Zur Bartók-Rezeption in Russland

2007 ◽  
Vol 48 (1-2) ◽  
pp. 225-236
Author(s):  
Evgenia Tschigareva
Keyword(s):  
Turn Of The Century ◽  
New Music ◽  
Musical Style ◽  
Policy Makers ◽  
Avant Garde ◽  
Official Policy ◽  
The Press ◽  
Active Interest ◽  
Second Wave ◽  
Comprehensive Study

Abstract Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.

Paz, Juan Carlos (1897–1972)

2018 ◽  
Author(s):  
Violeta Nigro-Giunta
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Chamber Music ◽  
Contemporary Music ◽  
New Music ◽  
Film Scores ◽  
Twelve Tone ◽  
Avant Garde ◽  
The Press ◽  
Traditional Institutions

Juan Carlos Paz (1897–1972) was an Argentine composer, critic, writer, and self-described "compositional guide" who played a key role in twentieth-century Argentine contemporary music. Known for his rebellious attitude towards traditional institutions and academia, and as an advocate of avant-garde music throughout his life, Paz was a pioneer in the use of the twelve-tone technique in Latin America. Paz founded such groups as Grupo Renovación [Renovation Group] and Asociación Nueva Música [New Music Association], both devoted to promoting and performing new music. Paz wrote music for solo instruments, chamber music, orchestra, and theatre, as well as film scores. He published three important books dedicated to new music and three volumes containing his memoirs, and collaborated intensively with the press and magazines (Crítica, Reconquista, Acción de Arte, La Protesta, La Campana de Palo, Argentina Libre, among others).

The Influence of the Media on Policies in Practice: Hungarian Refugee Resettlement in the Netherlands in 1956

2017 ◽  
Vol 3 (1) ◽  
pp. 22-53
Author(s):  
Marlou Schrover ◽  
Tycho Walaardt
Keyword(s):  
The Netherlands ◽  
Government Policies ◽  
Policy Makers ◽  
Supportive Role ◽  
The Press ◽  
Freedom Fighters ◽  
The Media ◽  
Women And Children ◽  
Changes Over Time

This article analyses newspaper coverage, government policies and policy practices during the 1956 Hungarian refugee crisis. There were surprisingly few differences between newspapers in the coverage of this refugee migration, and few changes over time. The role of the press was largely supportive of government policies, although the press did criticise the selection of refugees. According to official government guidelines, officials should not have selected, but in practice this is what they attempted to do. The refugees who arrived in the Netherlands did not live up to the image the press, in its supportive role, had created: there were too few freedom fighters, women and children. This article shows that the press had an influence because policy makers did make adjustments. However, in practice selection was not what the media assumed it was, and the corrections were not what the media had aimed for.

scholarly journals Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern

2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler
Keyword(s):  
20Th Century ◽  
Conceptual Knowledge ◽  
Aesthetic Experience ◽  
New Music ◽  
Avant Garde ◽  
Starting Point ◽  
Traditional Language ◽  
Art Philosophy ◽  
Language Of Music ◽  
The One

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.

scholarly journals Allies and Enemies: Periodicals as Instruments of Conflict in the Florentine Avant-garde (1903-15)

2018 ◽  
Vol 3 (1) ◽  
Author(s):  
Anna Baldini
Keyword(s):  
Sociological Theory ◽  
Filippo Tommaso Marinetti ◽  
Cultural Institutions ◽  
Avant Garde ◽  
The Press ◽  
Literary Writing

In 1903 Giovanni Papini, a 22 year-old aspiring philosopher who would soon channel his rampant ambition into literary writing, was a founder of the philosophy magazine Leonardo (1903-7). A group of young intellectuals and artists, here defined as the Florentine avant-garde,  gathered around this periodical and its successors, La Voce (1908-1916) and Lacerba (1913-15). By drawing on Bourdieu’s sociological theory of cultural fields, this essay explores how the intellectuals writing for these periodicals established a powerful intellectual network and criticized the cultural institutions of the period: universities, the press, the literary and the artistic markets. By tracing individual biographies and intellectual trajectories, this essay also highlights the conflicts that arose within the Florentine avant-garde and between it and the Futurists led by Filippo Tommaso Marinetti. 

