Eine „unmenschliche“ Musik
Luigi Nono und Karlheinz Stockhausen bei den Darmstädter Ferienkursen. Luigi Nono and Karlheinz Stockhausen at the Darmstadt Summer Courses
Bibliographic Data
| ID | 21291776 |
|---|---|
| Authors | Dietrich Kamper (Dr. phil., Professor für Musikwissenschaft an der Universität zu Köln, corresponding author) |
| Year | 2024 |
| Volume | 81 |
| Issue | 3 |
| Pages | 219-229 |
| Publication date | 2024-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Archiv für Musikwissenschaft (JOURNAL) |
| Journal identifiers | ISSN: 0003-9292 • E-ISSN: 2366-2794 |
| Publisher | Wissenschaftliche Verlagsgesellschaft mbH (PUBLISHER • DE) |
| DOI | 10.25162/afmw-2024-0011 |
| OpenAlex | W4402809574 |
| Language | EN |
The painful experiences with the Nazi regime, which reached deep into Stockhausen’s family, led him to seek a radical new beginning for his music: he associated with the “zero hour” postulate of 1945 the demand for the elimination of the human. The play on words around the concept of the “inhuman” led to a controversy with fellow composer Nono that had a defining impact on many events at the Darmstadt Summer Courses. While Eimert took Stockhausen’s side, Schibler’s and Adorno’s music-critical contributions staunchly advocated the opposing standpoint. A new aspect was added to the controversy with discussions of Cage’s music in Darmstadt beginning in 1956, when the allegation of the “negation of history” moved to the center of the dispute
Art · German Social Sciences and History · Literature and Cultural Memory · Musicology and Musical Analysis
| Citation velocity | historical |
|---|---|
| Highly cited | No |