Die Musikforschung

Besprechungen

2024-06-14T11:25:04+02:00

„Aber viel wichtiger, ich hoffe, nicht.“

2024-06-14T10:41:29+02:00

Music students and music academies face challenges from the demands of an increasingly digitised practice environment as well as from the changing professional image of musicians. Through interviews and a focused netnography, this qualitative exploratory study (which involved six advanced music students at two conservatoires) examines the relevance that advanced music students ascribe to the use of social media, exploring in particular which practices seem relevant and feasible to them. The study also explores the extent to which the music students distinguish between private and public online personas. A first attempt at typologising shows that the music students have developed different attitudes towards the use of social media, which can be positioned between the extremes of conservative and affirmative manifestations. The educational institutions are considered by their students as playing an ambivalent role, both as facilitators and as obstacles in the implementation of digital self-presentation strategies.

Werkbetrachtungen im Hörfunk heute

2024-06-14T10:59:32+02:00

The overarching aim of this study is to make the implicit practical knowledge of (music) journalists explicit through empirical research. As far as the author is aware, a systematic survey of all public broadcasts and program segments in which music is discussed in detail has yet to be undertaken. This is surprising, as music on the radio is a highly relevant field of research in media and communication studies. The following research question guided the study: In which radio channels (format types) and within which frameworks (broadcast types, stylistic forms, duration), who (journalists, musicologists, musicians) currently talks about which music (genres) and how content and production function when contemplating musical works? Which media-specific mediation strategies can be observed and with which journalistic self-image do they convey? In order to answer these questions, this preliminary study analysed eight radio programmes from ARD channels which were broadcasted during the week 8 of 2023. Some contributions show a flexible format design specific to distribution (radio/podcast/social media) in terms of duration and content accentuations.

Pierre Boulez im Austausch mit Heinrich Strobel, Baden-Baden, 1950/1951

2024-06-14T11:12:26+02:00

The article starts from the premises of Pierre Boulez’s works of the 1940s, in which the poems of René Char (Le soleil des eaux) and Stéphane Mallarmé (Un coup de dés) took centre stage. On closer inspection, they led to the creation of Polyphonie X. The focus of the article is on the one hand an unpublished letter in which Boulez criticises the ideologisation of Webern’s music by René Leibowitz and others, on the other hand Boulez’s close relationship with Heinrich Strobel, the head of the music department of Südwestfunk in Baden-Baden, who also commissioned Boulez to compose Polyphonie X. This work was performed in the composer’s absence on 6 October 1951, a world premiere that was plagued by tumult, and the regional press did not shy away from making anti-Semitic accusations about the work. Nevertheless, his friendship with Heinrich Strobel remained intact and even led to Boulez feeling so at home in Baden-Baden that he moved to Kapuzinerstraße in 1958. Another reason for making his home in Germany was his critique of the French cultural system headed by secretary of state André Malraux, and the treatment of the Algerians by the French government. Baden-Baden remained Boulez’s first and only permanent residence until his death on 6 January 2016: the personal, intellectual and artistic centre of this cosmopolitan.