Zwölfton-Harmonik, Formbildung, "aleatorischer Kontrapunkt". Studien zum Gesamtwerk unter Einbeziehung der Skizzen,
Diese mit der höchsten Auszeichnung benotete Dissertation ist
die bisher umfassendste Auseinandersetzung mit der Musik eines der größten
Komponisten unserer Zeit. Der Generation von Olivier Messiaen, Dimitri
Schostakowitsch und John Cage zugehörig, wurde Lutoslawski durch
politische Umstände in Polen fast 20 Jahre hindurch in seiner Entwicklung
behindert. Auch nach seinem Durchbruch Ende der 50er Jahre zu einer individuellen
zeitgenössischen Musiksprache wurden von einer vielfach auf die
serielle Avantgarde konzentrierten Musikgeschichtsschreibung sowohl die
Neuartigkeit seiner zwölftönigen Harmonik als auch die Konsequenz
seiner individuellen Formbildung, ebenso wie die detailliert strukturierte
Vielgestaltigkeit seines "aleatorischen Kontrapunkts" stark unterschätzt.
Allein 1997 jedoch widmen sich mehrere mehrtägige internationale
Kongresse der Musik Lutoslawskis, die American Musicological Society
räumt ihm bei ihrer jährlichen Hauptarbeitstagung eine eigene
session ein, und in London ist ein umfangreicher Band der Oxford University
Press in Vorbereitung. Erste Lutoslawski-Studien der Autorin Martina Homma
reichen etwas 15 Jahre zurück. Der sonst bei Mitteilungen über
seine Musik sehr zurückhaltende Komponist hat mit der Autorin intensive
Gespräche geführt, hat in seinem Warschauer Haus sämtliche
unveröffentlichten Texte sowie Kompositionsskizzen zu sämtlichen
Werken zur Verfügung gestellt und auch darüberhinaus aus erster
Hand manche Details seines kompositorischen Denkens erläutert. Diese
vom Komponisten selbst noch vor seinem Tod offengelegten Aspekte, das
eingehende analytische Studium sämtlicher Partituren in ständiger
Wechselbeziehung zueinander sowie eine als RAR ("rekursiv-analytische
Rasterbildung") bezeichnete Methode des analytischen Zugangs versprechen
einen Einblick in kompositorische Fragestellungen, der für weit
mehr steht als nur für einen einzelnen Komponisten in unserer Zeit.
Das Buch beschreibt Lutoslawskis Weg zu seiner individuellen Klangsprache
und die Rezeption seines Schaffens, diskutiert Beziehungen zu Komponisten
unseres Jahrhunderts wie Bartók, Debussy, Ravel, Prokofjew, Cage,
Ligeti, Stockhausen, Xenakis sowie zu Komponisten seines Landes (Penderecki,
Gorecki, Serocki, Regamey, Panufnik). Anschließend widmen sich
drei jeweils 120-240 Seiten umfassende Kapitel der Kompositionstechnik,
darunter Fragen zur Formbildung - einem bei nicht-traditionellen Formen
bisher nur selten untersuchten Phänomen. Der "aleatorische Kontrapunkt"
wird mit seinen (nach bestimmten Charakteristika gegliederten) Organisationsverfahren
und Klangwirkungen untersucht und auf seine Entwicklung innerhalb des
Oeuvres befragt. Auch ein oft übersehender Aspekt wird hier erstmals
in analytischer Ausführlichkeit beschrieben: Lutoslawskis individueller
Beitrag zur zwölftönigen Ordnung - sein eigenwilliger und dabei
sehr konsequenter Zugang zur Komposition mit Zwölftonreihen ebenso
wie die spezifischen Zwölftonakkorde (Zwölfton-Positionsklänge),
auf denen ganze Kompositionen der 60er Jahre fußen. Etwa 200 ausführlich
kommentierte Notenbeispiele, dazu Graphiken und Tabellen sowie Reproduktionen
einiger Skizzenblätter illustrieren die Ausführungen. Werkverzeichnis,
Literaturverzeichnis, Personen- und Werkregister bilden den Abschluß.
e-mail
(homma@homma.de)
Secondary subjects: philosophy (magna cum laude)
German language and literature (summa cum laude)
MM / MA equivalent, piano "sehr gut" (A+)
"sehr gut" (A+)
"sehr gut" (A+)
BOOKS
Martina Homma (ed.): Frau Musica (nova). Komponieren heute - composing today, Sinzig 2000, ca 360 p.
Maciej Jablonski / Martina Homma (ed.): Krzysztof Meyer. Ein Komponistenportrait, Koeln / Poznan 1998, ca 200p.
Martina Homma: Witold Lutoslawski.
Zwoelfton-Harmonik, Formbildung, ‘aleatorischer Kontrapunkt'. Studien
zum Gesamtwerk unter Einbeziehung der Skizzen, Koeln 1996, ca
780 p.
OTHER PUBLICATIONS
(excluding reviews, liner notes, translations, articles for program
books, manuscripts for broadcasting)
'Sozialistischer Realismus' und '11. September'? Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002); in: Krzysztof Penderecki. Musik im Kontext, Konferenzbericht Leipzig 2003, ed. Helmut Loos and Stefan Keym, Leipzig: Gudrun Schröder, 2006, p. 290-434
Tiefenschärfe einer Fata Morgana. Pawel Szymanskis Surkonventionalismus; in: MusikTexte Heft 109, Mai 2006, p. 89-93
Sonnig und geld und gold. Augustyn Bloch (1929-2006); in: MusikTexte Heft 109, Mai 2006, p. 91
Muzykolodzy z Breslau po 1945 roku; in: Muzyka Wroclawska. Ludzie - historia - perspektywy, Acta Universitatis Wratislaviensis, ed. Maciej Golab, Wroclaw: Wydawnictwo Uniwersytetu Wroclawskiego, 2005, p. 53-70
Medienwirbel um Penderecki; in: MusikTexte Heft 96, Februar 2003, p. 89-93
Aleatoriceskij kontrapunkt: garmonija i ritmika. K istorii sozdanija 'Treh stihotvorenij Anri Miso' Vitol'da Ljutoslavskogo; in: Prozessy muzykal'nogo tvorcestva; ed. Vjazkova, Elena V.; Moskwa: Izdatel'stvo PAM im. Gnesinyh [Staatliches Gnessin-Institut], Moskau 2002, p. 39-65
Lutoslawski's Studies in Twelve-Tone-Rows, in: Lutoslawski Studies, ed. Zbigniew Skowron, Oxford University Press 2001, p. 194-210
Die Faszination des Alltaeglichen. Zur Arbeit von Carola Bauckholt, in: Der koestliche Blick, CD-Rom Kuenstlerinnen in NRW, hg. v. Elke Jonigkeit, 2001
"Dieses Stueck ist ein Power-Stueck". Ueber die Kunst von Maria de Alvear, in: Der koestliche Blick, ibd., 2001
Domenico Alaleonas accordo dodecafonico (1911) und (s)ein ungeloestes Problem. Musiktheoretische Ueberlegungen ueber fruehe Zwoelftonakkorde, in: Aspetti musicali. Musikhistorische Dimensionen Italiens 1600 bis 2000. Festschrift fuer Dietrich Kaemper zum 65. Geburtstag, ed. Norbert Bolin, Christoph von Blumroeder, Imke Misch, Koeln 2001, p. 101-110
Jak sie tworzy historie muzyki - o Olivierze Messiaenie i Szkole Darmsztadzkiej [Wie Musikgeschichte geschrieben wird - ueber Olivier Messiaen und die Darmstaedter Schule], in: Recepcja tworczosci Oliviera Messiaena. La cite celeste - Niebianskie Jeruzalem, ed. Maria Zduniak, Wroclaw 2001, p. 13 - 41
Durchaus auch kompositorische Qualitaeten - das Unbehagen an der Virtuositaet. Ueber Henryk Wieniawskis Wirken in Deutschland und die Beziehung zu Josef Joachim, in: Henryk Wieniawski, ed. Maciej Jablonski / Danuta Jasinska, Poznan 2001, p. 273-289
Hanna Kulenty, James Harley, Dimitri Terzakis; entries for: Lexikon Komponisten der Gegenwart, ed. Hanns-Werner Heister und Walter-Wolfgang Sparrer, Muenchen, ed. text + kritik, 2000 / 2001
Studia Lutoslawskiego nad seriami dwunastotonowymi, in: Zbigniew Skowron (ed.), Estetyka i styl tworczosci Witolda Lutoslawskiego [Aesthetik und Stil von Witold Lutoslawskis Schaffen], Krakau 2000, p. 235-254
Witold Lutoslawski's 'Trois poemes d'Henri Michaux: The Sketches and the Work, in: Polish Music Journal vol. 3, no. 2, winter 2000
Zur Biographie Augustyn Blochs, in: Detlef Gojowy (ed.): Augustyn Bloch. Ein Komponistenleben in Polen, Koeln 1999, p. 73-74
Klangschichten und bildliche Inspirationen: ueber Augustyn Blochs Kompositionen 1953- 1986; in: Detlef Gojowy (ed.) Augustyn Bloch. Ein Komponistenleben in Polen, Koeln 1999, p. 75-85
Werkverzeichnis Augustyn Bloch mit Diskographie und Literaturverzeichnis, in: Detlef Gojowy (ed.) Augustyn Bloch. Ein Komponistenleben in Polen, Koeln 1999, p. 87-106
"Aleatorischer Kontrapunkt", "matiere premiere", Harmonik und Rhythmik. Zum Entstehungsprozess von Witold Lutoslawskis 'Trois poemes d'Henri Michaux' fuer zwanzigstimmigen Chor und Orchester (1961-1963), in: Musiktheorie 14, 1999, Nr. 1, p. 13-31
The Twelve-Tone-Chord - towards a new definition of twelve-tone-music? Considering early 12-tone-chords (since 1911) and discussing theoretical implications of 12-tone- chord-music by Darius Milhaud, Nikolaj Obuchov and Witold Lutoslawski, in: Witold Lutoslawski. Czlowiek i dzielo w perspektywie kultury muzycznej [Witold Lutoslawski. The Man and His Work in the Perspective of the Musical Culture of the 20th Century], ed. Jan Astriab, Maciej Jablonski, Jan Steszewski, Poznan 1999, p. 109-127
Redundancja jako zasada komponowania. Rozwazania nad "Andante und Variationen" op. 46 i "Andante con Variazioni" (dbop.) Roberta Schumanna [Redundanz als Kompositionsprinzip, Vorahnung der Klangfarbenmelodie - oder bloss "schwache" Werke? Gedanken zu scheinbar marginalen Kompositionen Schumanns am Beispiel von "Andante und Variationen", op. 46 und WoO 10,1 (Referat bei der Jahrestagung der Gesellschaft fuer Musikforschung, Regensburg 1996)]; in: Muzyka 1999, Nr. 1, p. 43-53
Grazyna Bacewicz, Tadeusz Baird, Krzysztof Meyer, Witold Lutoslawski (essays and analyses, chamber music); in: Kammermusikfuehrer, ed. Ingeborg Allihn, Stuttgart 1998, p. 3-13 (Bacewicz, Baird), 368-374 (Lutoslawski), 405-410(Meyer)
Marek Choloniewski, Dirk Loetfering; entries for Lexikon Komponisten der Gegenwart, ed. Hanns-Werner Heister and Walter-Wolfgang Sparrer, Muenchen: text + kritik 1998
Carola Bauckholt, Augustyn Bloch, Marek Choloniewski, Peter Eoetvoes, Jan Dawid Holland; entries for The New Groves Dictionary
Kompositionstechnik und Gattungstradition, Konstanten und Entwicklungslinien. Ueber die Streichquartette Krzysztof Meyers, in: Maciej Jablonski und Martina Homma (ed.), Krzysztof Meyer. Ein Komponistenportrait, Poznan / Koeln 1998, p. 143-154
Klangfarbe und Harmonik in der Musik Witold Lutoslawskis, in: Warschauer Herbst und Neue Polnische Musik. Rueckblicke - Ausblicke, ed. Volker Kalisch, Essen 1998, p. 142- 158
Witold Lutoslawski's "Trois poèmes d'Henri Michaux" - the sketches and the work; in: The Polish Radio "Witold Lutoslawski Concert Studio", ed. Polskie Radio, Warszawa 1996, p. 14- 31
Ferruccio Busoni: Toccata fuer Klavier; in: Klassizistische Moderne. Eine Begleitpublikation zur Konzertreihe im Rahmen der Veranstaltungen "10 Jahre Paul Sacher Stiftung", Werkeinfuehrungen, Essays, Quellentexte, ed. Felix Meyer, Winterthur 1996, p. 33-35
Ueber den musikalischen Raum in der Zwoelftonharmonik Witold Lutoslawskis [Polish as: O przestrzeni muzycznej w harmonice dwunastotonowej Witolda Lutoslawskiego]; in: Muzyka 1995, Nr. 1/2, p. 85-110
Nationale Musik und nationale Musikwissenschaft. Der Fall Joseph Elsner; in: Deutsch- polnische Ansichten zur Literatur und Kultur, ed. Deutsches Polen-Institut, Wiesbaden 1995, p. 94-113
