Articles by tag "20th century"

“Frisch, Fromm, Fröhlich, Frei.” 
The Deutscher Turnerbund and the Berg Violin Concerto

Although Berg himself made public the nature of the extra-musical stimulus behind the composition of the Violin Concerto, through both his dedication “Dem Andenken eines Engels” and the article published by his biographer Willi Reich, the sketches for the work show that he originally planned to base the work on...
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Otto M. Zykan’s Peculiar Speech: Music and the Question of its Reenactment

The article treats phenomena involved in the vocal interpretation of a composer’s own works, taking the example of the Vienna artist Otto M. Zykan (1935–2006) and making reference to the performance artist Marina Abramović, who is several generations younger. What I am interested in is (a) aesthetic implications, (b) challenges...
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The Other Marxism: Georg Knepler and the Anthropology of Music

The Viennese-born musicologist Georg Knepler (1906-2003) was one of the most important music scholars of the twentieth-century. Being both Jewish and a Communist, he emigrated to London in 1934 and returned to continental Europe after World War II. He was active for many years as a pianist and conductor, and,...
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Sonja Huber: Das zeitgenössische Klavierkonzert


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Der junge Webern


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Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History

The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post-Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history...
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Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen

Recent scholarship on musical aesthetics, notably in analytical philosophy of music, commonly identifies the main ideas of Eduard Hanslick’s Vom Musikalisch-Schönen (“On the Musically Beautiful”, 1854) with Kant’s Kritik der Urteilskraft (“Critique of the Power of Judgment”, 1790), due to an ostensibly equivalent concept of ‘strict’ aesthetic formalism. Hanslick’s aesthetics...
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Heinrich Schenker’s Identities as a German and a Jew

During his lifetime the music theorist Heinrich Schenker (1868–1935) was confronted with a variety of different cultures. After attending a Polish school in the eastern province of Galicia, he moved to Vienna, where he faced a cultural environment dominated by Catholicism, opening up for him, as a Jew, different options...
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