Humboldt-Universität zu Berlin - Musikwissenschaft

Gastvorlesungsreihe im Wintersemester 2022/23

Collegium Musicologicum, Am Kupfergraben 5, 10117 Berlin, Raum 501, Beginn der Vorträge: 18 Uhr s.t.
 
  • Donnerstag, 3. November 2022, 18 Uhr (Präsenz-Veranstaltung)

Sentienla Toy Threadgill (New York University)
I will not weep

[ACHTUNG - veränderter Veranstaltungsort:

Klangwerkstatt Humboldt-Forum, 17:45 Uhr Treffpunkt Schlüterhof im Humboldt-Forum, vor der Tür zum Museumsshop]

Im Rahmen des Vortrags finden zuvor eine Führung mit dem Hauptkurator Roland Platz und ein Exhibition Talk mit der Naga Wissenschaftlerin und Malerin Iris Odyuo im Humboldt Forum statt. Weitere Informationen dazu finden Sie hier.

"I Will Not Weep" is a new exhibit designed for the listening space of the Ethnological Museum in the Humboldt Forum. This work is based on sound recordings of the Nagas in Nagaland. Nagaland is a state in the northeastern tip of India above Myanmar once colonized by the British and now under Indian administration, a region that was also missionized by the American Baptist missionaries. The Nagas have been waging an armed struggle for an independent sovereign homeland, one of the longest running insurgencies in Asia, ever since India's independence from the British in 1947 when Nagaland became annexed to India against the wishes of the Nagas. With colonization and missionization, the Naga sound transformed over time, and while many Nagas try to recuperate lost songs and sounds, the Naga voice continues to be resilient and clear in its many contemporary forms. The core of song has never been lost despite the socio-political complexities and the profound loss of cultural practices and song. One could find many reasons to weep loss—Nagas have wept in song for the loss of freedom, loss of traditional practices and music. "I Will Not Weep" is an attempt to deconstruct perceptions of what Naga music is. I play with a metaphor of the voice in the box. The box exemplifies limitations—particularly those imposed by coloniality and Christianization. How does one find their voice out of the box, and what does it mean to weep no more?

Senti Toy Threadgill
is a musician and an ethnomusicologist. Born and raised in Kohima, Nagaland, Senti has been living in New York City since 1994. Her work has focused on the theorization of affect or feel in music, based on ethnomusicological research in Nagaland, where she examines affect as a key element of musical transformation and sound. What began as a hobby in high school and college recording old Naga traditional music as she was fascinated by the sound and sonic resonance of that music, her work has been evolving as she continues to explore sound art, to try and disrupt notions of space and sound. Senti was the producer and curator for a sound installation piece at the Bard Gallery in New York City in 2013. Senti is also a singer songwriter and has recorded and performed in theater and recording projects with her husband, Pulitzer prize-winning composer Henry Threadgill. In 2011, Senti's debut album was picked as one of the top ten pop albums of the year by the Wall Street journal.

 

  • Donnerstag, 8. Dezember 2022, 18 Uhr (Präsenz-Veranstaltung)

Emily Gale (University College Cork)
"Teardrops On My Guitar" and Other Sad Sentimental Songs

For as long as songwriters, singers, and musicians have written and performed pop songs, there have been ditties that depict crying. Some songs suggest catharsis while others either encourage or condone the act; there are individual and lonely tears and there are shared, collective tears. In sentimental songs, tears serve as the visual marker of the excess. They spill out and over, staining cheeks and pages, guitars and trackpads. The act of crying, weeping, or sobbing arises as a response to feelings of sadness, joy, overwhelm or anger.

This presentation listens to the long history of tears in US sentimental songs. Whose sadness is represented and in what ways? How do Taylor's tears inform our hearing of older sentimental songs and vice versa? In so asking, I untether the longstanding and still prevalent associations between femininity, whiteness, and excess emotional expression.


Dr. Emily Gale is Lecturer in Popular Music Studies at University College Cork. Her book in progress, Sentimental Songs for Sentimental People: An Unheard History of US Popular Music, explores intersections between sentimentalism, gender, class, and race with chapters on home, love, death, tears, youth, and feels. She currently hosts a radio show about her research on campus station UCC98.3FM.

Gale serves on the executive committees for IASPM UK & Ireland and IASPM US. As organizing chair, she coordinated the Society for Musicology in Ireland's hybrid conference of 2022. She is a regular presenter at the Pop Conference and her voice appears as a pop commentator on NPR's All Things Considered and in the Los Angeles Times.

Gale earned her Bachelor of Music from the University of Ottawa in 2005 and an M.A. in Music Theory from the University of Western Ontario in 2007. After spending a year in the inaugural class of Western's M.A. in Popular Music and Culture (2007-08), she entered the Critical and Comparative Studies program at the University of Virginia where she completed her Ph.D. in 2014.

