Lieferbar

Nachruf auf Richard Taruskin (1945-2022)

Unterwegs zu einer anti-utopischen, post-autoritären Musikwissenschaft

The composer Gawriil N. Popov, the first prominent victim of Stalinist musical policy, refused to abandon a damaged, yet authentic, personal, innovative and intransigent music despite all the attempts at aesthetic adaptation that were necessary for survival, the regular censorship and the condemnations, official and unofficial alike. His quality as an avant-garde classic of Soviet symphonic music alongside Prokofiev and Shostakovich, stigmatised in his lifetime first as anti-Soviet and progressive, then later as Soviet and conservative, is barely registered today. The present essay on the fiftieth anniversary of his death is intended to offer perspectives for a necessary future engagement with his work.

Zum 50. Todesjahr von Gawriil Nikolajewitsch Popow

Avantgardist im Verborgenen

›Variations, With Solemnity‹, the third movement of Ben Johnston’s String Quartet No. 7 (1984), is presented as an extreme example of natural or ›just‹ intonation. In this music, Johnston goes far beyond Harry Partch, using the whole-number intervallic proportions 3, 5, 7, and 11 to 13. The all-encompassing proportional principle is also applied to the entire temporal structure of the work, with one cent (a hundredth of a semitone) corresponding to a metric value of an eighth-note. This is shown using the central viola line. Johnston constructs a web of complex whole-number relationships that ultimately forms an immense modulational arc leading into areas that go far beyond European methods of modulation. In so doing, he touches on tonal fields whose associations extend back to the Renaissance.

Beispiele aus seinem String Quartet No. 7 (1984), 3. Satz

Ben Johnston, sein Just-Intonation-Denken und seine Notation an einem Extrempunkt

This essay approaches the subject of aesthetic refusal, which was highly significant in the avant-garde and counterculture for much of the 20th century, from its historical margins: on the one hand, contemporary art, which attempts to rise above ineffectual artistic refusal, and on the other hand, the historical threshold of social modernity evidenced in J. S. Bach’s cantatas, where an imaginarium of evil appears and the congregation is exhorted to resist it. Drawing on Foucault and Hermann Broch, refusal is understood as a secularised element of religious normativity that has survived the structural changes of artistic modernity and persists to this day.

Bach, Broch und die Ästhetik der Verweigerung

»Widerstehe doch der Sünde«

The present text reflects on the paradoxical intersection of disparate artistic worlds in Enno Poppe’s choral piece <italic>Der Wechsel menschlicher Sachen</italic> [The Changes of Human Things], premiered in 2021, composed on a text by the Baroque poet Quirinus Kuhlmann (<italic>Bresslauer Himmlische Libesküsse</italic> [Heavenly Kisses of Love from Wroclaw], 1671). This analysis focuses on aspects of modular design, the idea of <italic>ars combinatoria</italic> realised here as well as the piece’s underlying concept of spectral (›multitonal‹) distinctions, which follows on from procedures already explored in <italic>Buch</italic> (2016) for string quartet. Finally, the author attempts to apply concepts of musical rhetoric rooted in the 17th century to Poppe’s score.

Wechselsatz. Enno Poppe vertont Quirinus Kuhlmann

Verlorene Selbstverständlichkeiten

WAS IST EIN DJ? 

»Über Cancel Culture«

Über die Frage, ob man Glaubenskriege anheizen oder unbedingt vermeiden sollte

Wenn das Schlecht-Abstrakte Realität annimmt

Der neue Musik-Konzepte-Band über Josquin des Prez

Postmonumentalische Geschichtsmächtigkeit

Neuausgabe der Klavierübung von August Halm

Robert Maschkas Buch über Manfred Trojahn

Contrevenir – Entgegenwirken

Zu Bernhard Langs Theater der Wiederholungen

»… dass man in der Mikroskopie eines winzigen Ausschnitts ganze Welten entdecken kann«

Musik & Ästhetik, 2022, Jg. 26, Ausgabe 104

Leider vergriffen


Karl Kraus in Coney Island: Steven Kazuo Takasugi’s »Sideshow« – This essay offers an overview of Steven Kazuo Takasugi’s most recent work Sideshow, which deals with phenomena of cultural crisis using the example of a historical New York fun park. The work, a hybrid of traditional chamber music and music theatre, introduces a new genre and mediates between absolute music and politically programmatic art. At the same time, it marks an innovative continuation of expressionist theatre traditions (Schönberg, Kraus).

Steven Kazuo Takasugis Sideshow

Karl Kraus in Coney Island

Aspects of Self-Referential Art in Josquin’s »Déploration de Iohan. Ockeghem« – This essay examines the phenomenon of self-referential art using Josquin’s nenia Nymphes des bois, written on the occasion of Ockeghem’s death. The point of departure is the peculiarity that Josquin himself is addressed in the passage of this motet-chanson with French text, and is urged to don his mourning dress and weep for his father Ockeghem. The analysis of the text and the music reveals a musical enactment by Josquin of his own singing. The key to understanding this is the use of the chorale from the funeral liturgy: it transpires that Josquin not only uses the Introit in the first part, but also the Communion in the last, here modifying Molinet’s text – especially the prayer for the dead – and making it the liturgical text of the mass. The author then systematizes the various self-referential elements whereby Josquin makes music the subject of his music, listing intertextuality, the enactment of music-making, the conscious creation of particularities of musical performance, and finally numerology. He ends with reflections on how to understand such self-referential aspects, emphasizing the necessity of the idea of the composer’s conception on the one hand, and of musical events in performance on the other hand.