Rezeption musikalischer Kunst zwischen Entwicklungsdynamik und Zustaendlichkeit. Plattenmarkt und Musikschrifttum - zur Praesenz zeitgenoessischer Musik aus Polen im deutschen Musikleben; [polnisch als: Recepcja muzyki polskiej w Niemczech], in: Dziedzictwo europejskie a polska kultura muzyczna w dobie przemian], Krakow 1995, p. 233-260
Gleichzeitigkeit des Ungleichartigen. Witold Lutoslawskis Vierte Sinfonie - Synthese seines Schaffens; in: MusikTexte Heft 54, Juni 1994, p. 51-56
Zur Praesenz polnischer Komponisten auf dem deutschen Plattenmarkt. Eine Diskographie; in: Deutsch-polnische Ansichten zur Literatur und Kultur, ed. Deutsches Polen-Institut, Darmstadt 1993, p. 237-256
Zwoelftonharmonik und Praekomposition des Materials. Ueberlegungen zu Konkretisierungsgraden im Kompositionsprozess von Witold Lutoslawskis Cellokonzert; in: Quellenstudien II, Zwoelf Komponisten des 20. Jahrhunderts, Veroeffentlichungen der Paul Sacher Stiftung, Vol 3, ed. Felix Meyer, Winterthur 1993, p. 205-232
Augustyn Bloch, Zygmunt Krauze, Andrzej Panufnik, Pawel Szymanski (four detailed articles with list of works, bibliography, discography), in: Lexikon Komponisten der Gegenwart, ed. Hanns-Werner Heister und Walter-Wolfgang Sparrer, Muenchen: text + kritik, 1992ff
Das Minimale und das Absolute. Die Musik Henryk Mikolaj Góreckis von der Mitte der sechziger Jahre bis 1985; in: MusikTexte Heft 44, April 1992, p. 40-58 (with list of works, discography, bibliography)
Reichlich Theorie und Wissenschaft. Polnische Musik und Musiktheorie; in: Deutsch- polnische Ansichten zur Literatur und Kultur, ed. Deutsches Polen-Institut, Darmstadt 1992, p. 280-287
Dyskretny urok wspolczesnosci [Der diskrete Charme der Avantgarde]; in: Studio, Magazyn plytowy i radiowy, October 1992, p. 7
Nostalgie des Aufbruchs? Witold Lutoslawskis Klavierkonzert - ein Spaetwerk; in: MusikTexte Heft 42, November 1991, p. 27-35
Im Zeichen der Kontinuitaet. Polnische Musik im deutschen Musikleben; in: Deutsch- polnische Ansichten zur Literatur und Kultur, ed. Deutsches Polen-Institut, Darmstadt 1991, p. 262-276
"Vogelperspektive" und "Schluesselideen". Ueber einige Aspekte der Kompositionstechnik Lutoslawskis anhand kompositorischer Skizzen; in: Musik-Konzepte Band 71/72/73, Muenchen 1991, p. 33-51
Vertraut, aber ohne Echo. Polnische Musik in der Bundesrepublik; in: Deutsch-polnische Ansichten zur Literatur und Kultur, ed. Deutsches Polen-Institut, Darmstadt 1990, p. 234- 242
Composing myself - composing my style. O 'arbor cosmica' Andrzeja Panufnika; in: Muzyka zle obecna, Hg. Sekcja Muzykologow Zwiazku Kompozytorow Polskich, Warszawa 1989, p. 396-423
Verklingen ins Nichts. Spaeter Nachruf auf Tomasz Sikorski (1939-1988); in: MusikTexte Heft 30, Juli/August 1989, p. 52-53
Unerhoertes Pathos. Witold Lutoslawski: III. Sinfonie; in: MusikTexte Heft 13, Februar 1986, p. 7-12
Materialien zur Arbeit von Witold Lutoslawski; in: Neuland-Jahrbuch V, 1985, p. 100-112
Witold Lutoslawski: "Mi-parti"; in: Melos 47, 1985, Nr.3, p. 22-57
Horizontal - Vertikal. Zur Organisation der Tonhoehe bei
Witold Lutoslawski; in: Neuland- Jahrbuch V, 1985, p. 91-99
INVITED PAPERS AT INTERNATIONAL
CONFERENCES
Polish-Lithuanian Conference (Cracow, Music Academy), 2006
Witold Lutoslawski (Copenhagen and Odense / Denmark, University and Music Academy), 2005
Minimalismus in Music History, Conference Melos-Ethos (Bratislava, Melos-Ethos and Music Academy), 2005
Bacevicius and his contemporaries (Vilnius, University and Music Academy), 2005
Lutoslawski Conference (Ithaca / NY, Cornell University), 2005
Wieniawski-conference (Poznan, University and Music Academy), 2005
Witold Lutoslawski Reconsidered (Krakow, Lutoslawki-Conservatory, Philharmony, Goethe Institute), 2004
International Association of Music Information Centres, Annual Conference 'Music in Transition', 2004
Lutoslawski - National Composer? (Warsaw, Castle), 2004
Penderecki-conference (Leipzig, University), 2003
'Muzykologia wroclawska' (Wroclaw, University), 2003
Szymanowski-conference (Vienna, Adam Mickiewicz Institute), 2002
Panufnik-conference (Cracow, Jagiellonian University), 2001, also moderator
Wieniawski-conference (Poznan University and Academy of Music), 2000
Interdisciplinary conference 'Donne in Musica' (Fiuggi / Italy), 1998 (Isolde and Tristan. Music, Love and Public Reputation in the Middle Ages)
Conference on Contemporary Women Composers (Cologne, Music Academy), 1998; keynote speaker (Crossing the Borders. Contemporary Women Composers in Northrhine-Westfalia)
Messiaen-Conference (Wroclaw University and Music Academy), 1998
Polish-Jewish Conference, Los Angeles, 1998 ("But not enough Jews in the Strings". About Personal Bonds, Patriotism and Internationality in the Work of Grzegorz Fitelberg)
Lutoslawski-conference (Warsaw University), 1997
Lutoslawski-conference (Poznan University and Music Academy), 1997
Conference 'Polish Autumn' (Duesseldorf, Music Academy), 1996
Conference 'Europa-Europa' (Colloquium for New Music, Brandenburg), 1994 (Nationale Traditionen in der polnischen Musik des 20. Jahrhunderts)
Conference 'European Heritage and Polish Culture in Transformation' (Warsaw University), 1994
Conference on Composers in Emigration (Warsaw, Polish Composers' Union), 1987
Szymanowski-conference (Warsaw University), 1987
OTHER PAPERS
Polish Institute of Arts and Sciences of America, New York; Annual Meeting, Pittsburgh, 2005
International Musicological Society, Symposion, Melbourne, 2004 (On inner dialogue, self-reference and cross-reference in Witold Lutoslawski's sketches)
Annual Meeting of the German Gesellschaft fuer Musikforschung, about Robert Schumann (Andante con Variazioni), 1997
Annual Meeting of the AMS (Phoenix / Arizona), about Witold
Lutoslawski (Sound Color and Harmony), 1997
INVITED LECTURES
German-Polish Society, Bonn, 2006 (Music in Poland)
Poznan, University, 2004 ( 'Wielkosc malych rzeczy'. O aspektach dojrzalego stylu osobistego Witolda Lutoslawskiego pod katem prac marginalnych, wczesnych, lub napisanych pod pseudonimem)
ISCM, Cologne Section, 2004 (Kaija Saariaho, Portrait)
University of California, Berkeley, 2003 (Administrating a talent: Witold Lutoslawski's verbal sketches)
Northwestern University, Evanston, 2003 (Orientalism in Karol Szymanowski's music)
Polish Institute, Leipzig, 2003 (Polnische Volksmusik in
Witold Lutoslawskis Konzert fuer Orchester)
Beethoven-Festival Bonn, 2002 (Das zweite Konzert fuer Cello und Orchester von Krzysztof Penderecki)
Cornell University, Ithaca, 2001 (Developing his twelve-tone-tonality: Witold Lutoslawski's sketches to his 'second path')
Musikhochschule Hanns Eisler, Berlin, 2001 ('The Grammar of Dreams': Kaija Saariaho)
Folkwang-Musikhochschule Essen, 1997 (Klangfarbe und Harmonik bei Witold Lutoslawski)
Goethe-Institut Cracow, 1997 (Forma w muzyce Henryka M. Goreckiego: Zderzenie, narastanie, symmetria i proporcje [Form in the music of Henryk M. Gorecki: Sudden Events, Growing, Symmetry and Proportions])
Goethe-Institut Cracow, 1992 (Swiat brzmieniowy muzyki
Witolda Lutoslawskiego [The Orchestral Sound World of Witold
Lutoslawski])
Grant from the Paul Sacher Foundation (three months stipend for working on composers' sketches in Switzerland), 2006
Grant from the Deutsche Forschungsgemeinschaft (DFG), to attend the Annual Meeting of the American Musicological Society, Washington DC, 2005, and a conference at Cornell University, Ithaca / NY, 2005
Honorary medal from the International Witold Lutoslawski Society, 2005
Honorary Medal, for musicological publications and organizing conferences, Polish Composers Union, 2004
Representing 'Donne in Musica' at the Annual Meeting of the European Music Council, 2003'Musicologist in Residence' at the International Artists' House Schloss Wiepersdorf (fellowship awarded by the German governmental foundation Stiftung Kulturfonds), 2001
Wilk Book Prize for Research in Polish Music, given by the Polish Music Research Center, University of Southern California, Los Angeles, for Witold Lutoslawski (…), 2000 (ex aequo with Jeffrey Kallberg Chopin at the Boundaries: Sex, History, and Musical Genre, Cambridge, Mass.: Harvard University Press, 1996
Grant from the West German Ministry of Culture NRW to organize a concert, broadcast presentation and CD-production for composer Hanna Kulenty, 1999
Grant from the Landesmusikrat for a book-project about women composers, 1999
Grant from Deutsche Forschungsgemeinschaft DFG for invited lectures in the USA (travel grant), 1998
Grant from Herder-Institut for a book-project about the composer Augustyn Bloch, 1997
Grant from the Foundation for German-Polish Cooperation (Fundacja Wspolpracy Polsko-Niemieckiej) and the Polish Ministery of Culture for a book-project about the composer Krzysztof Meyer, 1997
Grant from the West German Ministry in NRW to organize an international musicological conference about contemporary women composers, 1997
Grant from the West German Secretary for Cultural Work (Sekretariat fuer gemeinsame Kulturarbeit NRW) for a book project about Music and National Socialism, 1996
Invitation by the Paul Sacher Foundation, Switzerland, to work on a catalogue with Lutoslawski's sketches for the Foundation, 1995
Grant from the Freundeskreis Frankfurt-Krakow for the translation of a book about Chopin's harmony, 1994
One-year scholarship from the German Academic Exchange Council DAAD and the Polish Government (Warsaw 1987 / 1988)
One-year scholarship from the German Academic Exchange Council DAAD and the Polish Government (Cracow 1982 / 1983)
Granted free studies (piano, cello) at Folkwang-Musikhochschule,(German Music Academies normally are not open to children, exceptions can be made for particularly gifted pupils)
First prizes as a pianist at the German childrens'
competition ‘Jugend musiziert', 1974, 1972
ORGANIZING
International musicological conference 'Witold Lutoslawski -
Reconsidered', Cracow, November 27 - 29, in co-operation with the
festival 'Witold Lutoslawski - w x rocznice smierci', Cracow Witold
Lutoslawski Conservatory, Boguslawa Hubisz-Sielska, Krakow,
Philharmony, Goethe-Institut. Supported by the Polish Ministery of
Culture, and by institutions situated in Cracow: the Department for
Culture, the Austrian Consulate, the Jewish Cultural Center.
