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Musically Scored Light-Spaces of the Postwar German Avant-Garde: Karlheinz Stockhausen and the ZERO Group of Artists

战后德国前卫艺术的乐谱光空间：卡尔海因茨·施托克豪森和零艺术家群体

基本信息

批准号：
388691158
负责人：
Professorin Dr. Magdalena Zorn
金额：
--
依托单位：
Institut für Musikwissenschaft
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2017
资助国家：
德国
起止时间：
2016-12-31 至 2020-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/388691158?language=en
关键词：
Musically Scored Light Spaces Postwar

项目摘要

For Karlheinz Stockhausen and the Düsseldorf-based group of artists known as Zero, the "musically scored light-space" (musikalisierter Licht-Raum) was a metaphor for concrete artistic parameters of representation. The composer Stockhausen oriented his musical vision toward the parameters of spatiality and luminosity. Meanwhile, Heinz Mack, Otto Piene, and Günther Uecker designed visual compositions that centered on the spatial evolution of light and served as settings mirroring particular musical structures, a form of artistic transposition. Stockhausen continued creating music for light-spaces all the way up to his opera cycle "LICHT" (2003); this practice permeated the works of Mack, Piene, and Uecker even after the ZERO group (1958-1966) broke up.The scholarship has broadly overlooked this intertextual dialog between music and visual art and its significant role in German cultural history after the Second World War. The proposed musicological project will correct this omission and for the first time place the works of Stockhausen and ZERO side by side to investigate both their musical traits and their musical philosophy. One objective is to present the mutual links in their artistic structures. We will investigate how ZERO art's seriality, spectrality, and use of rhythm were informed by compositional codes in Stockhausen's music and, inversely, how Stockhausen's works make structural references to ZERO's "compositions". Besides analyzing musical structural parallels, the project will research the notions of space characteristic to Stockhausen and ZERO. It will explore the aesthetic spaces' aspects of immersiveness and intermodality (circularly linked auditory and visual structures) and will ultimately locate their devotional artistic content in the historical and cultural contexts of their time. First on the agenda is an extensive archival and primary-source investigation with the Stockhausen and ZERO foundations in preparation for a structural and aesthetic comparative analysis of Stockhausen's and ZERO's musically scored light-spaces. To tease out the correspondences between music and visual art, the project will employ intertextuality as a method of intermedial inquiry. The project will be conducted in academic collaboration with the ZERO Foundation, which will be embarking on its own art-historical research initiative about Mack, Piene, and Uecker's concept of structure beginning in September 2017. The foundation's art-historical undertaking will in turn benefit our proposed cultural-historically relevant project, as we identify the role of music in the postwar German avant-garde, which was profoundly marked by upheavals in spatiality and the luminous turn.

对于卡尔海因茨·施托克豪森（Karlheinz Stockhausen）和以杜塞尔多夫为基地的艺术家群体“零”（Zero）来说，“音乐配乐的光空间”（musikalisierter Licht-Raum）是一个隐喻，代表了具体的艺术参数。作曲家施托克豪森将他的音乐视野定位于空间性和亮度的参数。与此同时，海因茨·麦克、奥托·皮耶内和冈瑟·尤克尔设计了以光的空间演变为中心的视觉作品，并作为反映特定音乐结构的背景，这是一种艺术换位的形式。施托克豪森继续为光空间创作音乐，直到他的歌剧周期“LICHT”（2003）;这种做法渗透到麦克，皮耶内和Uecker的作品中，即使在零组（1958-1966）解散后。学术界普遍忽视了音乐和视觉艺术之间的互文对话及其在第二次世界大战后德国文化史上的重要作用。拟议中的音乐学项目将纠正这一遗漏，并首次将施托克豪森和零的作品并排放置，以研究他们的音乐特征和音乐哲学。一个目的是呈现他们艺术结构中的相互联系。我们将研究零艺术的序列性，光谱性和节奏的使用是如何被斯托克豪森音乐中的作曲代码所告知的，反过来，斯托克豪森的作品如何在结构上参考零的“作品”。除了分析音乐结构的相似之处，该项目将研究空间特征的概念斯托克豪森和零。它将探索审美空间的沉浸感和交互性（循环链接的听觉和视觉结构）方面，并最终将其虔诚的艺术内容置于其时代的历史和文化背景中。首先是一个广泛的档案和主要来源的调查与斯托克豪森和零基金会准备的结构和美学比较分析斯托克豪森和零的音乐得分光空间。为了梳理出音乐和视觉艺术之间的对应关系，该项目将采用互文性作为一种中介研究方法。该项目将与ZERO基金会进行学术合作，该基金会将于2017年9月开始对Mack，Piene和Uecker的结构概念进行自己的艺术历史研究。该基金会的艺术史事业反过来将有利于我们提出的文化历史相关项目，因为我们确定了音乐在战后德国前卫艺术中的作用，这是深刻的标志，在空间性和发光转向的动荡。