Canon and Concert History

  • Dozentin: Meredith Nicoll
  • Termin: 22. and 29. October 5., 12., 19. November 21. and 28. January 4. and 11. February
  • Raum: BP 201
  • Dauer: 1.5 Semesterwochenstunden
  • Inhalt: The Elbphilharmonie wants to “break new ground” by including “experimental formats and concert series outside of the traditional classical music programme.” Classical music institutions seem to be scrambling to make their concerts diverse, attractive and accessible. But how? And Why? Classical music as we know it is coming to an end. But what does that mean and is it bad? Why can we perform in a bar but clapping and candy wrappers are still frowned upon? Maybe the old fashioned concert shouldn't be changed — even though this “old fashion” is much younger than most of the pieces played. This seminar traces the roots of today's western classical concert rituals and the classical repertoire. Its aim is to encourage thought about our current traditional modes of operation and to help students create relevant performances in today's world. Students are required to attend and participate in discussion in German or English. Readings will be in German and/or English. Students will present a critical repertoire overview for their instrument (competitions, entrance exams, history) as well as at least one further topic in class. Some example topics include: • Call me Maestro - history of conducting • National orchestras as diplomats • Concert halls • Clapping, swooning, shushing • Collegium Musicum and other collectives • Traditional avante-garde • “The folksongs of our time” • 4 weddings and a Coronation Mass - Ceremony music • Play like a girl • You can’t play that - The Church, Metterninck, Schostakovitch and censorship • See and be seen - concert dress codes
  • Literatur: Suggested reading: • Goehr, Lydia. Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Clarendon Press, 1992. • Citron, Marcia J. Gender and the musical canon. University of Illinois Press, 2000 • Tröndle, Martin. Das Konzert: Neue Aufführungskonzepte Für Eine Klassische Form. Bielefeld: Transcript, 2009. • Tröndle, Martin. Das Konzert II Beiträge Zum Forschungsfeld Der Concert Studies. Bielefeld: Transcript, 2018. • Hope, Daniel, and Wolfgang Knauer. Wann darf ich klatschen?: ein Wegweiser für Konzertgänger. Reinbek bei Hamburg: Rowohlt. 2010.
  • Credits: 2 Creditpoints
  • Module: B-Gs-W-1, Gym3.3, Mth-Mw-3-Instr, Mw-1-KM-A, Mw-3-Ko-Mth, Mw-4-Ko-Mth, Promo_Modul, PS3.4, S3.4, W-frei, W-LA