Co-organizer of an international music festival, funded mainly by the Ministery of Culture NRW and the Landesmusikrat, in co-operation with the West German Radio WDR and DeutschlandRadio, October 30, 31 and November 1, 1998
Co-organizing concerts, broadcast-presentations and CD-productions for contemporary women composers, 1999 – present, in co-operation with DeutschlandRadio. Monographic CDs released so far with music by Cecilie Ore (Norway), Karin Rehnqvist (Sweden) and Hanna Kulenty (Poland / Holland), María Cecilia Villanueva (Argentina), Lois V Vierk (USA) and Rahilia Hasanova (Azerbaijan)
Co-organizing concerts and composers' workshops in co-operation with the ISCM section Cologne, 1996 – 1999
Organizor of the concert-cycle 'Music in Church' (Organ, Chamber Music, New Music) with musicians from different countries, Voerde 1983-1990
Organizing two concerts with contemporary women composers,
featuring young musicians from Northrhine-Westfalia and from UC San
Diego (October 26 and October 29, 1998), in co-operation with the
Landesmusikrat and the Amerika Haus Köln (part of the US Consulate
General)
ACTIVITIES IN PROFESSIONAL SOCIETIES AND INITIATIVES
Jury member for the composers' competition Northrhine - Westfalia, 1999
Chairperson or treasurer in several cultural non-profit organizations
Chairperson Karol-Lipinski-Society, 2002 - present
Chairperson Frau Musica (nova), 1997 - present
Treasurer InterArt, 1995 - 2001
Chair person of the ISCM, Cologne Section, until 1999, 2007 - 2010
Editorial Board Polish Music Journal, 2001 - 2005
Jury member for the Wilk Prize for Research in Polish Music, 2001 - 2005
Research position at the Institute for German Music in the East, IDMO (responsibilities: editing music and books), 1993 - 1994
Member of IMS, Gesellschaft fuer Musikforschung, Polish Composers Union, Honorary member 'Donne in Musica'
Has helped independently to publish books on musicology,
from fundraising through supervising the translations to layouting and
printing, i. a. on Chopin's harmony and on music during Germany's
National Socialism
QUOTATIONS /
REVIEWS OF HOMMA'S WORK
Zwölfton-Harmonik, Formbildung, "aleatorischer Kontrapunkt". Studien
zum Gesamtwerk unter Einbeziehung der Skizzen, Diese mit der höchsten Auszeichnung benotete Dissertation ist
die bisher umfassendste Auseinandersetzung mit der Musik eines der größten
Komponisten unserer Zeit. Der Generation von Olivier Messiaen, Dimitri
Schostakowitsch und John Cage zugehörig, wurde Lutoslawski durch
politische Umstände in Polen fast 20 Jahre hindurch in seiner Entwicklung
behindert. Auch nach seinem Durchbruch Ende der 50er Jahre zu einer individuellen
zeitgenössischen Musiksprache wurden von einer vielfach auf die
serielle Avantgarde konzentrierten Musikgeschichtsschreibung sowohl die
Neuartigkeit seiner zwölftönigen Harmonik als auch die Konsequenz
seiner individuellen Formbildung, ebenso wie die detailliert strukturierte
Vielgestaltigkeit seines "aleatorischen Kontrapunkts" stark unterschätzt.
Allein 1997 jedoch widmen sich mehrere mehrtägige internationale
Kongresse der Musik Lutoslawskis, die American Musicological Society
räumt ihm bei ihrer jährlichen Hauptarbeitstagung eine eigene
session ein, und in London ist ein umfangreicher Band der Oxford University
Press in Vorbereitung. Erste Lutoslawski-Studien der Autorin Martina Homma
reichen etwas 15 Jahre zurück. Der sonst bei Mitteilungen über
seine Musik sehr zurückhaltende Komponist hat mit der Autorin intensive
Gespräche geführt, hat in seinem Warschauer Haus sämtliche
unveröffentlichten Texte sowie Kompositionsskizzen zu sämtlichen
Werken zur Verfügung gestellt und auch darüberhinaus aus erster
Hand manche Details seines kompositorischen Denkens erläutert. Diese
vom Komponisten selbst noch vor seinem Tod offengelegten Aspekte, das
eingehende analytische Studium sämtlicher Partituren in ständiger
Wechselbeziehung zueinander sowie eine als RAR ("rekursiv-analytische
Rasterbildung") bezeichnete Methode des analytischen Zugangs versprechen
einen Einblick in kompositorische Fragestellungen, der für weit
mehr steht als nur für einen einzelnen Komponisten in unserer Zeit.
Das Buch beschreibt Lutoslawskis Weg zu seiner individuellen Klangsprache
und die Rezeption seines Schaffens, diskutiert Beziehungen zu Komponisten
unseres Jahrhunderts wie Bartók, Debussy, Ravel, Prokofjew, Cage,
Ligeti, Stockhausen, Xenakis sowie zu Komponisten seines Landes (Penderecki,
Gorecki, Serocki, Regamey, Panufnik). Anschließend widmen sich
drei jeweils 120-240 Seiten umfassende Kapitel der Kompositionstechnik,
darunter Fragen zur Formbildung - einem bei nicht-traditionellen Formen
bisher nur selten untersuchten Phänomen. Der "aleatorische Kontrapunkt"
wird mit seinen (nach bestimmten Charakteristika gegliederten) Organisationsverfahren
und Klangwirkungen untersucht und auf seine Entwicklung innerhalb des
Oeuvres befragt. Auch ein oft übersehender Aspekt wird hier erstmals
in analytischer Ausführlichkeit beschrieben: Lutoslawskis individueller
Beitrag zur zwölftönigen Ordnung - sein eigenwilliger und dabei
sehr konsequenter Zugang zur Komposition mit Zwölftonreihen ebenso
wie die spezifischen Zwölftonakkorde (Zwölfton-Positionsklänge),
auf denen ganze Kompositionen der 60er Jahre fußen. Etwa 200 ausführlich
kommentierte Notenbeispiele, dazu Graphiken und Tabellen sowie Reproduktionen
einiger Skizzenblätter illustrieren die Ausführungen. Werkverzeichnis,
Literaturverzeichnis, Personen- und Werkregister bilden den Abschluß.
Martina Homma: Witold Lutoslawski.
OTHER REFERENCE / QUOTATIONS / COMMENTARIES (chronological order, divided into "Articles in Journals" and "Books, Dissertations, Reference Works"
Articles in JournalsRadio Features
Books, Dissertations, Reference Works
TRANSLATIONS (choice, chronological order)
Topolski, Jan: Musik aus dem Buch der verborgenen Räume. 'Samtener Vorhang 2' im ukrainischen Lviv; in: MusikTexte Heft 111, November 2006, p. 90-91
Chlopecki, Andrzej: Überall zu Hause. Zur neuen Welle polnischer Komponisten; in: MusikTexte Heft 109, Mai 2006, p. 39-40
Chlopecki, Andrzej: Im Zeichen der Windrose. Wlodzimierz Kotonski - ein Porträt; in: MusikTexte Heft 109, Mai 2006, p. 84-88
Cichy, Daniel: Gesten und Triller. Ein paar Worte zur Musik von Tadeusz Wielecki; in: MusikTexte Heft 109, Mai 2006, p. 52-56
Kotonski, Wlodzimierz: Musikdenken; in: MusikTexte Heft 109, Mai 2006, p. 88-90
Mendyk, Michal: Ein neues ‘Tauwetter'? Zur jüngsten Generation polnischer Komponisten; in: MusikTexte Heft 109, Mai 2006, p. 41-46
Topolski, Jan: Gestammel und Banalität. Vingt regards sur Pawel Szymanski; in: MusikTexte Heft 109, Mai 2006, p. 57-65
Wielecki, Tadeusz: Kirche und Lied. Zur Situation der polnischen Musik; in: MusikTexte Heft 109, Mai 2006, S. 3-6
Naroditskaya, Inna: Zwischen zwei Kulturen. Derwische in der Musik aserbaidschanischer Komponistinnen; in: MusikTexte Heft 100, Feb. 2004, p. 101-106
Chlopecki, Andrzej: Gelbe Hefte; in: MusikTexte Heft 100, Feb. 2004, p. 86-87
Chlopecki, Andrzej: Krieg? - ja bitte ...; in: MusikTexte Heft 97, Mai 2003, p. 25-26
Harley, Maria Anna: Composing in Color: Marta Ptaszynska's 'Liquid Light', in: Frau Musica (nova). Komponieren heute / Composing Today, Sinzig 2000, p. 307-327
Zielinski, Tadeusz A.: Chopin. Sein Leben, sein Werk, seine Zeit. Bergisch Gladbach 1999, 912 p. (with Monika Brockmann)
Harley, Maria Anna: Ritual und Klanglandschaft in der Musik von R. Murray Schafer, in: MusikTexte 67/68, Januar 1997, p. 23-34
Chlopecki, A.: Festspiel-Panorama EBU-Konzert 18.9.1995 (Sendemanuskript für den Deutschandfunk, Sendung 11.1. 1996)
Chlopecki, Andrzej: Rostrum of Composers (Sendemanuskript für den Deutschlandfunk, Sendung 11.10.1995)
Czekanowska, Anna: Insider versus Outsider. Zur Erforschung von 'eigener' und 'nicht-eigener' Kultur; in: Lux Oriente. Begegnungen der Kulturen in der Musikforschung. Festschrift Robert Günther zum 65. Geburtstag, hg. Klaus Wolfgang Niemöller, Uwe Pätzold, Chung Kyo-chul, Kassel 1995, p. 441-453
Chlopecki, Andrzej: Portrait W. Strzeminski und Z. Krauze (Sendemanuskript für den Deutschlandfunk, Juni 1994)
Chlopecki, A.: "Tombeau" einer Epoche; in: MusikTexte Heft 54, Juni 1994, p. 47-50
Deutsche Adaptation eines Opern-Librettos: "Die verzauberten Brüder", Oper in zwei Akten, Text und Musik von Krzysztof Meyer, Premiere Wuppertal, November 1993
Meyer, Krzysztof: Prokofjew und Schostakowitsch; in: Bericht über das internationale Symposion "Sergej Prokofjew - Aspekte seines Werkes und der Biographie" (Köln 1991), Regensburg 1993, p. 111-133
Bilinska, Jolanta: Die Rezeption von Mozarts Opernschaffen in Polen von 1783-1830; in: Mozart-Jahrbuch 1992, Hg. Internationale Stiftung Mozarteum, Salzburg 1993, p. 11-25 (übersetzt von Martina Homma und Detlef Gojowy)
Meyer, Krzysztof: Form in psychologischer Hinsicht. Vortrag an der Musikhochschule Leipzig, Frühjahr 1991
Nikolskaja, Irina: Wiederbelebung der Melodie. Über einige Grundzüge thematischer Formung in Witold Lutoslawskis Musik der achtziger Jahre; in: MusikTexte Heft 42, November 1991, p. 51-58
