Humboldt-Universität zu Berlin - Musikwissenschaft

Gastvorlesungsreihe im Sommersemester 2024

Collegium Musicologicum, Am Kupfergraben 5, 10117 Berlin, Raum 501, Beginn der Vorträge: 18 Uhr s.t.
  • Donnerstag, 25. April 2024, 18 Uhr

Eric F. Clarke (University of Oxford)
Entangled. Beingwithmusic

From music and empathy, to the togetherness and emotional contagion of collective musicking, and the importance of music for people in distress and isolation, music's capacity to connect is increasingly recognised and celebrated. And equally, as indicated by the extensive literature on music and subjectivity, music and emotion, and 'strong experiences' with music, music has long been recognised as affording intense, focused and apparently private experiences. But within what kind of conceptual framework might we understand these various manifestations of the connectedness of musicking? How might the intensely solitary form of connection that headphone listening in a darkened room represents be reconciled with the manifestly socially connected musicking of festivals, clubs, orchestras, choirs and bands? And is solitary listening really solitary? Starting from a broad perspective on organisms and their environments I make the case for understanding being-with-music in terms of entanglement, and for the various kinds of productive and problematic entanglements that music affords. Entanglement seems to be 'in the air' at the moment - from quantum physics and biology to aesthetics - and there are undoubtedly some pitfalls to avoid in distinguishing between more technical and more metaphorical uses of the term. But with that risk in mind I join the anthropologist Tim Ingold, the musician Björk, and the biologist Merlin Sheldrake in considering what entanglement might afford conceptually, and what might be learned from fungi.

Eric Clarke went to the University of Sussex to read for a degree in neurobiology and graduated with a degree in music. After an MA in music, he was awarded a PhD in psychology from the University of Exeter, and became lecturer in music at City University in London in 1981. He was appointed as James Rossiter Hoyle Professor of Music at Sheffield in 1993, and took up the post of Heather Professor of Music at the University of Oxford in October 2007. Professor Clarke is an Associate Editor of the journals Music Perception and Musicae Scientiae, is on the editorial boards of Empirical Musicology Review, Radical Musicology, and Per Musi; and is a consulting editor for Psychology of Music. He was an Associate Director of the Arts and Humanities Research Council´s Research Centre for the History and Analysis of Recorded Music (CHARM) from 2004-2007, and of the AHRC Phase II Research Centre for Musical Performance as Creative Practice (CMPCP, 2009-2014)), was elected to membership of the Academia Europaea in 2009, and was made a Fellow of the British Academy in 2010.



  • Donnerstag, 30. Mai 2024, 18 Uhr

Guglielmo Bottin (University of Milan)
Inventing the discovery of a manufactured 'African' sound. Transnational circulation, adaptations and appropriations of Kilindini Docks

In the late 1950s, a small corpus of music allegedly featuring traditional African melodies and rhythms emerged within Italy's popular music industry. Some of these songs were quickly "exported" to Europe and the Americas, recorded by international artists. My paper will begin with an examination of the origins as well as the national circulation of these pieces of music, which were initially released as singles and then collected in an album. I then will look at their various international adaptations and appropriations in different languages and markets. Finally, I will discuss the ethnic stereotyping and the construction of "authenticity" in exotica music in Italy and abroad, trying to understand this collection of pseudo-African songs within the context of the calypso craze, which was often accompanied by ethnic stereotyping and the colonialist practice of manufacturing a 'traditional' sound representative of a territory or a people.

Guglielmo Bottin

After studying psychology at the University of Padua, he worked as an arranger of popular music, composer for the media, as well as a producer and DJ, performing in over 30 countries worldwide. In 2019, he contributed to the establishment of La Biennale di Venezia's Centre for Electronic Music, whose activities he continued to develop in the following years. He currently is completing a PhD fellowship the University of Milan, investigating structural and perceptual theories of groove and technological practices of groove-based music production. He was elected to the EC of IASPM Italy, and has published on hauntology, musical futurisms, microhistories of EDM, giallo film music, and the intertwining of electroacoustic rhythms and kinetic op-art. He has recently founded GRID, an academic research group on italodisco.

  • Donnerstag, 06. Juni 2024, 18 Uhr

Andreas Meyer (HMDK Stuttgart)
Therese Muxeneder (Arnold Schönberg Center, Wien)
Ullrich Scheideler (Humboldt-Universität zu Berlin)
Zeitgenosse Schönberg


  • Donnerstag, 11. Juli 2024, 18 Uhr

Peter Moormann (Universität zu Köln)
Sprechen über Musik: Werkbetrachtungen in den Hörfunkwellen der ARD

Die Arbeitsfelder für Musikjournalistinnen sind vielfältig. Ob in Print, Fernsehen, Hörfunk, Online oder Social Media, überall wird professionell über Musik informiert. Dabei spielen die klassischen journalistischen Darstellungsformen eine ebenso zentrale Rolle wie deren medienspezifische Rahmungen. Denn ob etwa eine CD-Rezension für das Feuilleton einer Zeitung verfasst oder aber innerhalb einer Wort-Musik-Sendung im Kulturradio platziert wird, kann erheblichen Einfluss auf die Art des Sprechens über Musik und die Präsentationsform haben. Und wieder anders wird man ein Album im Fernsehen oder in Social-Media-Kanälen besprechen. Im Vortrag wird der Bereich Hörfunk fokussiert. Es soll dabei nicht nur beleuchtet werden, was über Musik gesagt wird, sondern vor allem auch, wie das Gesagte medienspezifisch aufbereitet wird. Dabei gilt es auch, auf die Verbindungen zu Online und Social Media einzugehen, wo das Auditive entsprechend um das Visuelle erweitert wird.

Peter Moormann ist Professor für Musik in den Medien / Musikjournalismus am Institut für Musik und Musikwissenschaft der TU Dortmund. Zuvor war er Außerplanmäßiger Professor und Akademischer Oberrat sowie Juniorprofessor für Medienästhetik mit dem Schwerpunkt Musik am Department Kunst und Musik der Universität zu Köln. Zu seinen Forschungsschwerpunkten zählen Musik in den Medien, Musikjournalismus, Interpretationsforschung sowie populäre digitale Musikkulturen. Er ist Mitherausgeber der "Kieler Beiträge zur Filmmusikforschung" (seit 2010) und Herausgeber der "Studien zur Intermedialität" (Springer VS, seit 2024).


  • Donnerstag, 18. Juli 2024, 18 Uhr

Rebecca Wolf (Staatliches Institut für Musikforschung Berlin)
Musikraum von der Peripherie ins Zentrum. 40 Jahre SIM am Kulturforum

Rebecca Wolf studierte an der Ludwig-Maximilians-Universität München Musikwissenschaft, Theaterwissenschaft und Neuere Deutsche Literatur. Sie war Vertretungsprofessorin für Musikwissenschaft an der Universität Regensburg und der Ludwig-Maximilians-Universität München und leitete von 2016 bis 2020 die Leibniz-Forschungsgruppe "Materialität der Musikinstrumente. Neue Ansätze einer Kulturgeschichte der Organologie" am Deutschen Museum in München. Fellowships führten sie an die Harvard University und an das Max-Planck-Institut für Wissenschaftsgeschichte. Seit August 2021 leitet Rebecca Wolf das Staatliche Institut für Musikforschung. Ihre Forschungsschwerpunkte liegen in der Verbindung von materieller Kultur und Musik sowie im Bereich der Musik in Krieg und Frieden.