In:
Circuit, Consortium Erudit, Vol. 15, No. 3 ( 2010-02-01), p. 5-18
Abstract:
The author sketches out a project for a historiography of Darmstadt which, now that its most "glorious" and "heroic" chapter (c. 1948-1963) is long since closed, may now be written. The starting point for this study is Borio and Danuser's (1997) groundbreaking work. Perceived as a site of collective memory, of a vast human construction, any history of Darmstadt would have to include, but not be limited to, the legendary stories associated with it, the insignificant anecdotes, the fleeting successes, and the unqualified failures. The Ferienkurse are also the stage for the actors behind what became known as "contemporary music", the heroes and anti-heroes from the Boulez-Nono-Stockhausen trinity to figures like Hermann Heiss, Bernd Alois Zimmermann, and Karel Goeyvaerts. The author proposes a view of Darmstadt's history in which plots are shaped by the institution's dominant mythologies, many of which were consciously conceived by its founders as the raison-d'être of the summer courses. These include cosmopolitanism, youth, radicalism, the tendency towards tabula rasa , the quest for a musical Esperanto, and the affinity for strongly prescriptive compositional theories and manifestoes.
Type of Medium:
Online Resource
ISSN:
1488-9692
,
1183-1693
Language:
French
Publisher:
Consortium Erudit
Publication Date:
2010
detail.hit.zdb_id:
2123401-2
SSG:
9,2
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