Introduction

2019 ◽  
pp. 1-22
Author(s):  
Jennifer Iverson
Keyword(s):  
Cold War ◽  
Electronic Music ◽  
New Music ◽  
West Germany ◽  
Cultural Hegemony ◽  
Avant Garde ◽  
New Frontier ◽  
Reliable Marker ◽  
The One ◽  
Opening Up

The Westdeutscher Rundfunk [West German Radio] or WDR studio emerged in the early 1950s in Cologne, West Germany in a conflicted Cold War climate. On the one hand, electronic music signified social and artistic progress; avant-garde music stood as a reliable marker of democracy and freedom in contrast to Nazi and Soviet aesthetic mandates. On the other hand, technophobic audiences and critics reacted with skepticism to de-personalized, machine-mediated concerts, often regarding the new sounds with disdain. Nevertheless, cultural administrators, especially by means of the regional radio network, channeled funding to new music and the electronic studio as a way of rebuilding West Germany’s cultural hegemony. The WDR studio’s heterogeneity—its ability to incorporate and make use of several different types of resources—became a key to its success. The studio’s composers and technicians synthesized new sounds from scientific discourses. They reclaimed military technologies and long-standing musical lineages, opening up a new frontier. By embracing electronic music, West Germany found a way out of its decimated postwar landscape and emerged as a leader in the cultural Cold War.

scholarly journals Age-stratified discrete compartment model of the COVID-19 epidemic with application to Switzerland

2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Fadoua Balabdaoui ◽  
Dirk Mohr
Keyword(s):  
Infected Individual ◽  
Compartment Model ◽  
Policy Makers ◽  
Modern Health Care ◽  
Containment Measures ◽  
To Come ◽  
Second Wave ◽  
Important Basis ◽  
Day By Day ◽  
Model Based Analysis

AbstractCompartmental models enable the analysis and prediction of an epidemic including the number of infected, hospitalized and deceased individuals in a population. They allow for computational case studies on non-pharmaceutical interventions thereby providing an important basis for policy makers. While research is ongoing on the transmission dynamics of the SARS-CoV-2 coronavirus, it is important to come up with epidemic models that can describe the main stages of the progression of the associated COVID-19 respiratory disease. We propose an age-stratified discrete compartment model as an alternative to differential equation based S-I-R type of models. The model captures the highly age-dependent progression of COVID-19 and is able to describe the day-by-day advancement of an infected individual in a modern health care system. The fully-identified model for Switzerland not only predicts the overall histories of the number of infected, hospitalized and deceased, but also the corresponding age-distributions. The model-based analysis of the outbreak reveals an average infection fatality ratio of 0.4% with a pronounced maximum of 9.5% for those aged ≥ 80 years. The predictions for different scenarios of relaxing the soft lockdown indicate a low risk of overloading the hospitals through a second wave of infections. However, there is a hidden risk of a significant increase in the total fatalities (by up to 200%) in case schools reopen with insufficient containment measures in place.

Paul Dessau and the Hard Work of Socialist Music in the German Democratic Republic

2019 ◽  
Vol 16 (1) ◽  
pp. 51-66
Author(s):  
MARTIN BRADY
Keyword(s):  
German Democratic Republic ◽  
Choral Music ◽  
Democratic Republic ◽  
Bertolt Brecht ◽  
Hard Work ◽  
New Music ◽  
Avant Garde ◽  
Heiner Müller

AbstractThis article examines the labour of socialist music in the German Democratic Republic, focusing on composer Paul Dessau's use of political cryptography and quotation in a number of compositions from the opera The Condemnation of Lukullus (1950) through to Choral Music No. 5 (1976). Most famous for his collaborations with Bertolt Brecht, Dessau was the leading avant-garde composer of the GDR and its chief practitioner of serialism. He believed that only difficult, progressive New Music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. Choral Music No. 5 is a setting of a poem by Heiner Müller based on a speech by Erich Honecker (Žižek refers to the text as an ‘obscenity’). Dessau's composition is complex and dialectical, abrasive in its rhythms and counterpoint, and pluralistic in style. It is the embodiment of Dessau's belief in socialist music as rewarding hard work.

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