Lutoslawski, Witold: Über Rhythmik und Tonhöhenorganisation in der Kompositionstechnik unter Anwendung begrenzter Zufallswirkung; in: Musik-Konzepte Band 71/72/73, München 1991, p. 3-32
Augustyn, Rafal: Polnische Musik der achtziger Jahre - woher diese Postmoderne? Referat beim Symposion der Stiftung Pro Helvetia, Zürich,Oktober 1991
Droba, Krzysztof: Zeichen der Hoffnung. Neue Musik in Litauen; in: MusikTexte, Heft 42, November 1991, p. 13-15
Chlopecki, A.: Aus der Geschichte der schlecht anwesenden Musik. Andrzej Panufniks Rückkehr nach Polen; in: MusikTexte Heft 37, Dezember 1990, p. 54-57
Chlopecki, Andrzej: Verzweiflung nackter Klänge. Der polnische Komponist und Pianist Tomasz Sikorski; in: MusikTexte Heft 36, Oktober 1990, p. 5-9
Chlopecki, A.: Kurse für neue EG-Musik; ibd., S.35 Chlopecki, A.: Aus Polen; ibd., p. 70
Chlopecki, Andrzej: Komponistenportrait Tadeusz Wielecki und Hanna Kulenty (Sendemanuskript für den Deutschlandfunk, Sendung August 1989)
Augustyn, Rafal: "Wratislavia Cantans" 89; in: Polish Music 24, 1989, Nr.3 (94), p. 26-32
An Interview with Witold Lutoslawski / Interview mit Witold Lutoslawski; in: Polish Music 23, 1988, no 2-3 (89-90), p. 3-22
Chlopecki, A.: Wlodzimierz Kotonski, Komponistenportrait (Sendemanuskript für den Deutschlandfunk, Sendung August 1988)
Chlopecki, A.: Hommage à Karol Szymanowski. Warschauer Herbst 1987 - das Konzert der Polnischen Gesellschaft für Neue Musik (Sendemanuskript für den Deutschlandfunk, Sendung 20.7. 1988)
Chlopecki, Andrzej: Auf der Suche nach der verlorenen Ordnung. Eine neue Generation polnischer Komponisten (Sendemanuskript für den Deutschlandfunk, Sendung Juli 1987)
Meyer, Krzysztof: "Musik in der Musik" im Schaffen Dimitri Schostakowitschs am Beispiel des 15.Streichquartettes es-moll, op.144; in: Internationales Dmitri-Schostakowitsch-Symposion Köln 1985, Hg. Klaus Wolfgang Niemöller und Vsevolod Zaderackij, Regensburg 1986, p. 123- 134
Baculewski, Krzysztof: Ars perennis oder ars brevis?; Referat bei der Woche Polnischer Kultur, Hamburg, Oktober 1984
PERFORMING
Worked as a church organist from childhood on for over 15 years (Stadt Voerde / Spellen), was a member of Academy's choirs for about ten years, played as a duo-partner nearly all the Bach-Beethoven-Mozart-Brahms-Debussy sonatas, played and organized organ recitals, was the conductor of a French-German youth orchestra and choir, culminating during the International Bach-Festival in St. Donat in a concert with Jean-François Malgoire.
REZENSIONEN / REVIEWS (choice)
Ein gewisses Ausdrucksprogramm. Warschauer Herbst 1984; in: Neue Zeitschrift für Musik, November 1984, S.37-38
Lau und düster. "Warschauer Herbst" mit viel polnischer Musik; in: Frankfurter Rundschau, 23.10.1984, S.9
Spielerisch, sorglos, wohlklingend. Zu den Breslauer Tagen Neuer Musik 1985; in: Neue Musikzeitung, Juni 1985 (S.40)
Muße zum Hören und Reflektieren. Kurse für junge Komponisten an der Weichsel; in: Neue Zeitschrift für Musik 146, 1985, Nr.11, S.39-40
Anlaß zu einem stolzen Rückblick. Das Festival "Waratislavia cantat" besteht 20 Jahre; in: Neue Musikzeitung, Dezember 1985/Januar 1986, S.64
Herbst der leisen Töne. Das polnische Prestige-Festival neuer Musik zum 28.Mal in Warschau; in: MusikTexte Heft 12, Dezember 1985, S.53-54
Trotz gedämpfter Stimmung gelöste Werke. Beim diesjährigen "Warschauer Herbst" überwogen die leisen Töne; in: Neue Musikzeitung, Dezember 1985/Januar 1986, S.64
Gelungene Konzeption. Das 15. Festival Polnischer Zeitgenössischer Musik in Breslau; in: Neue Zeitschrift für Musik, Mai 1986, S.47
Leere Saiten. Gloria Coates: Music on Open Strings, String Quartets 1, 2, 4; in: Neue Musikzeitung Oktober/November 1986, S.36
Hang zur Simplizität. Der "Warschauer Herbst" 1986; in: MusikTexte Heft 17, Oktober 1986, S.54-55
Müde Helden. Der 31. "Warszawska Jesien"; in: MusikTexte Heft 26, Oktober 1988, S.60
Polska muzyka na tle; in: Ruch muzyczny 33, 1989, Nr.24, S.7-9
Außenseiter und Spätentdeckte. Das 32. Warschauer Herbst-Festival; in: MusikTexte Heft 31, Oktober 1989, S.61
Polish Music in the Context of the Festival; in: Polish Music 24, 1989, Nr.4, S.2
Carl Dahlhaus: Die Musiktheorie im 18. und 19.Jahrhundert. 1.Teil: Grundzüge einer Systematik, Darmstadt 1981; in: Muzyka 1990, Nr.1, S.80-84
Statische Bühnenmusiken - konzertant. Zum 34.Warschauer Herbst-Festival; in: MusikTexte Heft 42, November 1991, S.64-65
Herbststimmung. Zum 37. Festival "Warszawska Jesien", in: MusikTexte Heft 56, November 1994, S. 53-54
Einführend und patriotisch. Neue Bücher über Witold Lutoslawski, in: MusikTexte Heft 61, Oktober 1995, S.55-57
Vorwiegend meditativ. Zum Warschauer Herbst 1995, in: MusikTexte Heft 61, Oktober 1995, S. 61-62
Wolfram Schwinger: Krzysztof Penderecki (Buchrezension für DeutschlandRadio, 19. 02. 1996)
Gefrorene Landschaften. Das Warschauer-Herbst-Festival 1998, in: MusikTexte Heft 76/77, S. 116-117
RUNDFUNKSENDUNGEN / RADIO PROGRAMS / CONTRIBUTIONS (choice)
Sendereihe "Neue Musik vor 30 Jahren" (WDR), Portraitsendungen zu Komponisten (WDR, DLF), Sendungen der Reihe "Musikalische Begegnungen" (WDR)
Programmbeiträge - Program issues (Bayerischer Rundfunk, DeutschlandRadio, Westdeutscher Rundfunk, Philharmonie Köln, Philharmonie München, Philharmonie Berlin)
über - about
Anonymus (Omnia benefitia)
Bartók, Béla (Rhapsodie für Klavier und Orchester, Musik für Saiteninstrumente, Schlagzeug und Celesta, Ungarische Bauernlieder, Sonate für Violine solo)
Biber, Heinrich Ignaz Franz (Sonate Nr. 10 g-moll, Passacaglia g-moll)
Brewaeys, Luc (1. Sinfonie)
Busoni, Ferruccio (Toccata für Klavier)
Copland, Aaron (Appalachian Spring)
Gorecki, Henryk Mikolaj (Genesis I und Portraitsendung)
Gorczycki, Grzegorz Gerwazy (Completorium)
Haydn, Joseph (Klaviertrio g-moll Hob. XV, 19)
Hindemith, Paul (Trio für Violine, Viola, Violoncello Nr. 2, Phantasiestück op. 8, 2, Sonate für Horn und Klavier, Die Serenaden, Quintett für Klarinette und Streichquartett, Quartett für Klarinette, Violine, Violoncello und Klavier, Sonate in E für Violine und Klavier, Streichtrio op. 34, Die junge Magd, Lieder op. 18)
Kulenty, Hanna (Ad unum)
Kurtág, György (Hommage à Robert Schumann)
Leopolita, Marcin (Ricercare)
Ligeti, György (Hungarian rock)
Lutoslawski, Witold (1. Sinfonie, Kinderlieder, Bukoliki, Musique funèbre, Jeux vénitiens, Streichquartett, Paroles tissées, Präludien und Fuge, Mi-parti, 3. Sinfonie, Klavierkonzert, 4. Sinfonie, mehrere Portraitsendungen)
Mendelssohn-Bartholdy, Felix (1. Klaviertrio c-moll)
Meyer, Krzysztof (Canti Amadei, Concerto retro, Canzona, Kyberiade, 24 Präludien für Klavier)
Moniuszko, Stanislaw (Das Gespensterschloß)
Pekiel, Bartlomiej (Missa pulcherrima)
Penderecki, Krzysztof (Te Deum)
Ravel, Maurice (Klaviertrio a-moll)
Schumann, Robert (Stücke im Volkston, 1. Klaviertrio d-moll, Andante und Variationen für 2 Pianoforte, 2 Violoncelli und Horn, Klavierquintett Es-Dur, Märchenbilder, Klavierquartett Es- Dur, Märchenerzählungen, 3 Phantasiestücke, 2. Klaviertrio F-Dur, Spanische Liebes-Lieder, Spanisches Liederspiel)
Serocki, Kazimierz (Segmenti)
Sikora, Elzbieta (Ariadne)
Sikorski, Tomasz (Portraitbeitrag)
Smolka, Martin (Ringing)
Strawinsky, Igor (Harmonisierung der US-Nationalhymne, Scherzo à la russe)
Szymanowski, Karol (Mazurken)
Szymanski, Pawel (Klavierkonzert und Portraitsendung)
Zelenka, Jan Dismas (Sonate Nr. 1 F-Dur, Sonate Nr. 3 B-Dur, Sonate Nr. 5 F-Dur)
Zielenski, Mikolaj (Ortus de Polonia, Justus ut palma florebit)
Music 328: Music 1900 - 2000
Spring 2002, University of Chicago
Instructor: Martina Homma
E-mail: homma@homma.de
Course objectives / Course work and expectations / Course materials / Grading / Schedule / Additional material
Week 1 / Week 2 / Week 3 / Week 4 / Week 5 / Week 6 / Week 7 / Week 8 / Week 9 / Week 10
With regard to the extraordinary diversity of styles,
trends
and concepts in the music of the twentieth century, the seminar intends
to give a general overview over a diversity of music conceived as
"art", together with a survey of genres, techniques, styles, "isms" and
several individual solutions. Listenings / exemplary analysis will
present characteristic works - most of them are widely considered to
belong to the canon of modern music, some are rare examples of
documentary value, illustrating trends, some others very interesting,
though not (yet?) present in a still developing canon.
One focus will be on the variety of strategies composers pursued facing
the problems of a modernist composer - some composers preferred
different solutions at different moments of their life (Stravinsky, as
a prominent example).
Course Work
In the first part of the seminar meetings participants will be asked to be prepared for a short presentation of readings, which have be assigned to the class and which we will discuss together. (Scores, recordings, books and articles will be on reserve.) The second part of the meetings will present additional material and will end with a more open discussion on topics related to the readings.
