Zeitschriftenartikel zum Thema „Music Germany History and criticism“
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1
Fay, Brendan. „Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924“. Cultural History 6, Nr. 2 (Oktober 2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.
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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises has been profoundly shaped by knowledge of what came later, and has tended to differ markedly from contemporaries’ sense of history and their place in it. This article examines the inflation's impact on German concert life, reassessing cultural conservatives—long held as hostile to Weimar democracy—and their attitudes toward German classical music, the nation, and society during the turbulent early years of the Weimar Republic.
2
Majer-Bobetko, Sanja. „Between music and ideologies: Croatian music criticism from the beginning to World War II“. Muzyka 63, Nr. 4 (31.12.2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
3
Gordon, Bonnie. „The Secret of the Secret Chromatic Art“. Journal of Musicology 28, Nr. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
4
Carrasco, Clare. „The Unlike Pair“. Journal of Musicology 37, Nr. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.
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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates. Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.
5
Milne, Drew. „Cheerful History: the Political Theatre of John McGrath“. New Theatre Quarterly 18, Nr. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
6
Vasic, Aleksandar. „Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)“. Muzikologija, Nr. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
7
Saloman, Ora Frishberg. „Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony“. Journal of the Royal Musical Association 119, Nr. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.
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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
8
BERNSTEIN, LAWRENCE F. „““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries“. Journal of Musicology 23, Nr. 1 (01.01.2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.
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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.
9
Weitz, Shaena B. „Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale“. 19th-Century Music 43, Nr. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.
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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.
10
Watkins, Holly. „From the Mine to the Shrine: The Critical Origins of Musical Depth“. 19th-Century Music 27, Nr. 3 (2004): 179–207. http://dx.doi.org/10.1525/ncm.2004.27.3.179.
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In recent years, the analytical concept of structural depth has been subjected to intense critical scrutiny. But amid debates over the relative merit of depth- and surface-oriented modes of listening and analysis, surprisingly little attention has been devoted to the history of the two terms in music journalism. Focusing on the period around 1800, this article examines the entry of the term "depth" into German literature on music and explores the metaphorÕs diverse, even contradictory, meanings. Writers like Wilhelm Heinrich Wackenroder and E. T. A. Hoffmann endorsed the idea, prominent in German Pietism and the criticism of Johann Gottfried Herder, that sound was uniquely able to access the deepest regions of subjectivity. At the same time, such writers began to imagine a musical inner space uncannily similar to the inner space of the listening subject. Unlike earlier aestheticians of a poetic bent, Hoffmann thought that the "deepest" works--works that stirred the soul with special force--required the critic to "penetrate" their "inner structure." Given that earlier technical discourse had treated music essentially as a linear sequence of periods, HoffmannÕs writings exhibit a momentous shift in perspective from the sequential to the vertical. By adding a new dimension to music complementing its axis of horizontal or temporal unfolding, Hoffmann imported the full spectrum of depthÕs meanings, ranging from the scientific to the spiritual, the rational to the irrational, into the modern notion of the masterwork.
11
Farkas, Márton. „Lukács in Self-Translation: The Necessity of Contingency in The Soul and the Forms“. October 161 (August 2017): 23–41. http://dx.doi.org/10.1162/octo_a_00302.
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A series of meditations on history and criticism, György Lukács's The Soul and the Forms appeared first in Hungarian in 1910 and then in German in 1911—arguably having been translated by the author himself, as a work of mourning. Despite renewed interest in the work, English-language editions have been taken from the German translation and barely consider the Hungarian version. This essay argues that an exemplary skirmish takes place in translation between the Hungarian and the German texts, as Lukács shifts from an Epicurean-Lucretian to a Stoicist view of causality. Not unlike in the early notebooks of Marx, a materialist Lukács can be located in his first collection of essays, despite the fact that it is usually pigeonholed as part of his grand idealist phase. Farkas is particularly interested in how Lukács's self-translation washes over a Romantic concept of irony as Lukács posits the necessity of a mixture of necessity and contingency as the origin of the critic's irony, a move that undermines his own non-totalizing view of irony as a structural principle of the novel in his 1917 work The Theory of the Novel.
