.1 – “Let’s Get To Know the People and Beauty of Subcarpathian Ruthenia!” Czech Tourist Guidebook Cover (1937) “Poznejte lid a krásy Podkarpatské Rusi!” (Uzhhorod: Národohospodářský sbor pro zemi Podkarpatoruskou, 1937). ii Abstract In 1919 the territory of Subcarpathian Ruthenia joined the new state of Czechoslovakia under the terms set by the Treaty of Saint Germain. During the following twenty years a relationship developed between Czechs and Ruthenia’s Rusyn inhabitants which this study considers as an example of imperialism and colonialism. The Czech media applied a colonial framework in its portrayals of Ruthenia, encouraging the Czech public to see the poor and undeveloped territory as a colony ruled from Prague. Rusyns also used colonial terminology as a means of criticizing the Czech officials who ruled them. The colonial discourse occurred despite a shared Slavic ethnic background and even as representatives of both nations expressed brotherhood and solidarity towards one another. Some Czech officials sent to Ruthenia adopted imperialist attitudes and practices in an environment of minimal bureaucratic oversight, leading to friction with the Rusyn intelligentsia. Faced with the threat of Czechization, Rusyns struggled to achieve autonomy and an anti-imperialist movement supporting Rusyn rights developed among Czech Communists. The Prague government sought to defend its actions in Ruthenia against accusations of mistreatment by the Hungarian revisionist movement.
    [Show full text]
  • A A&M A&P Aaa Aaas Aardvark Aarhus Aaron Aau Aba Ababa Aback
    a a&m a&p aaa aaas aardvark aarhus aaron aau aba ababa aback abacus abaft abalone abandon abandoned abandoning abandonment abase abased abasement abash abashed abashing abasing abate abated abatement abater abating abba abbas abbe abbey abbot abbott abbreviate abbreviated abbreviating abbreviation abby abc abdicate abdomen abdominal abduct abducted abduction abductor abe abed abel abelian abelson aberdeen abernathy aberrant aberrate aberration abet abetted abetter abetting abeyance abeyant abhor abhorred abhorrent abhorrer abhorring abide abided abiding abidjan abigail abilene ability abject abjection abjectly abjure abjured abjuring ablate ablated ablating ablation ablative ablaze able abler ablest ablution ably abnegation abner abnormal abnormality abnormally abo aboard abode abolish abolished abolisher abolishing abolishment abolition abolitionist abominable abominate aboriginal aborigine aborning abort aborted aborting abortion abortive abortively abos abound abounded abounding about above aboveboard aboveground abovementioned abrade abraded abrading abraham abram abramson abrasion abrasive abreact abreaction abreast abridge abridged abridging abridgment abroad abrogate abrogated abrogating abrupt abruptly abscessed abscissa abscissae abscissas abscond absconded absconding absence absent absented absentee absenteeism absentia absenting absently absentminded absinthe absolute absolutely absolution absolve absolved absolving absorb absorbed absorbency absorbent absorber absorbing absorption absorptive abstain abstained abstainer abstaining
    [Show full text]