Skip to content

Expired: Predavanji Susanne Kogler (Gradec) in Muzički biennale Zagreb

Expired: Predavanji Susanne Kogler (Gradec) in Muzički biennale Zagreb published on Ni komentarjev na Expired: Predavanji Susanne Kogler (Gradec) in Muzički biennale Zagreb

Oddelek za muzikologijo FF v sodelovanju z Oddelkom za filozofijo FF, Akademijo za glasbo v Zagrebu in Glasbenim bienalom Zagreb vabi na

predavanji (v angleščini) muzikologinje

Susanne Kogler (Graz) 

24. in 25. aprila 2017 ob 11.00

24. april 2017

Sublimni zvoki: glasba in narava

Izhajajoč iz filozofije umetnosti Theodorja W. Adorna in estetike Jeana François Lyotarda predavanje obravnava vpliv razsvetljenstva na estetiko glasbene avantgarde.

 

 25. april 2017

Zvok in tišina: o poslušanju

Preokupacija s tišino v novi glasbi domneva neko novo etično dimenzijo tako za skladatelje kot poslušalce. Primerjalni pogled na dela tako različnih skladateljev, kot so Anton Webern, John Cage, Pierre Boulez, Luigi Nono and Brice Pauset bo razgrnil etično dimenzijo v sodobni kompoziciji in pri poslušanju.

 

Obe predavanji bosta v dvorani Glasbene akademije v Zagrebu ob 11.00.

 

Študenti dobijo tudi brezplačne vstopnice za koncerte 29. festivala Muzički biennale Zagreb. Za karte in prevoz se obrnite čim prej na leon.stefanija@ff.uni-lj.si

 

Podatki o predavateljici: http://www.susannekogler.at/ .PD Mag. Dr. Susanne Kogler je študirala glasbeno pedagogiko, klasično filologijo in muzikologijo Karl-Franzens-Universität in Kunstuniversität v Gradcu. Doktorirala je na temo Jezik in lingvistika v novi glasbi (Studien zur Wertungsforschung 39, Graz / Vienna: Universal Edition, 2003), leta 2012 habilitirala s študijo Adorno nasproti Lyotardu: moderna in postmoderna estetika (Karl Alber Verlag, Freiburg, 2014). V letih 1996–2011 je bila raziskovalka na Univerzi v Gradc, v letih 2010–2011 kot namestnica predstojnika Centra za študije spolov, od leta 2012 je vodja graških Univerzitetnih arhivov. Kot raziskovalka se osredotoča na zgodovino glasbe in estetike od 19. stoletja do danes.

 

 

POVZETKA PREDAVANJ

 

Sublime Sounds: A Lecture on Music and Nature

Taking Theodor W. Adorno’s philosophy of art and Jean-François Lyotard’s aesthetics as its point of departure, in this lecture I will explore the impact of the enlightenment on the aesthetics of the musical avant-garde. According to Panajotis Kondylis’ famous definition, enlightenment is understood as “plurality of attempts to define the relationship between the spiritual and the sensual”. In the field of music, these attempts generate different classification systems which provide specific interpretations of the relationship between law and nature, rational structures and the sensual quality of sound.

As many commentators underscored – most prominently perhaps Wolfgang Welsch -, Adorno’s and Lyotard’s aesthetics can be characterised as aesthetics of the sublime. Critical questioning of enlightenment constitutes the basis of Adorno’s philosophy of music. Lyotard’s aesthetics, which continues Kant’s and Adorno’s thought, is equally based on a critical assessment of enlightenment. As I will explain in the lecture’s first section, both philosophers are convinced that Western culture needs a profound reform that would abolish man’s domination of nature.

In the lecture’s second section, in order to explore the ways in which we could relate the philosophical ideas to the works of the musical avant-garde, I will compare three different artistic interpretations of the relationship between the spiritual and the sensual: pieces by Anton Webern, Iannis Xenakis, and Gerard Grisey. By studying the aesthetical conception and the musical structures of each composition – such as dodecaphony in Webern, stochastic and logical organisation, respectively, in Xenakis, and spectral analysis in Grisey – I will explore how rational calculation and sensual perception complement each other in the creative process.

 

Sound and Silence: A Lecture on Listening

Since the 1980s philosophers have been increasingly interested in the affinity of ethics and aesthetics. As far as music is concerned, Beethoven’s Ninth Symphony provides an example of an ethical message transmitted artistically. The comprehension of the message, however, depends mainly on the use of words. By taking Adorno’s and Lyotard’s aesthetics as its point of departure, in this lecture, I will explore the ways in which wordless music might comprise an ethical dimension. The category which is at the centre of interest is again the sublime. Reinterpreted by Adorno and Lyotard, it is no longer linked to inconceivable greatness, but to a micrological perspective. Thus, silence becomes more and more important.

As I will explain in the lecture’s first section, the preoccupation with silence implies an ethical dimension because it requires a novel attitude of both composers and listeners. In the second section, I will present several works by composers as different as Anton Webern, John Cage, Pierre Boulez, Luigi Nono and Brice Pauset, in order to explore, with the help of a comparative view, if and to what degree such a novel attitude might characterise composition today and, consequently, change our ways of listening.

Dodaj odgovor