12
Lee, Deborah. „Hornbostel-Sachs Classification of Musical Instruments“. KNOWLEDGE ORGANIZATION 47, Nr. 1 (2020): 72. http://dx.doi.org/10.5771/0943-7444-2020-1-72.
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This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. The version history of the scheme is outlined and the relationships between versions is visualised, including its translations, the introduction of the electrophones category and the Musical Instruments Museums Online (MIMO) version designed for a digital environment. The reception of Hornbostel-Sachs is analysed, and its usage, criticism and impact are all considered. As well as dominating organological research and practice for over a century, it is shown that Hornbostel-Sachs also had a significant influence on the bibliographic classification of music.
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Loos, Helmut. „Beethoven — the Zeus of Modernity“. Culturology Ideas, Nr. 18 (2'2020) (2020): 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.
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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.
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Krabbe, Niels. „Paul von Klenau og hans niende symfoni. Kilderne, værket, receptionen“. Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (02.03.2014): 229. http://dx.doi.org/10.7146/fof.v53i0.118851.
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Niels Krabbe: Paul von Klenau and his ninth Symphony – the sources, the work, the reception
In 2001, the Royal Library learned about a comprehensive private collection in Vienna that contained music, letters and lecture manuscripts, photographs and other archive materials of the Danish composer Paul von Klenau (1883–1946). A preliminary survey of the collection revealed that the contents included a number of music manuscripts (symphonies, chamber music concerts and more), which were not known from the rest of the library’s major collection of Klenau works. The collection’s greatest and most interesting work was a major complete “Ninth Symphony” for orchestra, choir and four soloists in eight movements, for a Latin text with a mix of liturgical texts from the Catholic requiem and texts of unknown provenance.In 2005, the library succeeded in acquiring the collection and it was transferred to the Royal Library. Subsequently, the Danish Centre for Music Publication (DCM) organised a philological adaptation and published Symphony No. 9 for the purpose of the premier performance of the work, which duly took place 70 years after it was written, performed as a Thursday Concert in March 2014 and conducted by Michael Schønwandt.Klenau had worked in Germany as a composer and conductor in the 1920s and 1930s. He returned to Denmark in 1939 where he stayed for the rest of his life. Because of his extensive German background he did not receive high recognition in Danish music, despite the range and nature of his musical output. This was mainly because of his relationship with the Third Reich and Nazism, which affected his last years and his posthumous reputation.Symphony No. 9 was composed in the years 1944–45, and is a mix of requiem and a symphony, each in four movements. Due to the text, the work is both a traditional requiem and a requiem about the war. Both in its expression and in its length, it is probably the greatest symphony ever written by a Danish composer.The premier in 2014 received mixed reviews, and Klenau’s attitude to Nazism was discussed once again. The work was criticised for its eclectic character with its mix of late romantic forms of expression on the one side and its accomplished dodecaphonic passages on the other.The newly available Klenau collection from Vienna, including the treated Symphony No. 9, has nuanced and problematised Klenau’s position in Danish music history.
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Manuwald, Gesine. „Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia“. Ramus 34, Nr. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Macenka, S. Р. „Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)“. Aspects of Historical Musicology 17, Nr. 17 (15.09.2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Ignatova, Irina, und Elena Zubarkina. „Media Criticism in Germany: History and Theory“. Theoretical and Practical Issues of Journalism 8, Nr. 3 (16.07.2019): 512–23. http://dx.doi.org/10.17150/2308-6203.2019.8(3).512-523.
