Erinnerung des Neuen. » Intuition « bei Joseph Beuys, John Cage, Saburo Teshigawara und Andrej Tarkowskij

Intuition ◽  
2012 ◽  
pp. 281-336
Keyword(s):  
John Cage ◽  
Joseph Beuys

Joseph Beuys und die Musik

2021 ◽  
Author(s):  
Sigrun Hintzen
Keyword(s):  
John Cage ◽  
Unpublished Manuscript ◽  
Joseph Beuys ◽  
Nam June Paik ◽  
Erik Satie ◽  
Grand Piano

Joseph Beuys expanded his concept of art to include listening and conceived of sound as sculpture. Musical material runs through his work from early drawings to late performances. This book breaks down what the acoustic elements in Beuys' works, notations, symphonies and scores are all about. What does Beuys himself do at the grand piano, what are "Erdklavier" and "Innenton"? Beuys worked with John Cage, Nam June Paik and Henning Christiansen, felt close to Erik Satie. At the time, Sigrun Hintzen laid the foundation for research into Joseph Beuys' music. This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

scholarly journals Desconcerto número 1: Paradoxos da Conferência- Performance

Dramaturgias ◽  
2017 ◽  
pp. 18-32
Author(s):  
Aurélio Pinotti, Ana Ferreira Costa, Marco Catalão
Keyword(s):  
John Cage ◽  
Santa Catarina ◽  
Robert Morris ◽  
Joseph Beuys

Tomando como ponto de partida o espetáculo Dislocations, da companhia Nomade, apresentado em março de 2016 na sede do Théâtre du Soleil, em Paris, este artigo é a transcrição de uma comunicação apresentada no dia 26 de no- vembro de 2016, no II Simpósio Brasileiro de Escrita Dramática, realizado na Universidade Federal de Santa Catarina. Seu objetivo é estabelecer um debate sobre o potencial epistemológico do discurso fictício e o efeito performativo do discurso crítico. Tomamos como eixo de nossa discussão a conferência-performance, dispositivo híbrido inaugurado pelas ações de Robert Morris, John Cage e Joseph Beuys nas décadas de 1950 e 1960, e que hoje é uma modalidade importante da criação e da reflexão artística contemporâ- nea. Com características particulares, os trabalhos de Éric Duyckaerts, Joana Craveiro, Hans-Jürgen Frei, Walid Raad, Jérôme Bel e Pierre Cleitman parti- cipam desse gênero híbrido que problematiza as fronteiras entre crítica e invenção, cujas ações salientam ou desvelam os aspectos performativos já latentes em qualquer comunicação para um auditório: a tensão entre as in- formações discursivas e as informações não discursivas; o descompasso entre roteiro e execução; a incerteza da tríplice relação entre o enunciador, o enun- ciado e o espectador.

"Open Work" One Step Further: From John Cage to John Zorn

2017 ◽  
Vol 55 (2) ◽  
pp. 199-217
Author(s):  
Oksana Nesterenko
Keyword(s):  
John Cage ◽  
One Step ◽  
Open Work

Komponisten, Interpreten und Editoren debattieren über Notation

2019 ◽  
Vol 33 (1) ◽  
pp. 64-81
Author(s):  
Dörte Schmidt
Keyword(s):  
New York ◽  
International Association ◽  
Contemporary Music ◽  
Second Step ◽  
John Cage ◽  
Musical Structure ◽  
New Developments ◽  
The Relationship

Abstract The article discusses how new developments in the notation of contemporary music were negotiated within the framework of the Darmstadt Summer Courses and which interests and actors played a role in this. The first part examines the publications and publication projects that emerged in the context of the Notation conference in 1964. The focus is on the interests of institutions such as the International Music Council and the International Association of Music Libraries, in whose name the New York publisher Kurt Stone attempted to persuade the International Music Institute Darmstadt to cooperate and, following on from the debates there, to systematically record various forms of notation together. In a second step, the content of the debates at the conference is examined, with a particular focus on the different and sometimes conflicting perspectives of interpreters and composers. Numerous connections to fundamental aesthetic discussions of the time can be worked out, in particular to the relationship between the composer’s intention and interpretation, which was renegotiated in a form of notation that was individualized to the extreme. Finally, with a view to later discussions, this topic is pointed to the question of the relationship between morphology and musical structure, exemplified by positions of Wolfgang Rihm (1982), Klaus Huber (1988) and John Cage (1990).

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