Der kanonisierte Ligeti

2016 ◽  
Vol 57 (1-2) ◽  
pp. 221-238
Author(s):  
Stefan Weiss
Keyword(s):  
Early Identification ◽  
Contemporary Music ◽  
West Germany ◽  
Musical Language ◽  
Self Image ◽  
German Speaking ◽  
English Speaking ◽  
The 1960S ◽  
Canonical Status

By the middle of the 1960s, only a couple of years after his defection from Hungary to Austria and West Germany, Ligeti had already achieved canonical status in Western circles of contemporary music, even if more in German speaking countries than in English speaking ones. As a by-product of this extremely quick process, Ligeti was identified with the new musical language of ‚Klangkomposition‘ (sound-mass music) and micropolyphonic texture, an identification that has stuck with him since — the works written from 1958 to 1967, and Atmosphères in particular, remain by far his best known and most frequently cited compositions. If canonization in itself must be regarded to a certain degree as desirable to any composer, in Ligeti’s case there were unwanted effects of this development. Although the composer himself contributed to it by his writings, his early identification as a composer of sound masses not only narrowed the reception of his oeuvre but affected his later self-image as a composer, too.

The Relations of Enlightenment and Religious Revival in Central Europe and in the English-Speaking World

1979 ◽  
Vol 2 ◽  
pp. 281-305 ◽  
Author(s):  
W.R. Ward
Keyword(s):  
Eighteenth Century ◽  
Middle Ages ◽  
Democratic Republic ◽  
West Germany ◽  
Religious Revival ◽  
The Enlightenment ◽  
German Speaking ◽  
English Speaking ◽  
Good Conscience ◽  
English Speaking World

Fifty years ago it was possible to write with a good conscience about relations between pietism and enlightenment; everyone knew what these spiritual entities were, and knew also that it was not proper (in the German-speaking world at least) to talk of religious revival until the enlightenment was almost spent. It is only in the historiography of the German Democratic Republic that any of these certainties seems to remain; there the enlightenment retains pride of place as the progenitor of progress and human liberation, with an honourable pedigree extending deep into the middle ages, its relations with ständisch politics or with pietist religion capable in principle of rational discussion. Contrast with this the sneer of A. J. P. Taylor in England that the enlightenment is now only of interest to those who are still worried about Christianity, and with the problems of definition encountered by historians in America and West Germany. To Henry May, the enlightenment in America is capable of structural analysis which reveals stages of development, each with its own objectives. The notion that enlightenment was a simple concept, patient of blanket condemnation, was a calumny put about by frightened conservatives, including many of evangelical views at the end of the eighteenth century.

Berlin Walls: Dahlhaus Knepler, and Ideologies of Music History

2003 ◽  
Vol 20 (4) ◽  
pp. 498-525 ◽  
Author(s):  
Anne C. Shreffler
Keyword(s):  
Music History ◽  
West Germany ◽  
The Other ◽  
Political Systems ◽  
The West ◽  
East And West Germany ◽  
English Speaking ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One

As exemplified in writings by Carl Dahlhaus and Georg Knepler, a debate about music historiography took place in East and West Germany in the 1960s and 1970s. A comparison between two books, Dahlhaus's Grundlagen der Musikgeschichte (Foundations of Music History) and Knepler's Geschichte als Weg zum Musikverstäändnis (History as a Means of Understanding Music), both published in 1977, is instructive as a measure of the two poles of the Methodenstreit: the one centered around music as autonomous work, the other around music as a human activity. The central questions raised prove uncannily current. The two scholars, who knew each other and respected each other's work, were both based in Berlin; but with Dahlhaus in the West and Knepler in the East, they represented the two different political systems that existed in the divided city between 1945 and 1989. In their work, and especially in these two books, Dahlhaus and Knepler defended their own positions and sought to point out weaknesses in the other side. While Dahlhaus's work is well known in English-speaking musicology, Knepler's is not. His contribution to music history and historiography was comparable to Dahlhaus's in importance, however, and his ideas anticipate many tenets of the "new musicology."