 

 

  • Donnerstag, 19. Januar 2023, 18 Uhr (Präsenz-Veranstaltung)

Matthew Pritchard (University of Leeds)
Why We Need Idealism in Music Aesthetics: A Reassessment

The role of philosophical idealism in the study of music has generally been seen as contentious – certainly from the standpoint of Anglo-American critical musicology over the last several decades. Idealism has been associated closely with Platonism, and a traditional ontology of music resting on the self-evident existence of musical “works” that embody certain defining traits independent of how they might be performed, mediated, or heard. That such an approach problematically reifies musical value is as obvious to ethnomusicologists or popular music scholars as it is to sociologists. Today the musical “imaginary museum” can no longer go unquestioned as the last resting-place of Western classical hegemonic ideals: the labour involved in sustaining it and the cultural interests it serves demand interrogation. A "materialist" critique is thus still de rigueur in many quarters – though the methodologies collected under that umbrella term have been as divergent as Adornian music analysis and feminist posthumanism.
Drawing on themes and case studies from a forthcoming book, I argue that idealism exists in other and more defensible varieties than the Platonic, or indeed the Hegelian. Elements of (German) Idealist philosophical modes turn out to be essential to the realization of many critical musicologists' ultimate goal: a theory of music’s mediation, or of its "relationality". This should not be surprising. Mediation (Vermittlung) was first theorized by Fichte and Schelling in the 1790s, and a relational philosophy (including of art) became essential to their Romantic contemporaries such as Novalis and Friedrich Schlegel. Romantic Idealist thought illustrates feminist scholar Naomi Schor's overlooked claim that "Idealism is not one", but rather a multifarious grouping of theories attentive to the role of ideas and ideals in aesthetic experience. Its historical representatives have been similarly diverse, ranging from Germaine de Staël, Pierre Leroux and George Sand to W. E. B. Du Bois and Rabindranath Tagore.

Matthew Pritchard is Lecturer in Musical Aesthetics at the University of Leeds (UK). He has published articles on a number of topics in the history of German music aesthetics, from Kant and the idea of musical "character" to the concept of Gebrauchsmusik and the early development of modern styles of music analysis in the 1910s and 20s. In addition, he researches the music of Bengal, and specifically the songs and musical essays of the Bengali poet-composer Rabindranath Tagore (1861-1941).

 

 

  • Donnerstag, 26. Januar 2023, 18 Uhr (Präsenz-Veranstaltung)
    Der Vortrag fällt aus!

Christiane Wiesenfeldt (Universität Heidelberg)
Die Anfänge der Romantik in der Musik

Ist musikalische Romantik eine Epoche, ein Stil oder bloß Kitsch? Wird sie von Literaten um 1800 erfunden? Ist Ludwig van Beethoven ein waschechter Romantiker oder doch erst Robert Schumann oder Richard Wagner? Irrt E. T. A. Hoffmann, wenn er schon Joseph Haydn und Wolfgang Amadé Mozart zu Romantikern erklärt? Kurzum: Wann fängt die Romantik eigentlich an? Das 2022 bei Bärenreiter / Metzler neu erschienene Buch "Die Anfänge der Romantik in der Musik" von Christiane Wiesenfeldt begibt sich auf Spurensuche nach den Anfängen der Romantik, beobachtet einen Wandel im Nachdenken über Musik, zeigt Ästheten, Literaten und Musiker in ihren Debatten um moderne und experimentelle Konzepte des Komponierens und Schreibens. Musik hat mehr als nur teil am Ereignis der Romantik, die in ihrer Kritik an einer engen Rationalität die Weltsicht unserer Moderne mitgeprägt hat. Musik sorgt für nachhaltige Hörerlebnisse der um 1770 geborenen Künstler, sie konfrontiert mit Neuem, Unerhörtem, sie entführt eine ganze Generation in Geisterreiche und Traumbilder. Sie ist nichts weniger als mitverantwortlich für die Anfänge der Romantik überhaupt. Das im Vortrag vorgestellte Buch begleitet diese Entwicklung bis zu Hoffmanns berühmter Rezension der 5. Sinfonie Beethovens aus dem Jahre 1810: als Ende des Anfangs.

Christiane Wiesenfeldt wurde 2005 an der Christian-Albrechts-Universität Kiel mit einer Arbeit zur Cellosonate im 19. Jahrhundert promoviert und habilitierte sich 2011 an der Westfälischen Wilhelms-Universität Münster mit einer Arbeit zur Marienmesse im 16. Jahrhundert. Von 2012 bis 2020 war sie Professorin für Musikwissenschaft an der Hochschule für Musik Franz Liszt Weimar und der Friedrich-Schiller-Universität-Jena (Lehrstuhl des Musikwissenschaftlichen Instituts). Seit 2020 ist sie Lehrstuhlinhaberin für Musikwissenschaft an der Ruprecht-Karls-Universität Heidelberg und seit 2021 Geschäftsführende Direktorin des Musikwissenschaftlichen Seminars. Im Zentrum ihrer Forschungen und Publikationen stehen die Musik, Konfession und Liturgie der Frühen Neuzeit, Musikgeschichte als Rezeptionsgeschichte, musikalische Romantik- und Heimat-Konzepte sowie Phänomene wie der Werkbegriff und die Selbstreflexion in der Musik. 
Christiane Wiesenfeldt ist Schriftleiterin der TONKUNST, Ordentliches Mitglied in den Wissenschaftsakademien Erfurt und Leipzig, Direktoriumsmitglied der International Musicological Society, Mitglied im Editionsbeirat und wissenschaftlichen Beirat der MGG online sowie freie Mitarbeiterin der Frankfurter Allgemeinen Zeitung. Seit 2022 leitet sie - neben anderen Forschungsprojekten - das Akademienvorhaben Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy sowie das DFG-Langfristvorhaben Digitales Liszt Quellen- und Werkverzeichnis.