权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

A Stranger in Paradise? John Cage and the Darmstadt New Music Courses

天堂里的陌生人？

基本信息

批准号：
AH/H036687/1
负责人：
Martin Iddon
金额：
$ 7.6万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH036687%2F1
关键词：
Stranger Paradise John Cage Darmstadt

项目摘要

The research focuses on what was almost certainly the most significant institutional bastion of new music in Europe after World War II: the Darmstadt New Music Courses. More particularly, the project examines the impact that was made upon the European musical avant-garde by the arrival there in 1958 of the most famous (or notorious) of all post-war composers, John Cage.The final output of the project, a monograph of ca. 90,000 words, is divided into three large parts. The first examines the Darmstadt courses from their foundation in 1946 until 1955, by which point the young composers of the European avant-garde-particularly Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen-had achieved positions of prominence both within the musical culture of Europe and within the Darmstadt institution itself. This section has several aims. Archival sources show how each acquired institutional power, while analysis of scores and presentations suggests that ideas of a unified, monolithic 'Darmstadt style' has much more to do with the presentation of compositional work than the actuality of musical material. Thus, composers were complicit in giving the (inaccurate) impression of scientistic rigour in their music. The second part of the volume, examining the period around Cage's 1958 visit to Darmstadt (from 1956-59), continues a similar line of argument. It is often held that the arrival of Cage, whose music and stance emphasised indeterminacy and chance as compositional resources, was directly at odds with the Darmstadt ideology of quasi-mathematical predetermination. This part suggests instead that, on a musical level, ideas close to those Cage presented were already being developed in Europe, especially by Boulez and Henri Pousseur. I do not debate that, as Carl Dahlhaus put it, Cage's arrival 'swept across the European avant-garde like a natural disaster'. I suggest, though, that the reasons for Cage's impact are related more to what he said and how he said it than to his music. Of particular importance is how Cage was, quite literally, translated into German and how his principal translator, Heinz-Klaus Metzger, reconceived Cage for the German context as a class warrior, unlike the playful interrogator of Cage's English text. The third part of the volume considers the long-term impact of Cage's visit. Though ideas of indeterminacy and chance were developing in Europe before Cage's 1958 Darmstadt visit, this section will suggest that, on certain levels (especially to do with the graphic score and a devolution of responsibility away from the composer to the performer) Cage's ideas took centre stage, but peculiarly inflected by the way 'Cage' was constructed in Europe. The third part will also examine the responses at Darmstadt to those composers closest to Cage who visited in between 1958 and Cage's final return to the courses in 1990: Earle Brown in the 1960s, Christian Wolff in the 1970s, and Morton Feldman in the 1980s.Underlying the above, I suggest that Cage represents a 'stranger' in the European scene, in the sense suggested by Zygmunt Bauman. Bauman suggests that the modern stranger is either 'vomited' from the orderly world (as Nono and, later, Boulez responded) or is 'assimilated' such that the stranger is changed into something indistinguishable from that orderly world (Metzger's translations and Stockhausen's appropriations of Cageian ideas function in this way). The conclusion will suggest that Cage ultimately, by his return in 1990, becomes a 'postmodern stranger', 'joyfully or grudgingly, but by common consent, here to stay'.Since the primary archival research is already complete (having been funded by the British Academy) and the collation of sources gathered from that archival research has been carried out in the time between then and the proposal of this, the final stage of the project, the work 'proper' of the proposed work will consist entirely of the writing of the monograph outlined above.

研究的重点是二战后欧洲新音乐最重要的制度堡垒：达姆施塔特新音乐课程。更具体地说，该项目研究了1958年最著名（或臭名昭著）的战后作曲家约翰·凯奇（John Cage）的到来对欧洲音乐先锋派的影响。9万字，分为三大部分。第一部分考察了达姆施塔特音乐学院从1946年成立到1955年的发展历程。在这段时间里，欧洲先锋派的年轻作曲家，尤其是布鲁诺·马德纳、路易吉·诺诺和卡尔海因茨·施托克豪森，在欧洲音乐文化和达姆施塔特音乐学院内部都取得了突出的地位。本节有几个目标。档案资料显示了每个人是如何获得机构权力的，而对乐谱和表现形式的分析表明，统一的、单一的“达姆施塔特风格”的想法更多地与作曲作品的表现形式有关，而不是与音乐材料的真实性有关。因此，作曲家们在他们的音乐中给人以科学严谨的（不准确的）印象。本卷的第二部分考察了凯奇1958年访问达姆施塔特前后的时期（从1956年到1959年），延续了类似的论点。人们通常认为，凯奇的到来，其音乐和立场强调不确定性和机会作为作曲资源，直接与达姆施塔特的准数学预先决定的思想不一致。这一部分表明，在音乐层面上，与凯奇提出的那些想法接近的想法已经在欧洲发展起来，特别是由布列兹和亨利·普瑟。正如卡尔·达尔豪斯（Carl Dahlhaus）所说，凯奇的到来“像一场自然灾害一样席卷了欧洲先锋派”，对此我并不怀疑。不过，我认为凯奇的影响力更多地与他所说的话和他所说的方式有关，而不是他的音乐。特别重要的是凯奇是如何被逐字翻译成德语的，以及他的主要翻译海因茨-克劳斯·梅茨格是如何将凯奇重新定义为德国背景下的阶级战士，而不是凯奇英文文本中的俏皮话。本卷的第三部分考虑了凯奇访问的长期影响。虽然在凯奇1958年达姆施塔特访问之前，不确定性和偶然性的观念在欧洲已经发展起来，但本节将表明，在某些层面上（特别是在图形乐谱和责任从作曲家转移到表演者方面），凯奇的思想占据了中心舞台，但特别是受到欧洲建造《凯奇》的方式的影响。第三部分还将研究达姆施塔特对那些与凯奇最亲近的作曲家的反应，这些作曲家在1958年和凯奇最后一次回到球场之间访问：20世纪60年代的厄尔·布朗，70年代的克里斯蒂安·沃尔夫和80年代的莫顿·费尔德曼在上述情况下，我认为凯奇代表了欧洲舞台上的一个“陌生人”，在齐格蒙特·鲍曼提出的意义上。鲍曼认为，现代陌生人要么是从有序的世界中“呕吐”出来的（正如诺诺和后来的布列兹所回应的那样），要么是被“同化”的，这样陌生人就变成了与有序的世界没有区别的东西（梅茨格的翻译和斯托克豪森对凯吉思想的借用就是这样起作用的）。结论将表明，凯奇最终，他在1990年返回，成为一个“后现代陌生人”，“快乐或不情愿，但普遍同意，在这里留下来”。（由英国科学院资助），从那时到本提案提出期间，该项目的最后阶段，工作'适当'的拟议工作将完全包括上述专题论文的写作。