European Music in the Relationships among its Avant-Garde Identities: Preconditions, Accomplishments, Intersections

Mirjana Veselinović-Hofman
Chair Holder of the Project

Typology: Lecture, Seminar

This course addresses to MA and PhD students

 The aim of the course and seminar is to provide an elaboration of the phenomenon of avant-garde in the field of European music, from the theoretical and analytical angles. Thereby, that field is deliberated in a double sense: as formed by the relationships between the avant-garde ‘epicenters’ and their local variants, and as a ‘net’ of creative exchanges of avant-garde experiences among the European musical cultures that contain avant-garde elements in their ‘biographies’. In that way, each of those cultures is appreciated not only as relevant in itself, in its specificities, that is, as an individual identity, but exactly due to that, as a relevant factor for constituting a kind of the common avant-garde face of European music.

 The learning objectives of the course are to provide students with the knowledge of avant-garde music, its compositional techniques, aesthetics, its artistic and social position.

Structure of the course:

  • Theoretical approaches to the notion of identity;
  • Theoretical approaches to the notion of avant-garde identity;
  • The nature and characteristics of avant-garde phenomena and avant-garde identities in European music;
  • Psychological, social and aesthetic reasons for the appearance of avant-garde;
  • Avant-garde projects and movements in music and forms of their materialization in comparison with the analogous phenomena in other arts;
  • The avant-garde utopia;
  • Musical achievements of the leading representatives of the European avant-garde identities, from the perspective of the nature of their similarities and differences;
  • Mutual dialogues and intersections of avant-garde identities;
  • The overall ‘identity-map’ of European musical avant-garde.

Bibliography (selected):