Listenings and Readings
Reading and listening assignments will help you to successfully participate in our class-room discussions. Listening cannot be hurried, nor can reading. Please be ready with reading / listening assignment before class.The list of listenings / scores shows "basic" and "additional" positions.
"Additional" listening will help you better understand topics in class. In general, an attentive first time listening will be sufficient.
For "basic" listening I recommend that you listen to each piece several times: once unprepared (closed eyes can help to concentrate on sounds). Then write down your first impressions in a couple of words or in several lines. Later listen with the score. For some pieces marked you should also read the analytical commentary, as given in the textbooks or in the articles indicated, and then listen again. Confront your listening now with what you wrote down as your first impression. These works you should "know", be able to recognize easily and write about in the final exam.
The list of readings, too, has (apart from obligatory textbook-chapters) "basic" and "additional" positions. The reading of the indicated textbook-chapter(s) before class is fundamental for our discussion. Articles marked as "basic" should be read attentively, and one person of your group will write an abstract / summary for the others. For articles or books marked as "additional" it will be sufficient, for the purpose of our class, to "look through" and get a general idea about the author's approach.
Written Work
(1) Two abstracts summarizing two articles from the reading
list. An
abstract should present the main ideas of the article on about 1-2
pages. Do no comment the reading in your written abstract - commenting
and discussing will be done in class.
(2) A study about the 'position' of a choosen composer (born after 1900) in scholarly literature (textbooks, monographs, analyses, collections of essays). The study should take into account the character / profile of the publications, the 'weight' given to a composer in comparison to others and the possible reasons for doing so, as well as the compositions considered and the context in which this is done. Length: 1000-1400 words, due Tuesday, May 16. By April 23 please consult with me the composer you would like to write about.
(3) An analytical essay, based on two or three important compositions (since 1950) and their analyses, about 10 pages, due June 8. By April 30 please turn in one written page, naming your reasons for choosing those compositions, and listing scholarly literature to consult, commenting upon their character (methodological, analytical).
Final Exam
A written two-hour repertory exam at the end of the term will ask you
to comment examples from selected pieces of 20th century music. Part of
the examples (printed and aural) will be known from the repertory list,
others will be new, but related.
Part I :
Introduction
Early Avant-garde
Twelve-tone discipline
(Week 1 - 3)
Consult a topic for your first paper
Part II :
Different Aspects of the Avant-garde
Classic(ism)s and Individual Techniques
Redefining Concepts: Composer, Performer, Concert, 'Work', Art
Exploring Sound and Space
(Week 4 - 6)
Hand in a proposal for your second paper
Part III :
Technology and Science: Electronic Means and Computer Music
Language and Meaning
(Week 7 - 8)
Part IV :
Minimalism, Complexity
Material and Organization
"Neo - Prae - Post"
"main- / side-stream" (Week 9 - 10)
Final examination, June 4
Final paper, due June 8
Textbooks
We will primarily draw upon Robert Morgan's textbook, which comes with an anthology and with exemplary analysis.
- Morgan, Robert: Twentieth-Century Music (New York: Norton, 1991) ML 197.M6750 1991R (In the reading assignments referred to as "Morgan")
Regular readings will comprise several chapters from the following books:
- Schwartz, Elliott / Godfrey, Daniel: Music Since 1945: Issues, Materials and Literature (New York: Schirmer, 1993) ML 197.S350 1993 (In the reading assignments referred to as "Schwartz")
- Cope, H. David: New Directions in Music (5th Edition,
Dubuque / Iowa: publisher, 1989) ML197.C757 2001 (In the
reading
assignments referred to as "Cope") (concise, with many
illustrations and commented bibliographies to each chapter)
Other textbooks of 20th-century music include:
- Whittall, Arnold: Musical Composition in the Twentieth Century (Oxford / New York: Oxford University Press, 1999) ML197.W55 1999
- Lipman, Samuel: Music After Modernism (New York: 1979) ML197.L76
Bibliographies are to be found in the textbooks (the
bibliographies given by Morgan and Schwartz / Godfrey are especially
recommended).
Anthologies of Music
Anthologies of twentieth-century music are difficult to assemble, due to copyright laws and for practical reasons - given the oversize of many scores, which can be hardly reduced to book-format, and given different conventions of notation, demanding additional commentary.
We will draw primarily upon:
- Morgan, Robert P.: Anthology of Twentieth-Century Music (New York: Norton, 1992). MT6.5.A6 1992 (In the readings referred to as "MorganA")
- Simms, Bryan R.: Music of the Twentieth Century, Anthology (New York: Schirmer, 1986) MT6.5.M930 1986 (In the readings referred to as "Simms" )
Source Readings
- Strunk, Oliver: Source Readings in Music History, revised edition by Leo Treitler (New York: Norton, 1998) ML160.S89 1998 (In the readings referred to as "Strunk's source readings")
- Schwartz, Elliott and Childs, Barney (eds.): Contemporary
Composers on Contemporary Music (New York: Da Capo, 1978) ML197.S4
Handout o,
week
8,
"Le marteau sans maitre"
Written
Exam,
beginning of next term
Grading percentage:
- class preparation, participation and individual
presentations (abstracts)
ca. 30 %
- two papers
ca. 40 %
- final examination
ca. 30 %
INTRODUCTION to the
course
(syllabus, expectations)
First unit: The Turn of a Century (+/-
about 30 years). The big challenge, new paths.
Lecture about:
Background. Fin de siecle, historicism, esthetic
refinement, "exotic" and "wild" inspirations (f. ex. Gaugauin, Gamelan,
van Gogh).
Rise of technology, constant "progress", colonies and nationalism,
artistic high subjectivity.
First World War, individual traumata and the wiping away of a long
established order of the world - old monarchies disappearing, new
states (re-)emerging. Socialist revolutions, womens' rights.
In the arts: search for radically new approaches, "overcoming" the old
order.
In music: tonality felt overrefined and exhausted; in painting: harmony
of colours and proportions, clarity of design and perspective unwanted;
in drama: realism and action felt inappropriate; in poetry: challenge
of rhyme and rythms; in architecture: challenge of the ‘humane'
perspective.
Utopies: the "new man", a "new social order". New media: "recordings",
film.
Music. Over-refinement / weakening of tonality.
Some ‘-isms': impressionism, symbolism.
Debussy, Satie, early Bartok, late Skryabin, Charles Ives.
A melting pot of diversities.
General issues. The terms "modern", "modernism", "new
music", "contemporary music", "progressive".
When does the new era, the 20th century, begin for music?
Readings (call
numbers
in bold face)
(Morgan: Introduction, Chapters 1 - 2; Cope, Chapter 1; Schwartz,
Chapters 1 - 3)
Basic readings
Morgan, Robert. Rewriting Music History: Second Thoughts on Ives and
Varèse, in:Twentieth-Century Music. Ed. Ellen Rosand. Trans.
Anton Swarowsky and Joseph H. Lederer. The Garland Library of the
History of Western Music. New York: Garland, 1985/1973, pp. 257-276.
ML197.T950
1985
Dahlhaus, Carl. 'New Music as Historical Category, Progress and the Avant-Garde, in: Schoenberg and the New Music (Cambridge: Cambridge University Press, 1987), pp. 1-13 and 14-22 ML60.D1580 1987 (e-reserve)
Adorno, Theodor W.: Mahler. A musical physiognomy, translated by Edmund Jephcott (Chicago: Chicago University Press, 1992), ML410.M23A5213 1992 (chapter: Curtain and Fanfare) (e-reserve)
Burkholder, Peter J.: Museum Pieces: The Historicist Mainstream in Music of the Last Hundred Years, in: Journal of Musicology 2, spring 1983, pp. 115-134 ML1.J86 (reserve)Morrison, Simon: Skryabin and the impossible, in: Journal of the American Musicological Society, vol. 51, issue 2, summer 1998, pp. 283-330 ML27.U5A505 (e-reserve)
Satie, Eric: Three Brief Epigrams, in: Contemporary
Composers on Contemporary Music, ed. by Elliott Schwartz / Barney
Childs (New York: Da Capo Press, 1998), pp. 30 - 32 ML197.S4
(e-reserve)
Additional readings
Debussy, Claude: Three Articles for Music Journals, in: Strunk's Source Readings (...), pp. 1431 - 1436 ML160.S89 1998 (e-reserve)
Satie, Eric: From 'Memoirs of an Amnesiac', The Musician's Day, Perfect Surrounding, in: Strunk's Source Readings (...), pp. 1485 - 1487 ML160.S89 1998 (e-reserve)
Debussy, Claude: From 'Monsieur Croche the Dilettante Hater', in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz / Barney Childs (New York: Da Capo Press, 1998), pp. 17 - 29 ML197.S4 (e- reserve)
Orledge, Robert: Understanding Satie's 'Vexations', in: Music and Letters, vol. 79, issue 3, Aug. 1998, pp. 386 - 395 ML5.M82 (e-reserve)
Antokoletz, Elliott: Bartok's Bluebeard: The sources of
its
'modernism', in: College Music Symposium, vol. 30, issue 1, spring
1990, pp. 75 - 95 ML1.C63 (e-reserve)
Listenings and Scores
Basic (with the
score; with a short analytical commentary, from textbook and/or
anthology)
| Strauss, Richard | *Salome, First/Last Scene (MorganA no. 2, SimmsA no.
18) MT6.5.M930 AudCD London 2 |
| Skryabin, Alexander | *Piano Pieces: Prélude, op. 35, no. 3, op. 74,
no. 3, Etude, op. 56, no 4(MorganA No. 3) AudCD Hyper 262 |
| Debussy, Claude | *Prélude à'après-midi d'un faune
(Rossi / Choate p. 3-14) sM1002.D28P8 Melodya 25 on prepared CD |
| Bartók, Béla | *Duke Bluebeard's Castle, beginning (Morgan A) AudCD Hungton 23 on prepared CD |
Additional (recommended;
no
"analytical hearing" required nor a listening of the whole work)
| Strauss, Richard | *Tod und Verklärung (1889), from score p. 90
[Peters 1938] sM1002.S91T6 AudCD CSO 11 |
| Mahler, Gustav | *Symphony No. 2 (1888-1894), last movement
(Auferstehen) AudCD EMI 216 |
| Mahler, Gustav | *Das Lied von der Erde, last movement
(Abschied) M1613.M21L71 AudCD DGG 247 |
| Skryabin, Alexander | *Prométhé. Poème du Feu
(Watkins, 164ff) London 417252-2 |
| Schoenberg, Arnold | *Erwartung (Watkins, p. 173ff) M1500.S36E7 AudCD London 42 OR AudDisc MR1 M2L279 |
| Debussy, Claude | *Four Preludes (1st vol); Danseuses de Delphes,
Voiles, Les sons et les parfums (...), La cathédrale engloutie
(nos. 1-3, 10) ML96.5.D4P91 M22.D28P81/2 AudCD Nonsuch 15 |
| Reger, Max | *Symphonische Phantasie und Fuge d-moll (1901, op.
57) M7.R33F22 MDG R 3350/3361 |
| Debussy, Claude | *La mer M1002.D28M62 CBS MYK 37261 excerpts on prepared CD |
| Satie, Eric | *Gymnopédies 1 and 3 AudCD EMI 267 (CDC 7 49471 2 EMI) |
| back to table of contents |
EARLY AVANTGARDE
Background Again: "epater le
bourgeois". Dadaism, futurism, bruitism, avantgarde in Russia, Germany,
France, Italy, America.
Music. Widening and weakening of
tonality as in Richard Strauss (Salome), of polyphony in Max Reger.
12-tone-experiments in Russian futurism,
early Schoenberg, Webern and Berg, Bartok.
Manifested "novelty": Varèse,
Ives, Cowell, Busoni, Russolo, Wyschnegradsky. Stravinsky's "Sacre",
Schoenberg's "Pierrot lunaire". Noise, clusters, microtones.