Annotation:
The article is dedicated to the study of the history and theory of media criticism in Germany and the importance of the phenomenon of media criticism for the development and successful functioning of the mass media in German-speaking countries. The theoretical preconditions for the development of media criticism in Germany and its historical stages play an important role in understanding the modern institution of media criticism and the mechanisms of its impact on the recipient. Media criticism has existed since the media themselves appeared, and the existence and emergence of new media is always accompanied by positive or negative feedback on them. The development of the media inevitably leads to their criticism. The article considers media criticism as a global criticism of the media and as a study of individual specific phenomena in the media environment. The estimated role of media criticism is recognized by German-speaking researchers as one of the main functions. And it must be understood that media criticism provides an opportunity for a reasoned discussion about the media, without which neither the existence of the media, nor indeed the society as a whole is possible. Media criticism generates an open discussion and thereby contributes to the enlightenment of society. To some extent, setting norms and standards for the quality of journalism, it forms ethical boundaries of communication, both for journalists and for the audience. The stages of development of media criticism in Germany, described in the article, cover the period from the late 1980s to the present. The main subsystems of mass media are considered: television media criticism, media criticism on the radio, in print media, media criticism in the Internet space. Thanks to this, we get a full picture of the formation and development of media criticism in Germany.
18
Botstein, Leon. „On Criticism and History“. Musical Quarterly 79, Nr. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.
19
McManus, Laurie. „Feminist Revolutionary Music Criticism and Wagner Reception“. 19th-Century Music 37, Nr. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.
Annotation:
Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.
20
Kok, Roe-Min. „Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander Stefaniak“. Journal of the American Musicological Society 73, Nr. 1 (2020): 183–87. http://dx.doi.org/10.1525/jams.2020.73.1.183.
21
Botstein, L. „Witnessing Music: The Consequences of History and Criticism“. Musical Quarterly 94, Nr. 1-2 (01.03.2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.
22
Radice, Mark A. „Reader's Guide to Music: History, Theory, Criticism (review)“. Notes 58, Nr. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
23
Reinhart, M. „Editing Music in Early Modern Germany“. German History 27, Nr. 4 (01.10.2009): 603–4. http://dx.doi.org/10.1093/gerhis/ghp072.
24
Hurley, Andrew Wright. „Soundtracking Germany: Popular Music and National Identity“. German History 37, Nr. 3 (20.05.2019): 449–50. http://dx.doi.org/10.1093/gerhis/ghz030.
25
Parakilas, James. „The Afterlife of Don Giovanni: Turning Production History into Criticism“. Journal of Musicology 8, Nr. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.
26
Parakilas, James. „The Afterlife of Don Giovanni: Turning Production History into Criticism“. Journal of Musicology 8, Nr. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.
27
Pritchard, Matthew. „The Cambridge History of Music Criticism. Ed. by Christopher Dingle“. Music and Letters 101, Nr. 4 (01.11.2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.
28
van Elferen, Isabella. „East German Goth and the Spectres of Marx“. Popular Music 30, Nr. 1 (Januar 2011): 89–103. http://dx.doi.org/10.1017/s0261143010000693.
Annotation:
AbstractThe East of Germany, the Bundesländer of the former GDR, is an important centre of Goth activity. The Goth scene is remarkably large in this part of Germany, and one of the most important yearly Goth festivals, the Wave-Gotik-Treffen, takes place in Leipzig. This article investigates the specific characteristics and internal dynamics of East German Goth subcultures after German reunification. Combining subcultural theory and Gothic criticism with Derrida's notions of spectrality and hauntology, the potentials of Gothic as a form of cultural criticism are explored in an investigation of the psycho-social wasteland of the undead GDR. It will be argued that post-Cold War unification has not only led to a new political order, but has also given rise to a new type of Gothicism, as East German Goth subculture is haunted by ‘spectres of Marx’ that provide a critical engagement with globalised capital and media. As a specifically German version of the worldwide Goth scene, moreover, it marks the local boundedness of globalised subcultures.
29
Flynn, W. „Music Scholasticism and Reform: Salian Germany, 1024-1125“. German History 28, Nr. 4 (17.06.2010): 572–73. http://dx.doi.org/10.1093/gerhis/ghq049.
30
Kater, Michael H. „Music: Performance and Politics in Twentieth-Century Germany“. Central European History 29, Nr. 1 (März 1996): 93–106. http://dx.doi.org/10.1017/s0008938900012802.
31
Knyt, Erinn. „Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany by Alexander Stefaniak“. Notes 75, Nr. 1 (2018): 86–89. http://dx.doi.org/10.1353/not.2018.0073.
