Joseph Beuys und die Musik

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 This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

John Cage, Fluxus and the Musicality of Nam June Paik

John Cage, Fluxus i muzykalność Nam June Paika Niniejszy artykuł poświęcony jest analizie performance’u Nam June Paika. Autorka sugeruje, iż twórczość Paika, szczególnie po roku 1960, można uznać za wyjątkowo „muzyczną,” jeżeli spojrzy się na nią przez pryzmat Cage’owskiej muzyki-jako-działania. U Paika elementy słuchowe, wizualne i teatralne są zespolone w taki sposób, że performance staje się siłą jednoczącą i nadającą znaczenie. Autorka kończy artykuł argumentem, iż wpływ Cage’a był kluczowy, jeśli chodzi o rozwój dorobku twórczego Paika, skierowany w stronę eksperymentów w zakresie telewizji i wideo.

Mediating and Disrupting the Flow

This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.