General issues. Manifestos.
Scandals. Synesthesia (Skryabin, "Der blaue Reiter").
Basic readings
Haimo, Ethan: Schoenberg and the Origins of Atonality, in: Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture (Berkeley: University of California Press, 1997), pp. 71-86 ML410.S212C75 1997 (e-reserve)
Busoni, Ferruccio: From 'Sketch of a New Esthetic of Music', in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz. (New York: Da Capo, 1967), pp. 3-16 ML197.S4 // and in: Strunk's Source Readings (...), pp. 1321 - 1328 ML160.S89 1998 (e-reserve)
Ives, Charles: Postface to 114 songs, in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz. (New York: Da Capo, 1967), pp. 127- 133 ML197.S4 (e-reserve)
Varèse, Edgard: The Liberation of Sound (and other texts), in: Strunk's Source Readings (...), pp. 1339 - 1344 ML160.S89 1998 / and in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz. (New York: Da Capo, 1967), pp. 3-16 ML197.S4 (e-reserve)
Cowell, Henry: From: New Musical Resources, in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz. (New York: Da Capo, 1967), pp. 134 - 145 ML197.S4 (e-reserve)
Russolo, Luigi: The Art of Noises,
in: Strunk's Source
Readings (...), pp. 1328 - 1334 ML160.S89 1998 (e-
reserve)
Additional readings
Dixon, Gail: Some principles of structural coherence in Varèse's Amériques, in: Current Musicology, issue 48, 1991, pp. 27-41 ML1.C93 (reserve)
Drew, David: The savage parade: From Satie, Cocteau, and Picasso to the Britten of Les illuminations and beyond, in: Tempo, issue 217, july 2001, pp. 7-21 ML5.T3 (reserve)
DeLio, Thomas: Times transfigured: Eric Satie's Parade, in: Contemporary Music Review, vol. 7, issue 2, 1993, pp. 141-162 ML197.C7514 (reserve)
Schroeder, David P.: Alban Berg and Peter Altenberg: Intimate Art and the Aesthetics of Life, in: JAMS 46 (1993), pp. 261 - 294 ML27.U5A505 (reserve)
Chrisman, Richard: Anton Webern's 'Six Bagatelles for String Quartet' op. 9: The Unfolding of Intervallic Successions, in: Journal of Music Theory 23, spring 1979 (no. 1), pp. 81 - 122 ML1.J82 (reserve)
Berg, Alban: Why is Schoenberg's Music so Difficult to Understand? in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz. (New York: Da Capo, 1967), pp. 59 - 71 ML197.S4 (reserve)
Baliff, Claude (ed.): Nicolas
Obouchow, l'harmonie totale,
Ivan Wyschnegradsky, l'ultrachromatisme et les espaces non octaviants,
in: numéro special poublié sous la direction de Claude
Baliff, ReM 1972, no. 290/291, pp. 55 -61 ML5.R47
(reserve)
Listenings and
Scores
Basic (with the
score; with a short
analytical commentary, from textbook and/or anthology)
| Schönberg, Arnold: | *from Orchestral Pieces op. 16, no. 5 (1909, MorganA
No. 4, pp. 45-63) sM1045.Ss3608 Sony SMK 48463 |
| Schoenberg, Arnold: | *Piano Piece (op. 11, no.3) M25.S36K425 on prepared CD |
| Berg, Alban: | *Altenberg-Lieder 2, 4, 5 (MorganA no. 14) M1613.B493L71 DGG 412 238-2 prepared CD |
| Webern, Anton: | *Two Bagatelles for StrQu (op. 9, no. 4, 5, MorganA
No. 11b) M452.W375B18 prepared CD |
| Stravinsky, Igor: | *Le sacre du printemps (no. 1, 2) sM1524.S911S2 AudCD DGG 144 on prepared CD |
| Bartók, Béla: | *Bagatelles (nos 1, 4, 8, 14) (Simms Anthology, No. 4-7) prepared CD |
| Satie, Eric: | *Parade, no.1 M1520.S25P23 AudDiscMR1 Vangrd VCSon prepared CD |
| Ives, Charles: | *The Unanswered Question M1045.I95U5 1985AudCD DGG 137 (429 220-2) |
| Ives:, Charles: | *Two Songs (MorganA no. 6, SimmsA no. 12) ('Charlie Rutlage' on prepared CD) |
Additional (recommended;
no
"analytical hearing" required nor a listening of the whole work)
| Schönberg, Arnold: | *Pierrot lunaire (Watkins, 183ff) M652.S36V54 AudCD DGG 226 |
| Bartók, Béla: | *Allegro barbaro, beginning M25.B49A42 AudCD Hungton 51 (HCD 31036 Hungaroton) |
| Russolo, Luigi: | *Risveglio di una città AudCD LTM 1 prepared CD |
| back to table of contents |
TWELVE-TONE DISCIPLINE
Schoenberg on
his way to a new
method.
Its basic characteristics, purpose and structure. Schoenberg's
"school", its reception, and the further development of a new approach.
Examples of teaching and discussing the technique (survey of
‘introductions': Rufer, Jelinek, Eimert, Leibowitz). Schoenberg's Piano
Suite, Webern's Piano Variations.
Basic readings
Schönberg,
Arnold, "Composition
with Twelve Tones", in: Style and Idea (New York: St. Martin's Press,
1975), pp. 214 - 249. ML60.S371 YS12567
Wolpe, Stefan: Thinking Twice,
in: Contemporary Composers on
Contemporary Music, ed. by Elliott Schwartz and Barney Childs (New
York: Da Capo, 1998), pp. 274 - 307 ML197.S4
(reserve)
Cone, Edward T.: Analysis Today,
in: Musical Quarterly 46/2 (1960), pp.
172-188 ML1.M3 (reserve)
Ashby, Arved: Of Modell-Typen and
Reihenformen: Berg, Schoenberg, F. H.
Klein and the concept of row derivation, in: JAMS 48, 1995, pp. 67 -
105 ML27.U5A505 (reserve)
Spies, C.: Some Notes on
Stravinsky's Requiem Settings, in:
Perspectives on Schoenberg and Stravinsky, ed. by B. Boretz and T. Cone
(New York: Norton, 1972) ML55.B73 1972
(reserve)
Westergaard, Peter: Towards a
Twelve-Tone-Polyphony, in: Perspectives
of New Music, spring / summer 1966, pp. 90-112
ML1.P46
(e-reserve)
Additional readings (cursory)
Watkins, G.: The Canon and
Stravinsky's Late Style, in: Confronting
Stravinsky; Man, Musician, and Modernist, ed. by Jann Pasler (Berkeley:
University of California Press, 1986) ML410.S9C74
(reserve)
Westergaard, Peter: Webern and
Total Organization: An Analysis of the
Second Movement of Piano Variations op. 27, in: Perspectives of New
Music (1963, no. 1/2) ML1.P46 (e-reserve)
Lewin, David: Inversional Balance
as an Organizing Force in
Schoenberg's Music and Thought, in: Perspectives of New Music,
spring-summer 1968, pp. 1-21
ML1.P46 (reserve)
Having a look at
Perle, George: Twelve-Tone Tonality
(Berkeley: University of California Press, 1977) MT40.P45
Rufer, Josef: Composition with twelve
tones related to one another;
translated by Humphrey Searle (New York: The Macmillan Company, 1954)
ML444.R9
Jelinek, Hanns: Anleitung zur
Zwölftonkomposition nebst allerlei
Paralipomena. Appendix zu Zwölftonwerk, op. 15
MT40.J48
Jelinek, Hanns: Zwölftonwerk.
Twelve-tone-music. Op. 15 M5.J46Z9
Eimert, Herbert: Lehrbuch der
Zwölftontechnik (Wiesbaden:
Breitkopf and Härtel, 1952) MT50.E342
Vlad, Roman: Storia della dodecafonia
(Milano: Suivi Zerboni, 1958) ML197.v87
Leibowitz, René: Schoenberg
and his school; the contemporary
stage of the language of music, translated from the French by Dika
Newlin (New York: Da Capo Press, 1970)
ML390.L52 (reserve)
Rust, Douglas: Stravinsky's
twelve-tone loom: Composition and
precomposition in Movements, in: Music Theory Spectrum, vol. 16, issue
1, spring 1994, pp. 62 - 76 MT6.M96
(e-reserve)
Listenings and scores
Basic
(with the score; with a short analytical commentary, from textbook
and/or anthology)
| Schoenberg, Arnold: | *Klavierstück op. 33a (MorganA No. 5) M25.S36K6 DGG423 249-2, on prepared CD |
| Schoenberg: | *Suite for Piano op. 25 (no. 4, 5) M24.S36S9 1952 AudCD DGG 71, on prepared CD |
| Berg, Alban: | *Lyric Suite (part 1, 2) M452.B493L9P AudCD DGG 16, on prepared CD |
| Webern:, Anton: | *Variations for Piano op. 27 (first, second movement) M27.W375V2 1979 AudCD CBC |
Additional
| Babbitt, Milton: | *Semi-Simple Variations (MorganA No. 25) |
| Webern: | *String Quartet op. 28 (MorganA No. 12) M452.W375Q61P DGG 419 994-2 |
| back to table of contents |
DIFFERENT
ASPECTS OF THE AVANTGARDE
(Morgan Ch. 15, 16, Cope
Ch. 3-6,
Schwartz Ch. 7)
Background.
World War II, unprecedensed atrocities, emigration, many cities in
grumbles, infra- structure to be re-built. Ideas of "making everything
a-new".
Music. Distrust in any tradition.
Overcome tonality, musical form(s), instruments, institutions.
Schoenberg the ‘traditional', Berg the neglected, Webern the
‘progressive'. The Trias Boulez-Nono- Schoenberg, total serialization
and chance, Darmstadt and Cage. Open form. Graphic scores and
their realization. Stochastic music.
General issues. Artistic
declarations, "central works", and their reception. What made them
"important" or "central" then, and what is our perspective now?