32
van den BERG, JAN. „English Deism and Germany: The Thomas Morgan controversy“. Journal of Ecclesiastical History 59, Nr. 1 (Januar 2008): 48–61. http://dx.doi.org/10.1017/s0022046907002278.
Annotation:
The work of the English Deist Thomas Morgan (d. 1743), a Marcion in his time, received much negative criticism in England and abroad, especially in Germany. His views aroused comments in books, dissertations and journals. Only in the first half of the twentieth century was he to be praised by theologians such as Adolf von Harnack and Emanuel Hirsch, who likewise disparaged the Old Testament.
33
Klessmann, Christoph, und Martin Sabrow. „Contemporary History in Germany after 1989“. Contemporary European History 6, Nr. 2 (Juli 1997): 219–43. http://dx.doi.org/10.1017/s0960777300004549.
Annotation:
In 1953 Hans Rothfels gave a definition of what he understood as contemporary history which rapidly became a classic: ‘the era of those living and its treatment by academics’. In so doing he opened up a field of enquiry to historical scholarship in Germany which had had a long tradition, but which had been almost completely excluded from the discipline since the nineteenth century. In 1821 Wilhelm von Humboldt had declared that ‘chronicling the present’ furnished the ‘necessary basis of history’, but was not ‘history itself’. This paved the way for criticism which, with Leopold von Ranke, increasingly excluded contemporary history from the sphere of academic consideration on the grounds that its typical ‘lack of reliable knowledge’ and ‘conflicts between contemporaries’ impeded objective judgement. Heinrich von Treitschke's dismissive assertion that the most recent past could only be looked at through the biased glasses of a ‘dual partiality’ was only confirmed by a new flourishing of historia sui temporis after 1914. Thus, as early as the third year of the First World War, the Historische Zeitschrift (HZ) was talking about the ‘pre-history of the World War’, thereby justifying the verdict that ‘it was practically patriotic rather than academically legitimate’. The same could be said of the notions the historical discipline put forward after 1918 against the ‘Versailles lies about war guilt’.
34
Kramer, Elizabeth. „The Beethoven Violin Sonatas: History, Criticism, Performance (review)“. Notes 62, Nr. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.
35
Reith, Louis J., und Roger Kuin. „Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism“. Sixteenth Century Journal 32, Nr. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.
36
Whaley, J. „Sovereign Feminine: Music and Gender in Eighteenth-Century Germany“. German History 32, Nr. 1 (24.10.2013): 135–36. http://dx.doi.org/10.1093/gerhis/ght087.
37
Wipplinger, Jonathan. „A People’s Music: Jazz in East Germany, 1945–1990“. German History 39, Nr. 2 (19.04.2021): 325–27. http://dx.doi.org/10.1093/gerhis/ghab018.
38
Dickinson, Peter. „Review: Maestros of the Pen: A History of Classical Music Criticism in America“. Music and Letters 83, Nr. 4 (01.11.2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.
39
Thacker, T. „New Music, New Allies: American Experimental Music in West Germany from Zero Hour to Reunification“. German History 27, Nr. 4 (01.10.2009): 627–28. http://dx.doi.org/10.1093/gerhis/ghp065.
40
Heller, George N., und Mark N. Grant. „Maestros of the Pen: A History of Classical Music Criticism in America“. History of Education Quarterly 39, Nr. 2 (1999): 212. http://dx.doi.org/10.2307/370046.
41
Harrán, Don. „Elegance as a Concept in Sixteenth-Century Music Criticism*“. Renaissance Quarterly 41, Nr. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
Annotation:
”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
42
Frost, Charlotte. „Digital Critics: The Early History of Online Art Criticism“. Leonardo 52, Nr. 1 (Februar 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.
Annotation:
Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
43
Kater, Michael H. „New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification“. Central European History 40, Nr. 3 (20.08.2007): 579–80. http://dx.doi.org/10.1017/s0008938907001008.
44
Neu, Tim. „Rhetoric and Representation: Reassessing Territorial Diets in Early Modern Germany“. Central European History 43, Nr. 1 (März 2010): 1–24. http://dx.doi.org/10.1017/s0008938909991312.
