Suchergebnisse

Notions of the 'Nordic' have always been an issue in Norway's national identity building, both before and after it became a sovereign state in 1905. Accordingly, Norwegian music has expressed a sense of ambivalence towards being conceived as 'Nordic' from the outside: A strong sense of 'Norwegianness' (forged during the heroic age of cultural nation-building in the 19th century) was challenged by the advent of new, nationalistic currents in the 1930s, which used notions of the Nordic as a political weapon. This book shows how music expresses affirmation and ambivalence towards the 'Nordic' as an ingredient of Norwegian national identity across musical genres. Further, it explores the contingencies of national music and the dramatic changes in 20th-century European political history. At the same time, it sheds new light on the difference between musical nationalism and national music.

Community Music und Outreach gewinnen in der Musikvermittlung angesichts kulturpolitischer Forderungen nach kultureller Teilhabe stetig an Bedeutung. Während die Ansätze im angloamerikanischen Raum seit jeher einen festen Bestandteil der Musikvermittlung von Orchestern und Konzerthäusern bilden, wird im deutschsprachigen Raum damit weitgehend Neuland betreten. Die Publikation befasst sich daher mit der Frage, welche Perspektiven und daraus resultierenden Anforderungen sich für die Ausrichtung an Outreach und die Einbindung von Community Music in die institutionelle Musikvermittlung im Konzertbetrieb ergeben. Ausgehend von der Darstellung der Prinzipien und historischen Entwicklung von Community Music in Großbritannien und Deutschland werden Begründungsmuster für Outreach vorgestellt und im Spannungsfeld von Teilhabe und Teilnahme beleuchtet. An die Beschreibung ausgewählter deutschsprachiger Outreach-Formate knüpft – orientiert am Partizipationsverständnis, den Grundprinzipien von Community Music und einer Sondierung des Vermittlungsbegriffs – eine kritisch-konstruktive Bestandsaufnahme der bestehenden Praxis an. Auf der Suche nach Zukunftsperspektiven der Musikvermittlung werden schließlich Möglichkeitsräume für Partizipation sowie Outreach als Change-Management unter Bezug auf das Konzept der Artistic Citizenship beschrieben.

What we certainly know about Iranian dastgāhi music dates back to Nāser al-Din Shah's reign (1848-1896) in the Qājār era. In this era, opportunities arose to teach and extend dastgāhi music due to additional support from the government. Farahani's family played a significant role in collecting and teaching the repertoire of dastgāhi music (radīf). After the Mashrūteh (1905-1911), one can observe the improvement and extension of music collections, both in different dastgāh-ha and in various radīf-ha and pre-composed pieces. These improvements can be attributed to greater individual freedom to pursue musical activities in society and an increased possibility of performing for the public. There are a few other factors that played a crucial role in advancing the repertoire of dastgāhi music in the Qājār era after Mashrūteh. These included the establishment of a music school under the supervision of Vaziri, holding concerts and the composition and extension of pre-composed pieces by musicians who were masters of radīf. In the 1960s and 1970s, there were two dominant views regarding Iranian classical music. The first view was held by a group of traditionalists. They stressed the concept of tradition and, as a result, a single version of radīf. Moreover, this group began classifying musicians and their pieces into two major groups: traditionalists and modernists (more westernised musicians). The second view considers the various types of radīf-ha and introduces radīf-ha as a collection of music materials and melodies that make it possible to create pre-composed pieces in various forms. This view also improves the possibility of improvisation within musical compositions. Due to its fixed understanding of radīf, the first view recommends the performance of musical instruments with very specific techniques. The second view considers additional possibilities for musical instruments and the role of musicians in creating new and innovative techniques. I will introduce and analyze the techniques of two musical instruments, tār and santūr in two separate chapters in my thesis. Tār and santūr are the main musical instruments in Iranian classical music. They have the most repertoire regarding different radīf-ha or pre-composed pieces. I will study the different radīf-ha of tār and santūr in the middle part of my thesis. I intend to show the development of the performance of these two musical instruments in the recent century. I will also study the impact of musical instruments and radīf-ha on one another. I will analyze the first view that leads to freezing the radīf and establishing a fixed radīf with specific techniques. I will analyze different radīf-ha to indicate the significance of the second view regarding the dynamism of the radīf. I will conclude that the improvement of the radīf depends on factors such as the role of performers, the possibilities of musical instruments and social situation. In the last chapter, I will discuss the course of improvement of the pre-composed pieces. They are an essential part of the repertoire of Iranian classical music. I will also study the role of pre-composed pieces regarding performance and teaching. I will show the role of performers and prominent masters in development of pre-composed pieces and the techniques of musical instruments.

Analysing the timeline of US, UK, German and Dutch music charts, we find that the evolution of album lifetimes and of the size of weekly rank changes provide evidence for an acceleration of cultural processes. For most of the past five decades, number one albums needed more than a month to climb to the top, nowadays an album is in contrast top ranked either from the start, or not at all. Over the last three decades, the number of top-listed albums increased as a consequence from roughly a dozen per year, to about 40. The distribution of album lifetimes evolved during the last decades from a log-normal distribution to a power law, a profound change. Presenting an information–theoretical approach to human activities, we suggest that the fading relevance of personal time horizons may be causing this phenomenon. Furthermore, we find that sales and airplay- based charts differ statistically and that the inclusion of streaming affects chart diversity adversely. We point out in addition that opinion dynamics may accelerate not only in cultural domains, as found here, but also in other settings, in particular in politics, where it could have far reaching consequences.