The Predictive Validity of Assessment Centers in German-Speaking Regions

2011 ◽  
Vol 10 (2) ◽  
pp. 61-69 ◽  
Author(s):  
Nicolas Becker ◽  
Stefan Höft ◽  
Marcus Holzenkamp ◽  
Frank M. Spinath
Keyword(s):  
Predictive Validity ◽  
Target Group ◽  
Assessment Centers ◽  
Credibility Interval ◽  
German Speaking ◽  
English Speaking ◽  
Intelligence Measures ◽  
Meta Analyses

As previous meta-analyses have focused almost solely on English-speaking regions, this study presents the first systematic meta-analytical examination of the predictive validity of assessment centers (ACs) conducted in German-speaking regions. It summarizes 24 validity coefficients taken from 19 studies (N = 3,556), yielding a mean corrected validity of ρ = .396 (80% credibility interval .235 ≤ ρ ≤ .558). ACs with different purposes and different kinds of criterion measures were analyzed separately. Furthermore, target group (internal vs. external candidates), average age of the assessees, inclusion of intelligence measures, number of instruments used, AC duration, as well as time elapsed between AC and criterion assessment were found to moderate the validity.

“Because every recipient is also a potential patient” – TV Health Programmes in the FRG and the GDR, from the 1960s to the 1980s

Gesnerus ◽  
2019 ◽  
Vol 76 (2) ◽  
pp. 172-191
Author(s):  
Susanne Vollberg
Keyword(s):  
Public Awareness ◽  
West Germany ◽  
Continuous Coverage ◽  
Public Consciousness ◽  
Television Programme ◽  
East German ◽  
Health And Disease ◽  
Media Systems ◽  
The 1960S ◽  
And Function

In the television programme of West Germany from the 1960s to the 1980s, health magazines like Gesundheitsmagazin Praxis [Practice Health Magazine] (produced by ZDF)1 or ARD-Ratgeber: Gesundheit [ARD Health Advisor] played an important role in addressing health and disease as topics of public awareness. With their health magazine Visite [Doctor’s rounds], East German television, too relied on continuous coverage and reporting in the field. On the example of above magazines, this paper will examine the history, design and function of health communication in magazine-type formats. Before the background of the changes in media policy experienced over three decades and the different media systems in the then two Germanys, it will discuss the question of whether television was able to move health relevant topics and issues into public consciousness.

The Oxford Handbook of Critical Concepts in Music Theory

2015 ◽  
Keyword(s):  
Music Theory ◽  
Contemporary Music ◽  
Panoramic View ◽  
Teaching And Research ◽  
New Concepts ◽  
English Speaking ◽  
English Speaking World ◽  
Technical Terms ◽  
Guiding Questions

Music Theory operates with a host of technical terms for concepts that appear straightforward but that conceal layers of complexity. This collection uncovers some of the richness and intricacy of these terms. Using a range of methods, from philosophical and historical contextualizations to cognitive and systematic approaches, and across a range of repertories, these essays aim to convey a fuller understanding of the terms music theorists employ every day in teaching and research. In so doing, the collection provides a panoramic view of the contemporary music-theoretical landscape, offering new perspectives on established concepts, seeking to expanding their purview to new repertories, and adding new concepts to the theorist’s toolkit. Taken as a whole, the concepts collected in this volume spotlight some of the guiding questions of music theory as it is currently practiced in the English-speaking world; they seek to broaden its foundational conversations to underline the ways in which music theory itself is evolving.