Annotation:
The representative form of government is in a somewhat difficult situation today. Ever since Jean-Jacques Rousseau judged in 1762 that “à l'instant qu'un Peuple se donne des Réprésentans, il n'est plus libre, il n'est plus,” representative government has been exposed to a steady stream of harsh criticism. The number of critics eventually increased to include Marxists, communitarians, and radical democrats. On the other hand, it is a matter of fact that over the last decades, representative systems were developed in, or at least formally adopted by, the vast majority of nations. For example, more than 140 out of the nearly 200 world's states formally have parliaments associated in the Inter-Parliamentary Union. Institutions such as parliaments and parties, and procedures such as elections and legislation form a ubiquitous and at the same time heavily disputed part of the present political landscape.
45
Cohen, A. S. „Music, Scholasticism and Reform: Salian Germany, 1024-1125, by T.J.H. McCarthy“. English Historical Review CXXVI, Nr. 518 (29.01.2011): 122–24. http://dx.doi.org/10.1093/ehr/ceq414.
46
Branscombe, P. „E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism“. German History 10, Nr. 2 (01.01.1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.
47
Van Nes, Jermo. „On the Origin of the Pastorals' Authenticity Criticism: A ‘New’ Perspective“. New Testament Studies 62, Nr. 2 (29.02.2016): 315–20. http://dx.doi.org/10.1017/s002868851500051x.
Annotation:
It is generally agreed among contemporary scholars that the modern critique of the authorship claim of the New Testament letters addressed to Timothy and Titus originated in early nineteenth-century Germany with the studies of Schmidt and Schleiermacher on 1 Timothy. However, a late eighteenth-century study by the British clergyman Edward Evanson challenges this consensus as it proves Titus to have been suspect of pseudonymity before. This ‘new’ perspective found in Evanson's neglected source also nuances the common assumption that from its very beginnings the critical campaign against the letters' authenticity was mainly driven by linguistic considerations.
48
Zuk, Patrick. „Words for music perhaps? Irishness, criticism and the art tradition“. Irish Studies Review 12, Nr. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.
49
Bukvic, Rajko. „Criticism of traditional chronology: How long will Scaliger survive?“ Zbornik Matice srpske za drustvene nauke, Nr. 118-119 (2005): 257–312. http://dx.doi.org/10.2298/zmsdn0519257b.
Annotation:
The paper considers the problems of current state and survival of traditional chronology and history based upon the Scaliger and Petavius books from XVI and XVII centuries. Among many approaches that insist on the need of examination of that chronology, developed at first in Russia, but also in Germany, England, USA and other countries, author focuses to the investigation of Fomenko and his collaborators, but also the Khronotron group. Both these groups, like many others critics of current chronology, as their inspirators and predecessors mark Newton and Morozov, two great scientists who during many decades (!) intensively considered problems of examination of chronology and history.
50
Unger-Alvi, Simon. „Public Criticism and Private Consent: Protestant Journalism between Theology and Nazism, 1920–1960“. Central European History 53, Nr. 1 (März 2020): 94–119. http://dx.doi.org/10.1017/s000893891900092x.
Annotation:
AbstractBy retracing the history of the Protestant journal Eckart, this article examines a theological forum in which supporters and opponents of the Nazi movement came into direct contact. Specifically, the article evaluates political ambiguities among religious authors, who had openly rejected Nazism from the 1920s onward but would feel compelled by theological considerations to remain loyal to the regime after 1933. Analyzing contemporary discussions of the Protestant Two Kingdoms Doctrine, for example, puts historiographical distinctions between “resistance” and “collaboration” into question. This study shows that Protestant intellectuals were able to voice a limited degree of public criticism until World War II. Their criticism, however, was often so imbued with nationalism and ideals of loyalty that it effectively helped stabilize the Nazi regime. In Eckart, even critics engaged deeply with völkisch and anti-Semitic ideology. Finally, this article also shows how these authors perpetuated nationalist ideas in West Germany after 1945.