I samarbejde Goethe-Institut Dänemark, Københavns og Roskilde Universitet inviterer Seismograf/DMT til seminar tirsdag den 3. juni kl 16-18 Teater Repulique i forbindelse med Klangfestivalen 2014.
Ved seminaret " Modernisme, politik og det stedsspecifikke" har vi inviteret Dr. Kersten Glandien, Musikkritikeren Henrik Friis og komponisten Johannes Kreidler. Dr. Kersten Glandien fortæller om lydkunstscenerne i Berlin fra 1970erne og frem til i dag. Musikkritikeren Henrik Friis spørger, hvad der skete den radikale tyske modenisme efter Lachenmann og Spahlinger. Svarene søges bl.a. gennem en analyse af Spahlingers betydning for den danske komponist Simon Steen-Andersen. Den tyske komponist Johannes Kreidler taler om de sidste 15 års udvikling i tysk ny musik og præsenterer sin analyse af periodens æstetiske, tekniske og diskursive forandringer.
Seminaret er arrangeret og ledes af Sanne Krogh Groth (RUC, Seismograf/DMT) og Søren Møller Sørensen (KU). Det afholdes på engelsk og er blevet til i samarbejde med Goethe-Institut Dänemark.
Abstracts:
Dr. Kersten Glandien (Senior Lecturer, University of Brighton, UK):
"… too wide a field - SoundArt in Berlin"
This comment on the human condition by Theodor Fontane came frequently to my mind while researching the various facets of SoundArt in Berlin. Far from encountering ‘a scene’, I found myself facing a vast labyrinth of activities, artists, works, places, events, organisers and institutions, stretching back several decades.
In my paper I will attempt to give an insight into the extent and hybridity of Berlin Sound Art - from its beginnings in the 1970s under the special conditions of cold-war West Berlin, through the landmark-festivals and lively activities of the post-Wall period, down to its ubiquity and acceptance today. I will examine the main players, institutions, organisers and initiatives, trace the unusual political and cultural conditions that set the agenda in both parts of the city, outline the exciting process of fusion that followed - and examine the very different approaches taken to SoundArt in the city today and the aesthetic clusters they form.
Henrik Friis (Music critique, Politiken, DK):
"What happened to modernism?"
What happened to the strong modernist position in German music after Lachenmann and Spahlinger? Well, maybe it is alive and kicking – living on, for instance, as impossible timbre made by young Danish composers. With a strong advocate in the Berlin resident and Spahlinger student Simon Steen-Andersen.
A place to start is the search for a useful framework for the term modernism. The Spanish philosopher Ortega Y Gasset addresses the modernist position in European Art and Music in 1925 in his essay ‘The Dehumanization of the Arts’. He claims that, opposed to earlier epochs in the history of the arts, modern music is not unpopular, as in ‘not popular yet, but outspoken anti-popular. A search for modernism is in that sense a search for traces of thoughts of intellectual anti-popularism and dehumanization. Helmut Lachenman and Matthias Spahlingers music from the early 1970’s and onwards show some of the same alienating and non-popular characteristics. For instance the ‘Musique Concrete Instrumentale’ focuses the ear at the noise of the music production and continuously stops the listener from forgetting that the musical experience is in fact a musical construction. Or the Spahlinger concept of the endless beginnings. These intellectual traces are pursued in the recent music of Simon Steen-Andersen, i.e. the cd of 2010 ‘Pretty Sound’.
Johannes Kreidler (Composer, DE):
"New Music in Germany in the last 15 years."
Having started to become a professional composer towards the end of the 1990s, not only personally I've made my artistic development, but also in general I can draw an overview now on a period of time of which I think has made quite a shift, aesthetically, technically, discursively.
Fakta
Seminar. Klangfestivalen
Tirsdag den 3. juni kl 16-18
Teater Repulique, Østerfælled Torv 37, 2100 København Ø
