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Compositional Strategies for Large-Scale Works Around 1600 : Self-Quotation, Reworking, and Emulation in Giovanni Gabrieli’s Motets In ecclesiis, Benedictus es, Dominus and Alessandro Tadei’s Missa sine nomine
No full textGiovanni Gabrieli’s posthumously published motets In ecclesiis and Benedictus es, Dominus (Sacrae symphoniae ... liber secundus, 1615) show obvious characteristics of self- quotation and reworking. An analysis of the works focuses on a characteristic ascending- fifths sequence which has been called “Monte Romanesca” by Robert Gjerdingen who introduced the term for the eighteenth century. In this study, the term is expanded to include music from the end of the sixteenth century for the first time. Further analysis concentrates on motivic and modal connections as well as special harmonic features such as chromatic- third relationships. Additionally, several other works of the composer are considered, showing that Gabrieli built on highly sophisticated harmonic, motivic, and formal compositional strategies in his large-scale oeuvre. Also, apparent processes of imitation in the Missa sine nomine of Gabrieli’s pupil Alessandro Tadei suggest that the younger composer used either or both of his teacher\u27s motets as a model. A comparative analysis of all three works provides further insight into compositional methods at the “dawn of the Baroque” era and sheds new light on what must have been a special teacher-student relationship
Pädagog*innenbildung Neu in Österreich : Ein Beispiel gelungener Kooperation aus musikpädagogischer Perspektive?
No full textDer Beitrag zeichnet den Weg der Pädagog*innenbildung NEU mit Fokus auf die Musiklehrer*innenbildung, die in Österreich in vier Verbünden in den Jahren 2015 und 2016 in Kraft trat. Die damit einhergegangenen strukturellen und organisatorischen Veränderungen, die curricularen Entwicklungen sowie die Bereiche Mentoring und Fort- und Weiterbildung bilden zentrale thematische Aspekte des Artikels
“Let’s Listen with Our Eyes ...”. The Deconstruction of Deafness in Christine Sun Kim\u27s Sound Art
No full textThe academic discipline of Disability Studies investigates the cultural discourses and meanings around disability. Therefore, disability was introduced as a social category based on bodily variations but also as an identity issue. Since 2000, the so called affirmative model of disability’ has started to gain momentum by drawing upon the spirit of the Disability Arts Movement and Disability Pride. It suggests that impairments are core parts of a person’s being and of their experience. This model challenges the underlying assumption that impairments are personal tragedies. It offers “essentially a non-tragic view of disability and impairment which encompasses positive social identities, both individual and collective, for disabled people grounded in the benefits of lifestyle and life experience of being impaired and disabled” (Swain and French 2000, p. 569). Such a perspective on disability is of course also represented in many contemporary artistic disciplines. Inmyarticle I will focus on selected works by the New York- and Berlin-based Sound Artist Christine Sun Kim. Using her own sonic experience, which is influenced by her deafness, Kim provokes the audience to question a one-dimensional mode of (auditory) perception by directing the attention on the visual, haptic, or conceptional perception of sound. Thus, Kim reveals deafness as a culturally defined impairment/disability: through her artistic practice Kim shifts her identity from non-hearing to differently hearing, not as a rejection of her deafness, but as an expression of her unique relationship to sound. Therefore, she deconstructs disability by exposing deafness as a positive identity category, which triggers and causes certain abilities
Pedestrian Performances: Cosmopolitanism and Busking on the Streets of Ireland
No full text2020/2021 Guest Lecture Serie
Sideways nostalgia, adopted republicanism and the performance of Irish rebel songs in the GDR
No full textIn the 1970s and ‘80s, several East German folk revival artists started
playing Irish traditional music, long before reconnecting with
German folk-song material that had been put into the service of
extreme nationalist and racist propaganda during the Nazi era
(1933–45). Drawing upon ethnographic research among former
GDR folk musicians, this article proposes that many of these postwar
artists aligned with the anti-colonial messages of Irish rebel
songs, performing a veritable sense of ‘Irish’ Republicanism, a
form of national pride that was considered more socially
acceptable than indigenous patriotic German leanings. Adapting
Boym’s (2001) concept of ‘sideways nostalgia’, and illustrating
crucial distinctions between historical registers of German and
Irish musical exceptionalism, the article purports to unravel
trajectories through which this narrative of political alignment is
fashioned and sustained, ultimately illustrating music’s capacity to
sound nationalism’s polyphonic trajectories