Basic readings
Boulez, Pierre: Schoenberg is Dead, in: Stocktakings from an Apprenticeship, ed. by Paule Thévenin, translated by Stephen Walsh (Oxford: Clarendon Press, 1991), pp. 209 - 214 ML60.B713130 (e- reserve)
Adorno, Theodor W.: Modern Music is Growing Old, in: The Score (dec. 1956), pp. 18 - 29 ML5.S43 (reserve)
Sessions,
Roger,
Problems and Issues Facing the Composer Today, Musical Quarterly 46/2
(1960): 159-71 ML1.M3 also in: Problems of Modern Music: The
Princeton Seminar in Advanced Musical Studies, ed. Paul Henry Lang (New
York: Norton, 1960), pp. 21-33 ML197.L3
Burkholder, J. Peter: Schoenberg the
Reactionary, in Schoenberg and His World, ed. Walter Frisch (Princeton:
Princeton University Press, 1999), pp. 162-191
ML410.S212S366 1999
Boulez, Pierre: 'Sonate, que me veux-tu'?, in: Pierre Boulez. Orientations. Collected Writings ed. by Jean-Jacques Nattiez, translated by Martin Cooper (London / Boston: Faber and Faber, 1990), pp. 143 - 154 ML60.B796P6130 (reserve)
Babbitt, Milton: Twelve-Tone Invariants as Compositional Determinants, in: Musical Quarterly 46/2 (1960), pp. 246 - 259 ML1.M3
Gable, David: Boulez's Two Cultures: The Postwar European Synthesis and Tradition, in: JAMS 43 (1990), pp. 426 - 456 ML27.U5A505 (e-reserve)
Cage, John: Indeterminacy, Silence (Middletown: Wesleyan University Press, 1960), pp. 35-40 ML60.C17
Handout:
about a realization of
Cage's "Variations I" by Agon Ensemble
Additional
Boulez, Pierre: The System Exposed, in: Pierre Boulez. Orientations. Collected Writings ed. by Jean-Jacques Nattiez, translated by Martin Cooper (London / Boston: Faber and Faber, 1990, pp.143 - 154 ML60.B796P6130
Metzger, Heinz-Klaus: Intermezzo I (Just Who is Growing Old); Intermezzo II, in: die Reihe 4 (1958/60), pp. 63 - 84 ML1.R4 (reserve)
Krenek, Ernst: Extents and Limits of Serial Techniques, in: Musical Quarterly 46/2 (1960), pp. 210 - 232 ML1.M3 (e-reserve)
Toop, Richard W.: Messiaen / Goeyvaerts, Fano / Stockhausen, Boulez, in: Perspectives of new music 13 (1974, issue 1), pp. 141-169 ML1.P46 (e-reserve)
Boulez, Pierre: Alea, in: Pierre Boulez. Orientations. Collected Writings ed. by Jean-Jacques Nattiez, translated by Martin Cooper (London / Boston: Faber and Faber, 1990), pp. 26 - 38 ML60.B796P6130 (reserve)
O'Grady,
Terrence J.,: Aesthetic Value in Indeterminate Music, in: Musical
Quarterly 67 (1981), pp. 366-81 ML1.M3
(e-reserve)
Listenings
and
scores
Basic (with the score; with a short analytical commentary, from textbook and/or anthology)
| Messiaen, Olivier: | *Mode de valeurs et d'intensités (1949) M25.M585M6 AudCD Koch 91 prepared CD |
| Stockhausen, Karlheinz: | *Kreuzspiel (MorganA No. 25) AudCD Stckhsn 1 prepared CD |
| Babbitt, Milton: | *Three compositions for piano, no. 1 M25.B102C7 AudDisc MR1 HarmoMu HMC 5160s |
| Boulez, Pierre: | *Structures for 2 pianos (1952), beginning M214.B763S9 AudCD ColLegn 21 Aurphon 2 |
| Cage, John: | *from "Sonatas and Interludes" for prepared piano
(1946-1948): Sonata I, Sonata II, First Interlude on prepared CD |
Additional
| Messiaen, Olivier: | *Cantéyodyaja, fragments AudCD Koch 91 prepared CD |
| Boulez, Pierre: | *Piano Sonata no. 3 fM23.B763S3(3) WER60121-50 |
| Stockhausen, Karlheinz: | *11. Klavierstück f M25.S864K8 AudDisc MR1 Philips 6500 101 |
| back to table of contents |
CLASSIC(ISMS)
- AND INDIVIDUAL TECHNIQUES
(Morgan Ch. 7,
8)
Background.
Hyper-expressionism
and its counterpart: ‘New objectivity'. ‘Neo-classicism'. France,
"clarté", Germany "neue Sachlichkeit". Clear lines instead of
ornaments, the practical and useful. Bauhaus. Gebrauchskunst.
Music. Paris the
"centre". The "case" of Stravinsky and
his reception. Gebrauchsmusik. Personalities besides "-isms" - Bartok,
Messiaen, Carter, Lutoslawski.
General issues.
"Objectivity", "subjectivity".
Individual approaches to "tradition" - the ‘classical' and the
national.
Basic readings
Adorno, Theodor: Philosophy of Modern Music, translated by Anne B. Mitchell and Wesley V. Blomster (New York: Seabury Press, 1973) ML197.A306 (section about Stravinsky)
Lessem, Alan: Schoenberg, Stravinsky, and Neoclassicism: The Issues Reexamined, in: Musical Quarterly 68, 1982, pp. 527-542 ML1.M3 (copy in locker)
Straus, Joseph N.: Sonata Forms, in: Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge: Harvard University Press, 1990), pp. 96-132 ML197.S7670 (copy in locker)
Lendvai, Ernö: Duality and Synthesis in the Music of Béla Bartók, in: Bartók Studies, compiled and edited by Todd Crow (Detroit Reprints in Music, 1976), pp. 39-62 ML410.B28B29 (copy in locker)
Stravinsky, Igor: Some Ideas about my 'Octuor' (1924); reprinted in: White, Eric Walter: Stravinsky: The Composer and His Works (Berkeley 1979), appendix A ML410.S9W583 (copy in locker)
Auner,
Josep H:
Schoenberg's Handel Concerto and the Ruins of Tradition; in: JAMS 49,
1996, no. 2, pp. 264- 313 ML27.U5A505
Further readings
Cone, Edward T.: Stravinsky: The Progress of a Method, in: Perspectives on Schoenberg and Stravinsky, ed. by B. Boretz and T. Cone (New York: Norton, 1972), pp. 155-164 ML55.B73 (copy in locker)
Taruskin, Richard: Revising Revision: Review of J. Straus 'Remaking the Past', in: JAMS 46, 1993, pp. 114-138 ML27.U5A505
Kramer, Jonathan D: Discontinuity and Proportion in the Music of Stravinsky, in: Perspectives on Schoenberg and Stravinsky, ed. B. Boretz / T. Cone (New York: Norton, 1972), pp. 174-194 ML55.B73 (copy in locker)
Stucky,
Steven:
The Essential Lutoslawski; in: Lutoslawski Studies, ed. by Zbigniew
Skowron (Oxford: Oxford University Press, 2001), pp. 127-162 ML410.L975L88
2001
Having a look at
Messiaen, Olivier: The Technique of My Musical Language, transl. John Satterfield (Paris: Alphonse Leduc, 1950-55) MT6.M586
Hindemith, Paul: The Craft of Musical Composition , book I (theoretical part), transl. by Arthur Mendel (New York: Schott, 1970) MT40.H664 1970
Schiff,
David:
The Music of Elliott Carter (Ithaca: Cornell University Press, 1998)
[about String Quartet no. 1 and Appendix A] ML410.C32S33
Listenings
and
scores
Basic (with
the score; with a short
analytical commentary, from textbook and/or anthology)
| Stravinsky, Igor: | *Wind Octet (2nd movement) sM857.S91103 Virgin VC 7 90754-2 |
| Stravinsky, Igor: | *Concerto for Piano and Wind Instruments (first
movement, MorganA no. 10) prepared CD |
| Bartók, Béla: | *Music for Strings, Percussion and Celesta (mov. 1) fM1105.B29M98 prepared CD |
| Hindemith, Paul: | *Marienleben, excerpt (Simms A no. 13) prepared CD |
| Messiaen, Olivier: | *Quatour pour la fin du temps (1. Liturgie du
cristal) AudCD DGG 246 prepared CD |
Additional
| Bartók, Béla: | *String Quartet no. 4 (first / third movement) D3S 717 Columbia prepared CD |
| Hindemith, Paul: | *Ludus tonalis (Morgan A. no. 16) Pyramid 13497 |
| Shostakovich, Dmitri: | *Preludes and Fugues M22.S55P58 CD A66441-CDA66443 Hyperion (A-Major) |
| Shostakovich, Dmitri: | *Symphony no. 5, final movement AudCD Collins 32 |
| Hindemith, Paul: | *String Trio no. 2 (final movement) (s)M351.H66T79P |
| Lutoslawski, Witold: | *Livre pour orchestre (first and last movement) M1045.L97L7 1970 AudCd Emi 93 |
| Carter, Elliott | *String Quartet no. 1 (mov.1) M452.C324Q12 AudCD Etcet 8 prepared CD |
| Messiaen, Olivier: | *Messe de la Pentecote (2nd part, Off.) M11.M585M5 AudCD Unicorn 34 prepared CD |
| back to table of contents |
REDEFINING
CONCEPTS: COMPOSER, PERFORMER, CONCERT, "WORK", ART EXPLORING SOUND AND
SPACE
Morgan Ch. 17, 18 - see week 4; Cope Ch.
3-5, 7,8)
Background.
Protest against institutions (state, art, marriage). Art outside its
institutions, outside museums, concert-halls, traditional forms of
presentation. Happenings. Fluxus. Chance.
Music.
Improvisation. Musical graphic. Exploration of space, both as a musical
metaphore for "high-low" in
scores, or for "close-far" as "loud-soft". Also literally (different
positions of the musicians on the stage; loudspeakers in varying
positions; sound moving around.) Music outside. Soundscapes.
General issues.
"Is this
art?" "Is this a work?" The concept of art and the unity of a work
questioned
Basic readings
Kagel, Mauricio: Tone-Clusters, Attacks, Transitions, in: die reihe 5, 1959, pp. 40-55 ML1.R4 (copy in locker)
Brant, Henry: Space as an Essential Aspect of Musical Composition; in: Contemporary Composers on Contemporary Music, ed. by Elliott Schwartz and Barney Childs (New York: Holt, 1967), pp. 223- 234 (copy in locker)
Schafer, Murray R: Music, non-music and the sound-scape, in: Companion to Contemporary Musical Thought, ed. by John Paynter, Tim Howell, Richard Orton and Peter Seymor (London and New York: Routledge, 1992), vol 1, pp. 34- 45 ML197.C65 (copy in locker)
Feldman,
Morton:
Predeterminate / Indeterminate; in: Essays, ed. Walter Zimmermann
(Kerpen: Beginner Press, 1985), pp. 47-49 ML60.F31
Additional readings
Goldberg, Rose Lee: performance: live art since 1960 (New York: Harry N. Abrams Publishers, 1998) NX456P38 G66 (book in locker)
Brindle,
Reginald Smith: Contemporary Percussion (London: Oxford University
Press, 1970) ML1030.B750 1991
[for consultation only]
Listenings
and scores
Basic
(attentive,
without analysis)
| Ligeti, György: | *Atmosphères M1045.L72A81 1979 Wergo 305 |
| Lutoslawski, Witold: | *Symphony no. 2, 2nd movement fM1001.L97S2 Aud CD Sony 145 |
| Partch, Harry: | *Barstow M2.3.U6.R4 v39 AudCD Cambria 11 prepared CD |
| Xenakis, Iannis: | *Metastaseis fM1045.X45M5 prepared CD |
| Penderecki, Krzysztof: | *Threnody for 52 string instruments (1959-60)
(MorganA) AudCD Conifer 19 |
Additional
| Anderson, Laurie: | *Time to go AudCD CR1 139 |
| Oliveros, Pauline: | *Deep listening AudCD NewAlb 4 |
| back to table of contents |
TECHNOLOGY
AND SCIENCE: ELECTRONIC MEANS AND COMPUTER MUSIC
(Morgan, Ch.
22, Cope Ch. 7)
Music. Electronic music, tape music, musique concrète, computer music. "Instrumental" computer music. Live electronics. French "spectralists".
General issues. How are the means employed linked with esthetics?
Basic readings
Luening, Otto: Some Random Remarks about Electronic Music, in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz and Barney Childs, pp. 252-260
Manning, Peter: Electronic and Computer Music, (Oxford: Clarendon Press, 1985), Chapter 1-3, 8
Saariaho,
Kaija:
Timbre and Harmony, in: Contemporary Music Review, vol. 2, 1987, no. 1
(quoted after: Timbre et harmonie, pp. 412-453) ML197.c7514
Additional readings
Risset, Jean-Claude and Wessel, David: Exploration of Timbre by Analysis and Synthesis, in: The Psychology of Music, ed. by. D. Deutsch, Academie Press 1982, pp. 25-58 (quoted after: Exploration du timbre par analyse et synthèse, in: Timbre et harmonie, pp. 102-131) (copy in locker)
Nyman,
Michael:
Experimental Music, Cage and Beyond (New York: Schirmer, 1974) ML197.N85
1999
Basic
listenings / scores
| Schaeffer, Pierre: | *Etude aux chemins de fer on prepared CD |
| Stockhausen: | *Studie I / Studie II M1473.S8S84 (score in locker) AudDisc MR 1 DGG LP 16133 |
| Varèse, Edgard: | *Poème électronique on prepared CD |
| Babbitt, Milton: | *Philomel on prepared CD (excerpt on AudCD Ellips7) reserve |
Additional
listenings / scores
| Stockhausen, Karlheinz: | *Kontakte (excerpt) AudCD Elllips 7 (reserve) |
| Lucier, Alvin: | *Alpha Waves on prepared CD |
| Schaeffer, Pierre: | *Symphony pour un homme seul (parts 1-4) on prepared CD |
| Berio, Luciano: | *Tema: Ommagio a Joyce AudCD RCA 110 |
| Saariaho, Kaija: | *Du cristal ; à la fumée fM1045.S104D81 fM1040.S104A11 AudCD Ondine 34 |
| back to table of contents |
LANGUAGE
AND
MEANING
(Morgan Ch.