SOUND, MEANING AND MUSIC-DRAMA IN LACHENMANN'S DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 20-33
Author(s):  
Laurence Osborn
Keyword(s):  
Theoretical Framework ◽  
Musical Language ◽  
Search For Meaning ◽  
Cognitive Capacities ◽  
Music Drama ◽  
Avant Garde ◽  
Unique Approach ◽  
The 1960S ◽  
Musique Concrete ◽  
Cultural Baggage

AbstractThis article argues that Das Mädchen mit den Schwefelhölzern demonstrates a unique approach to music-drama that stems from the perceptual capacities of listeners, and their desire to search for meaning in what they hear. Beginning with the claim that Das Mädchen mit den Schwefelhölzern can be viewed as the culmination of an aesthetic project begun at the point of Lachenmann's emergence as a distinctive voice of the European avant-garde during the 1960s, the article first examines two major aspects of Lachenmann's aesthetics – musique concrète instrumentale and aura – outlining a composing philosophy that has been at the heart of Lachenmann's practice throughout his career. The article claims that Lachenmann sought to establish a rejuvenated semiotics, freed from cultural baggage and tied to the perceptual and cognitive capacities of listeners. Drawing upon the studies of Naomi Cumming and Luke Windsor, it outlines a theoretical framework that takes into account this composing philosophy and its implications, applying it in analyses of various excerpts from Das Mädchen mit den Schwefelhölzern. My analysis illuminates a music-drama that forms around the interplay of internally represented images and sensations, the emergence of which is facilitated by a musical language that prepares sounds to take on certain types of meaning. The article concludes with a brief discussion of the possible implications this has for audience members.

scholarly journals The Psychoprophylactic Method of Painless Childbirth in Socialist Czechoslovakia: from State Propaganda to Activism of Enthusiasts

2016 ◽  
Vol 60 (4) ◽  
pp. 534-556 ◽  
Author(s):  
Ema Hrešanová
Keyword(s):  
Pain Relief ◽  
Scientific Method ◽  
Communist Regime ◽  
The West ◽  
Medical Journals ◽  
History Of ◽  
English Speaking ◽  
The 1960S ◽  
Pharmacological Method ◽  
Insight Into

This paper explores the history of the ‘psychoprophylactic method of painless childbirth’ in socialist Czechoslovakia, in particular, in the Czech and Moravian regions of the country, showing that it substantially differs from the course that the method took in other countries. This non-pharmacological method of pain relief originated in the USSR and became well known as the Lamaze method in western English-speaking countries. Use of the method in Czechoslovakia, however, followed a very different path from both the West, where its use was refined mainly outside the biomedical frame, and the USSR, where it ceased to be pursued as a scientific method in the 1950s after Stalin’s death. The method was imported to Czechoslovakia in the early 1950s and it was politically promoted as Soviet science’s gift to women. In the 1960s the method became widespread in practice but research on it diminished and, in the 1970s, its use declined too. However, in the 1980s, in the last decade of the Communist regime, the method resurfaced in the pages of Czechoslovak medical journals and underwent an exciting renaissance, having been reintroduced by a few enthusiastic individuals, most of them women. This article explores the background to the renewed interest in the method while providing insight into the wider social and political context that shaped socialist maternity and birth care in different periods.

From Nowhere to “Partyslava”

2015 ◽  
Vol 42 (2-3) ◽  
pp. 299-320
Author(s):  
Peter Barrer
Keyword(s):  
Central Europe ◽  
Slovak Republic ◽  
Urban Spaces ◽  
Cultural Perspective ◽  
Popular Imagination ◽  
East Central Europe ◽  
East Central ◽  
The Past ◽  
German Speaking ◽  
English Speaking

Over the past two decades, Prague has cemented itself as a tourist hotspot in the popular imagination. But what of Bratislava, long considered a “poor cousin” to Prague? What images of Bratislava have foreign publics been presented with since the fall of communism in East-Central Europe and the establishment of the Slovak Republic? Building on previous research which has examined visitors’ historical perceptions of Bratislava primarily from a German-speaking perspective, this paper seeks to map the development of Bratislava’s image in media texts from English-speaking countries since 1989 by focusing on two central motifs: Bratislava as a post-communist space and Bratislava as a locus of touristic pleasures (“Partyslava”). The images presented herein will be evaluated and contrasted with local descriptions of Bratislava, thus offering a cross-cultural perspective which will contribute to the wider discussion of popular perceptions of post-communist urban spaces in East-Central Europe.

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