Aspekte selbstreferentieller Kunst in Josquins Déploration de Iohan. Ockeghem

»Orpheus in Need«: Wilhelm Kempff’s Friendship with Albert Speer – The topos that art and politics are two strictly separate spheres, which is still alive and well, was especially symptomatic of the relationship between Wilhelm Kempff and Albert Speer: despite his close connections to major NS figures like Speer and Arno Breker, the famous Beethoven performer was never subject to doubts about his political integrity. Speer’s self-styled persona as a naive artist in the service of Hitler, on the other hand, saved him from the Nuremberg gallows. The present text reconstructs an outline of the genesis and motives of this previously unquestioned friendship, and in so doing sketches a picture of Germany in the midst of the economic miracle, at a time when there was little interest in any presence of its fascist past.

Wilhelm Kempffs Freundschaft zu Albert Speer

»Orpheus in Nöten«

Why Music Does Not Constitute a »Language of Emotions«: An Experience-Theoretical Critique – This essays seeks to highlight the immanent expression-aesthetic side of art music’s autonomy and its anthropological basis. For this, it draws primarily on emotion-theoretical, neurological and psychoanalytical insights. The intention is also to show that no examination of musical expression based on experiential science can dispense with considering the difference between art and non-art, and that the positivistic avoidance of any aesthetic evaluation itself constitutes an evaluative analytical halving of the phenomenon.

Eine erfahrungstheoretische Kritik

Warum Musik keine »Sprache der Gefühle« darstellt

Zum Tod von Nikolaus Harnoncourt

Hanno Rauterberg, Hannes Seidl, Guido Kreis

(Post)Autonomie?

»I Want to Be Loud« – On the Limits of Music and Body: A Polemical Self-Defence – Starting from performance experiences in contemporary dance and theatre that overstep the limits of music through extreme electronic amplification, and thus provoke a primarily physical experience in place of listening, this text pursues a polemical intertwining of questions about the limits of music and about the political in art with paradigms of contemporary performance discourses like »sound«, »corporeality« or »atmospheres«. The fragile boundary between ecstatic bodily transgression and the exercise/experience of acoustic violence is marked by an overwriting of listening through bodily feeling.

Eine polemische Selbstverteidigung

»I want to be loud« – Über die Grenzen von Musik und Körper

Kirchenmusik von Pergolesis Landesgenossen

Neue Ausrichtungen der Musikalischen Analyse

Adorno versus Lyotard

Reflexionen zur Historischen Musikwissenschaft

Bereichernde Herausforderungen (und heiße Luft ist auch dabei)

Ein Medium der sich selbst erfahrenden Wahrnehmung

Musik & Ästhetik, 2016, Jg. 20, Ausgabe 79

Polzhofer

Kontakt

Aboverträge kündigen

Cookies

AGB & Widerrufsbelehrung

Datenschutzinformation zu Facebook-Fanpages des Verlages

Datenschutzinformation zur Nutzung von Twitter

Allgemeine Teilnahmebedingungen Gewinnspiele

Datenschutz

Impressum

Startseite

Klett-Cotta Belletristik

Literatur

Fantasy

Gesellschaft

Psychologie

Merkur

Musik & Ästhetik

Science-Fiction

Leben

Geschichte

Klassiker

Klett-Cotta Sachbuch

Hobbit Presse

Spannung

Philosophie

Natur

-------

Cosy Crimes

Naturwissenschaften

Kultur

J.R.R Tolkien

Tropen Verlag

Tad Willliams

Patrick Rothfuss

Belletristik & Sachbuch

Klett-Cotta Psychotherapie

Psychotherapie allgemein

Bindungspsychotherapie

Psychoanalyse

Bücher

Ärztliche Psychotherapie

Familiendynamik

griffbereit 

Tiefenpsychologisch fundierte Psychotherapie

Zeitschriften

Trauma

Schattauer

Systemische Therapie

Hilfe aus eigener Kraft

eLibrary

Bindung

Kinderanalyse

PdP – Psychodynamische Psychotherapie

Kinder & Jugendliche

Kartensets & Spiele

Komplexe Krisen und Störungen

Verhaltenstherapie

Psychiatrie

Leben Lernen

Online-Kongresse

Psychosomatik

PSYCHE

PTT – Persönlichkeitsstörungen

Angst, Depression, Zwang

Online-Seminare

Mentalisieren in Klinik und Praxis

Coaching & Beratung

Körperorientierte Verfahren

Traumafolgestörungen

Digitale Tools

Sucht

Trauma & Gewalt

Persönlichkeitsstörungen

Hypnotherapie

Wissen & Leben

Schematherapie

Lebenshilfe & Resilienz

Achtsamkeit

Gruppenpsychotherapie

Hochbegabung

Paar- & Sexualtherapie

Psychologie & Psychotherapie

Autor:innen

Newsletter

News

Veranstaltungen und Termine

E-Book-Preisaktionen

Stellenanzeigen

Aktuelles

Klett-Cotta Verlag

Tropen

Klett-Cotta Fachverlag

Verlage

Kundenservice für Leser:innen

Foreign Rights / Rechte & Lizenzen

Presse

Handel

Veranstaltungsmanagement

Lieferkette

Social Media

Vorschauen | Downloadmaterial

Service

Kai Johannes Polzhofer

Bücher, Übersetzungen oder Beiträge

Musik & Ästhetik, 2022, Jg. 26, Ausgabe 104

Musik & Ästhetik, 2016, Jg. 20, Ausgabe 79