10, 21)
Music as language (rhethorical figures, the metaphore "language")
Language as music (emphasis on the "sounding", weakening of semantic "meaning")
Musical structures in literary texts.
Communication theory, sonology, semiotics.
Around 1960: relationship of language and music reached a new quality: language compositions.
Music. Vocal music and its "text". De-composition of verbal texts. Vocal music without text. Electronic music made with and of texts. Music as text, text as music. Speech composition. Complexity, multi-layeredness; ambiguity.
Different levels of 'understanding' or abstraction. (Examples: Boulez "Marteau", Stockhausen "Gesang der Jünglinge", Ligeti "Aventures", Lutoslawski "Trois poèmes", Berio "Sequenza III" and "Sinfonia", Kagel "Anagrama").
Expression of philosophical ideas / belief (Penderecki "Passion", Messiaen "Mystère"), of social criticism and political engagement (Hindemith "Mathis", Shostakovich "Lady Macbeth", Weill "Dreigroschenoper", B. A. Zimmermann "Soldaten").
Music and meaning: quotation, collage. Messiaen's ‘langage communicable'.
New ways to treat the human voice (vocal line, choir, electronic means).
General issues. "Understanding" music.
Basic readings
Mário Vieira de Carvalho: Towards Dialectic Listening: Quotation and 'Montage' in the Work of Luigi Nono; in: Contemporary Music Review vol. 18, 1999, part 2, pp. 37-85 ML197.C7514
Stockhausen, Karlheinz: Music and Speech, in: die reihe vol 6, 'Speech and Music', ed. by Herbert Eimert and Karlheinz Stockhausen, pp. 40-64 ML1.R4
Anhalt, Istvan: Berio's 'Sequenza III': a portrait, in: Alternative voices. Essays on contemporary vocal and choral composition (Toronto: University of Toronto Press, 1984), pp. 25 - 40 ML1406.A59
Homma, Martina: Witold Lutoslawski's 'Trois poèmes d'Henri Michaux'. The sketches and the work, in: Polish Music Journal 2000, no. 3 (online, www.usc.edu)
Shenton,
Andrew:
Speaking with the Tongues of Men and of Angels: Messiaen's 'langage
communicable', in: Messiaen's language of mystical love, ed. by Siglind
Bruhn (New York: Garland 1998), pp. 225 - 245 ML410.M58M593
Additional readings
Borwick, Susan: Weill and Brecht's Theories on Music in Drama, in: Journal of Musicological Research 4, nos 1 and 2 (1982) ML5.M83
Robinson, Ray: A study of the Penderecki St.- Luke Passion (Celle: Moeck 1983) MT115.P4R6
Hicks, Michael: Text, music and meaning in the third movement of Luciano Berio's 'Sinfonia', in: Perspectives of New Music 20/1981/82, pp. 199 - 224 ML1.P46
Anhalt, Istvan: Witold Lutoslawski; Trois poèmes, in: Alternative voices. Essays on contemporary vocal and choral composition (Toronto: University of Toronto Press, 1984), pp. 25 - 40 ML1406.A59
Adorno,
Theodor
W.: The Threepenny Opera, in: Stephen Hinton (ed.): The Threepenny
Opera (Cambridge: CUP, 1990), pp. 129-133 ML410.W518K96 1990
Listenings
and scores
Basic
(with the score;
with a short analytical commentary, from textbook and/or anthology)
| Stockhausen, Karlheinz: | *Gesang der Jünglinge DGG LP DGG LP138811 16133 AudCass M389 |
| Boulez, Pierre: | *Le marteau sans maitre sM1613.3.B763M375 AudCD Ades 1 on prepared CD |
| Nono, Luigi: | *Il canto sospeso M1530.N81C232 AudCD Sony 12 on prepared CD (no. 3, 4, 8, 9, 12) |
| Lutoslawski, Witold: | *Trois poèmes d'Henri Michaux fM1530.L97P74 1975 AudCD Naxos 122 (1st/2nd movement) |
| Berio, Luciano: | *Sequenza III (1965/66) M1621.2.B498S5 Neuma 450-89 on prepared CD |
Further
listenings
/ scores
| Oliveros, Pauline: | *Sound patterns M1584.O84S72 |
| Messiaen, Olivier: | *Méditations sur le mystère (...),
excerpts M11.M585M4 AudCD Unicorn 34; prep. CD |
| Berio, Luciano: | *Sinfonia (1968) xfM1528.B498S62 (third movement) AudCD ColLegn 15 on prepared CD |
| Ligeti; György: | *Aventures M1528.L72A9 AudDisc MR1 Wergo WER 60 022 |
| Weill, Kurt: | *The Threepenny Opera sM1500.W92D77 London 430 075-2 |
| Penderecki, Krzysztof: | *St.-Luke Passion sM2000.P39P29 on prepared CD (first part) |
| Toch, Ernst: | *Fuge aus der Geographie on prepared CD |
| Hindemith,Paul: | *Mathis der Maler (excerpts, Watkins, pp. 342-47) M1500.H66M4 (opera) |
| Hindemith, Paul: | *Symphony "Mathis der Maler" sM1001.H66M41 (last movement) London 421 523-2 |
| back to table of contents |
<>MINIMALISM, COMPLEXITY - MATERIAL AND ORGANISATION
(Morgan, Ch. 19, 20, 22, Cope, Ch. 7-10)
Background. "Minimalism" and complexity in literature. Konkrete Poesie, French Oudipu.
Music. American minimal music. Complexity and its serial heritage. Minimal means and maximum expression? Gorecki.
General issues. Oppositions as two sides of the same medal. Minimal / complex. Totally serial / indeterminate. Stasis / development. Neutral / expressive.
Basic readings
Lachenmann, Helmut: On Structuralism, in: Contemporary Music Review, 12, 1995, part 1, pp. 93-102 (copy in locker)
Forum Complexity, in: Perspectives of New Music 31, 1993, no.1, p. 6-85 ; 32, no. 1 (1994), pp. 90-227 (copy in locker)
Babbit, Milton: Who Cares if you listen?, in: Contemporary Composers on Contemporary Music, ed. Elliott Schwartz (New York: Da Capo, 1967), pp. 243-250 ML197.S4
Bernard,
Jonathan: The Minimalist Aesthetic in the Plastic Arts and in Music,
in: Perspectives of New Music 31, 1993, no. 1, pp. 86 - 133 ML1.P46 (copy in
locker)
Further readings
Johnson, Timothy: Minimalism: Aesthetic, Style, or Technique? in: Musical Quarterly 78 (1994), pp. 742 - 773 ML1.M3
Cohn, Richard: Transpositional combination of beat-class sets in Steve Reich's phase-shifting music, in: Perspectives of New Music, vol 30, issue 2, summer 1992, pp. 146 - 177 ML1.P46
Basic
listenings
| Reich, Steve: | *Clapping Music (Simms Anthology, no 28) AudCD Nonsuch 75 |
| Reich, Steve: | *Music for Pieces of Wood (Morgan Anthology no. 29) |
| Pärt, Arvo: | *Fratres Telarc CD80387 M452.4.P126F84 (for Celli); M211.P126F84 (Vn, Pno); M233.P126.F85 (for Cello and Piano) (fragments on CD in locker) |
| Ligeti, György: | Etudes for piano, nos. 1, 7, 8 (prepared CD in locker) |
| Górecki, Henryk M.: | Beatus vir AudCD Stradiv 2 |
| back to table of contents |
NEW
/ NEO -
PRAE / POST - "MAIN"- / SIDE - STREAM
(Morgan, Ch.
19-21, Cope, Ch. 11, 12)
Background.
"Anything
goes?"
Postmodern thoughts. Discussions about originality, stylistic unity,
about "high" and "low" and "quality". Musicology widening its focus:
jazz, popular music, multi media, gender studies. Questioning the
"canon".
Music.
Discussion: Composers in the "centre" (Darmstadt,
IRCAM), composers at the "periphery" (like f. ex. Lithuania)? What can
make an approach (like ‘isms, serialism, minimalism) "central" to
historiography? How important are those issues for our own listening?
Integration (and re-integration) of national idioms. Free Jazz. Jazz
influencing symphonic and chamber music. World music.
General issues.
Discussion about the seminar.
Basic readings
Kompridis, Nikolas: Learning from Architecture: Music in the Aftermath to Postmodernism; in: Perspectives of New Music, vol. 31, issue 2, summer 1993, pp. 264-293 ML55.B73 (copy in locker)
Williams, Christopher A.: Of Canons and Context: Toward a Historiography of Twentieth-Century Music; in: repercussions 1993, pp. 31-74 ML1.R47 (copy in locker)
Maus, Fred Everett: Masculine Discourse in Music Theory; in: Perspectives of New Music, vol. 31, issue 2, summer 1993, pp. 264-293 ML55.B73 (copy in locker)
McClary, Susan: Terminal Prestige: The Case of Avant-Garde Music Composition; in: Cultural Critique 12, 1989, pp. 57 - 81 AP2.C9385 (copy in locker)
Locke, Ralph P.: Paradoxes of the Woman Music Patron in America, in: Musical Quarterly 1994, pp. 798 - 825 ML1.M3 (copy in locker)
Selfridge-Field,
Eleanor:
Composition,Combinatorics, and Simulation: A Historical and
Philosophical Enquiry; in: Cope, David: Virtual Music. Computer
Synthesis of Musical Style (Massachusetts: Institute of Technology),
2001, pp. 187 - 219 (copy in locker)
Further readings
Berger, Jonathan: Who Cares if It Listens? An Essay on Creativity, Expectations, and Computational Modeling of Listening to Music; in: Cope, David: Virtual Music: computer synthesis of musical style, Cambrigde, Mass.: MIT Press 2001, pp. 263 - 281 MT56.C69 2001 (copy in locker)
Hofstadter, Douglas: A Few Standard Questions and Answers; in: Cope: Virtual (...), s. a., pp.293-305 MT56.C69 2001 (copy in locker)
Kramer, Jonathan: Beyond Unity: Toward an Understanding of Musical Postmodernism; in: Concert Music, Rock and Jazz since 1945: Essays and Analytical Studies, ed. Elisabeth and Hermann Marvin Richard. Eastman Studies in Music (Rochester. Univ. of Rochester Press, 1995), pp. 11-33 ML160.C7370 1995 (copy in locker)
Brooks, Jeanice: Nadia Boulanger and the Salon of the Princesse de Polignac, in: JAMS, pp. 414 - 468 ML27.U5A505 (copy in locker)
Taylor, Timothy Dean: When we think about music and politics: The case of Kevin Volans; in: Perspectives of New Music vol. 33, no. 1-22, winter-summer 1995, pp. 504 - 536 ML1.P46 (copy in locker)
Listenings
prepared
in the locker
Listenings (attentive,
without score)
| Pagh-Paan, Younghi: | *Hwang-To II (1992 / 1998) on prepared CD |
| Ali-sade, Frangis: | *String Quartet (1974), first movement on prepared CD |