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  • Adorno, Theodor W.: “Anton Webern. Zur Aufführung der fünf Orchesterstücke op. 10, in Zürich”. In: Adorno, Theodor W.: Musikalische Schriften V. Gesammelte Schriften. Band 18. Tiedemann, Rolf – Schultz, Klaus (Eds). Frankfurt am Main: Suhrkamp, 1984. pp. 513-516.
  • Adorno, Teodor V.: Estetička teorija. Beograd: Nolit, 1979.
  • Adorno, Theodor W.: “Moderne”. In: Adorno, Theodor W.: Dissonanzen – Einleitung in die Musiksoziologie. Gesammelte Schriften. Band 14. Tiedemann, Rolf (Eds.). Frankfurt am Main: Suhrkamp, 1973. pp. 376-393.
  • Adorno, Theodor W.: Filozofija nove muzike. Beograd: Nolit, 1968.
  • Barthes, Roland: The Responsibility of Forms – Critical Essays on Music, Art, and Representation. Berkeley – Los Angeles: University of California Press, 1991.
  • Blumröder, Christph von: “Musikalische Avantgarde heute?”. In: Revolution in der Musik. Avantgarde von 1200 bis 2000. Kassel, Basel: Bärenreiter, 1989.
  • Boulez, Pierre: “Putting the Phantoms to Flight”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 63-83.
  • Boulez, Pierre: “Towards a Conclusion”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 97-99.
  • Boulez, Pierre: “Aesthetics and the Fetishists”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 31-43.
  • Boulez, Pierre: “Technology and the Composer”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 486-494.
  • Boulez, Pierre: “On Musical Analysis”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 116-118.
  • Boulez, Pierre: “Time, Notation and Coding”. In: Nattiez, Jean-Jacques (Ed.). Orientations – Collected Writings – Pierre Boulez. Cambridge: Harvard University Press, 1986. pp. 84-89.
  • Boulez, Pierre: “Der Begriff der Mobilität – Die Dritte Klaviersonate – Éclat – Domaines”. In: Pierre Boulez WILLE UND ZUFALL Gespräche mit Célestin Deliège und Hans Mayer. Stuttgart–Zürich: Belser Verlag, 1977. pp. 92-101.
  • Bujić, Bojan (ed.): Music in European Thought 1851-1912. Cambridge: Cambridge University Press, 1988.
  • Bürger, Peter: Theorie der Avantgarde. Frankfurt am Main: Suhrkamp Verlag, 1974.
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  • Cone, Edward T.: “The Authority of Music Criticism”. Journal of the American Musicological Society, 34, Spring 1981. pp. 1-18.
  • Cook, Nicholas: Music, Imagination, and Culture. New York: Oxford University Press, 1990.
  • Cook, Nicholas: Music: A Very Short Introduction. Oxford – New York: Oxford University Press, 2000.
  • Cook, Nicholas – Everist, Mark (ur.): Rethinking Music. Oxford –– New York: Oxford University Press, 2001.
  • Dahlhaus, Carl: Schoenberg and the New Music – Essays by Carl Dahlhaus. Cambridge: Cambridge University Press, 1987.
  • Dahlhaus, Carl: Musikästhetik. Köln: Musikverlag Hans Gerig, 1967.
  • Dibelius, Ulrich: “Im Irrgarten der Geometrie”. U: György Ligeti – eine Monographie in Essays. Mainz: Schott, 1994.
  • Einemann, Marita: “Luigi Nono; Die unendliche Bereitschaft zum Suchen”. Neue Zeitschrift für Musik, 5, Mai 1984. pp. 16–
  • Danuser, Hermann – Katzenberger, Günter (eds.). Vom Einfall zum Kunstwerk. Laaber: Laaber-Verlag, 1993.
  • Danuser, Hermann: Glazba 20. stoljeća. Zagreb: Hrvatsko muzikološko društvo, 2007.
  • Federhofer, Hellmut: “Ein Beitrag zur Ästhetik Neuer Musik”. Acta musicologica, LXX, Juli-Dezember, 1998. pp. 116–132.
  • Floros, Constantin: György Ligeti. Jenseits von Avantgarde und Postmoderne. Wien: Verlag Lafite, 1996.
  • Focht, Ivan: Savremena estetika muzike. Beograd: Nolit, 1980.
  • Guck, Marion A.: “Analytical Fictions”. In: Krims, Adam (ed.). music / ideology – resisting the aesthetic. Australia–Canada etc.: G + B Arts International, OPA (Overseas Publishers Association), 1998. pp. 157-177.
  • Kohoutek, Ctirad: Tehnika komponovanja u muzici XX veka. Beograd: Univerzitet umetnosti, 1984.
  • Ligeti, György: “Ich glaube nicht an großße Ideen, Lehrgebäude, Dogmen…”. Lerke von Saalfeld im Gespräch mit György Ligeti. Neue Zeitschrift für Musik, 1, 1993. pp. 32-36.
  • Ligeti, György: “Rhapsodische, unausgewogene Gedanken über Musik, besonders über meine eigenen Kompositionen”. Neue Zeitschrift für Musik, 1, 1993. pp. 20-29.
  • Mayer, Günter: “Für und wider – Avantgarde und Geschichtslosigkeit”. Positionen, Heft 27, 1996, 2–7.
  • Menke, Christoph: Die Souveränität der Kunst – Ästhetische Erfarung nach Adorno und Derrida. Frankfurt am Main: Suhrkamp Verlag, 1991.
  • Meyer, Leonard B.: Music; The Arts and Ideas – Patterns and Predictions in Twentieth-Century Culture. Chicago – London: The University of Chicago Press, 1967.
  • Motte-Haber, Helga de la: “Entwicklung und Bedeutung der Avantgarde nach 1945”. In: Musikkultur in der Bundesrepublik Deutschland. Kassel: Gustav Bosse Verlag, 1994, 63–70.
  • Schönberg, Arnold: Harmonielehre. Leipzig: Universal, 1911–Wien: Universal, 1922.
  • Schoenberg, Arnold: Style and Idea – Selected Writings of Arnold Schoenberg. London: Faber & Faber, 1975.
  • Stenzl, Jüg (Ed.): Luigi Nono; Texte; Studien zu seiner Musik. Zürich: Atlantis, 1975.
  • Stockhausen, Karlheinz: Texte zur elektronischen und instrumentalen Musik. Band I. Aufsätze 1952-1962 zur Theorie des Komponierens. Herausgegeben und mit einem Nachwort versehen von Dieter Schnebel. Köln: Verlag M. DuMont Schauberg, 1963.
  • Stockhausen, Karlheinz: Texte zur Musik 1977-1984. Band 6. Ausgewaelt und zusammengestellt durch Christoph von Blumröder. Köln: DuMont Verlag, 1989.
  • Stravinski, Igor – Robert Craft: Memoari i razgovori. Zagreb: Zora, 1972.
  • Stravinsky, Igor: Poetics of Music in the form of six lessons. New York: Vintage Books, 1947.
  • Toorn, Pieter van den: The Music of Strawinsky. New Haven: Yale University Press, 1983.
  • Veselinović-Hofman, Mirjana: Stvaralačka prisutnost evropske avangarde u nas. Beograd: Univerzitet umetnosti, 1983.
  • Veselinović-Hofman, Mirjana: “Teze za reinterpretaciu jugoslovenske muzičke avangarde”, Muzički talas, 30-31/2002, pp. 18–32.
  • Veselinović-Hofman, Mirjana: “Problems and Paradoxes of Yugoslav Avant-garde Music (Outlines for a Reinterpretation)”. in: Impossible Histories – Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991. Cambridge, Massachusetts–London, England: The MIT Press, 2003, pp. 404–441.
  • Veselinović-Hofman, Mirjana: “Revisiting the Serbian Musical Avant-garde: Aspects of the Change of Reception and of Keeping History ‘Under Control’”. In: Rethinking Musical Modernism. Academic Conferences Vol. CXXII, Department of Fine Arts and Music, Book 6. Belgrade: Serbian Academy of Sciences and Arts and Institute of Musicology, 2008, 211–218.
  • Webern, Anton: The Path to the New Music. Bryn Mawr, Pennsylvania: Theodore Presser Company in association with Universal Edition, 1963.
  • Xenakis, Iannis: “Creativity”. In: Rahn, John (Ed.): Perspectives on Musical Aesthetics. New York–London: W. W. Norton & Company Inc., 1994. pp. 158-164.

Impact

The impact of the course on direct and indirect beneficiaries consists of: 1) Acquiring relevant knowledge from the angle of European studies; 2) Increasing the awareness of the artistic and social importance of intercultural dialogues in Europe; 3) Intensifying the need for the exchange processes and communication in the field of music and culture; 4) Increasing tolerance towards diversity; 5) Developing the system of criteria for the redefinition of the notions of the centre and the periphery.

  1st acad. year: 2nd acad. year: 3rd acad. year: Total over 3 years:
N° of hours 15 15 15 45
N° of students 40 40 40 120
Discipline of

audience

 Musicology, Music Performance
Year/type of study 2nd cycle (Masters) Doctoral studies
Nature Compulsory New
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