Die Jazzstudie2016 untersucht erstmalig empirisch die Lebens- und Arbeitssituation von Jazzmusiker/-innen in Deutschland. Ausgehend von mehr als 2.000 Befragten werden Biografie, Berufspraxis sowie die finanzielle und persönliche Situation professioneller Jazzmusiker/-innen analysiert. Die Überlegungen mündeten in einer Diskussion möglicher musik- und kulturpolitischer Handlungsempfehlungen.

Diese Arbeit beschreibt und analysiert die Entwicklung der Musikpädagogik in Nordkorea. Einerseits hat Musik hier keinerlei künstlerische Autonomie, da sie primär in den Dienst der Ideologievermittlung gestellt wird, um so Loyalität für den jeweiligen Machthaber zu generieren. Charakteristisch dafür ist der oft verwendete Ausdruck "Musikpolitik", typisch für die Instrumentalisierung der Musik sind daher gerade die Lieder, die dazu dienen, die Familie Kim zu verherrlichen. Andererseits gibt es jedoch auch eine intensive Musikerziehung, die großen Wert auf technische Fertigkeiten legt, womit das Regime seine Leistungskraft illustrieren möchte.

In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin.

Rezensionen zu: Richard Wagners politische Theologie : Kunst zwischen Revolution und Religion / Peter Hofmann. - Paderborn : Verl. Ferdinand Schöningh, 2003. - 320 S., ISBN 3-506-73929-8, 39,80 Euro Richard Wagner : Ahasvers Wandlungen / Dieter Borchmeyer. - Frankfurt am Main [u.a.] : Insel Verl., 2002. - 647 S., ISBN 3-458-17135-5, 44,90 Euro.

Among recent approaches to Classic music, one of the most revealing is the investigation of expression via topoi. Pioneered by Leonard Ratner, and developed by leading musicologists specializing in 18th-century music, this system identifies characteristic figures and styles that conveyed specific meanings to 18th-century audiences via processes of association. These implications resulted from intimate contacts with everyday musical activities in worship, entertainment, dance ceremonies, the military, hunt, and outdoor events. Familiarity with such characteristic topoi and styles enables listeners and performers today to reconstruct the original venues of communication between composers and their audiences. Serving as case studies, this paper explores the expressive content of two concertos intended for aristocratic women performers in Salzburg: the Concerto for three keyboards in F, K. 242 (1776), written for the Countess Antonia Lodron and her two daughters, Aloysia and Josepha, and the keyboard concerto in C, K. 246 (1776) intended for the Countess Antonia Lützow. Indeed, it seems that much as Mozart provided his singers with arias that were tailored to their voices,3 in these cases, he granted the Countesses music that was redolent of their social milieu. In support of this hypothesis, this article opens with a description of several social-musical activities that engaged the Lodron and Lützow families in Salzburg during the 1770s. It then proceeds to discuss references to these concertos found in the Mozart family correspondence. While much of this information is gleaned from well-known Mozart sources, its recall establishes the cultural and sociological context for these specific works, and provides an insight into the manner of performance that Mozart valued for this music. The paper concludes with a semiotic analysis of selected passages, suggesting that the choice of the topical content bears homage to the women dedicatees.

Die fünfzehnjährige Forschungstätigkeit des Autors dieses Buchs, Djerdj Mandics, ist eine testamentarische Geste, mit der er die Orgeln seiner Geburtsprovinz Vojvodina vor der Vergessenheit bewahrte, aber damit auch die kulturelle, künstlerische und - wie wir hoffen - politische Öffentlichkeit bewegt.

In der polnischen Musikgeschichtschreibung findet man immer wieder ein klischeehaftes Bild Krakaus [poln. Kraków] im 19. Jahrhundert. Es wird als eine provinzielle Stadt dargestellt, die aufgrund dessen, dass sie über kein sinfonisches Orchester verfügte, von den führenden Entwicklungsströmungen der europäischen Musik getrennt war und am Rande Europas vegetierte.

In seinem Artikel zur Reger-Rezeption bei den französischen Organisten hat Pierre Guillot einen allmählich steigenden Antagonismus zwischen Frankreich und Deutschland während des Zeitraums 1870–1914 festgestellt. Dieser angeblich zu einem 'musikalischen Protektionismus' führende Antagonismus stelle einen der Gründe für die schlechte Rezeptionslage Regers dar. Laut Guillot gebe die durch die Blüte der nationalen (Orgel-)Schule bedingte Befreiung vom Einfluss der Musik des Nachbarn eine andere Erklärung für diese Situation ab. Meines Erachtens ist das aber eine etwas verquere Sicht der Dinge. Einerseits bedeutet die Herausbildung einer nationalen Schule nicht unbedingt, dass man sich von der Musik der anderen Kulturen entfernt. Andererseits hat der preußisch-französische Krieg die Aneignung der deutschen Instrumentalkunst nicht unterbrochen, sondern – nach einer kurzen Latenzphase – sogar intensiviert, und zwar trotz der Gründung der 'Société Nationale de Musique', welche unter dem nationalistischen Motto Ars Gallica als Katalysator für die Pflege französischer Instrumentalmusik fungierte.