Iddon, M. orcid.org/0000-0003-4282-4334 (2023) Darmstadt and its Discontents. In: Grüny, C. and Farnsworth, B., (eds.) New Music and Institutional Critique. Ästhetiken X.0 – Zeitgenössische Konturen ästhetischen Denkens . Metzler , Berlin , pp. 69-84. ISBN 978-3-662-67130-6
Abstract
Though the Darmstadt New Music Courses have often been the site of critique, relatively few of those critiques have brought about concrete change. This might be illustrated in its fullest form in the history of the courses in the 1970s. A sequence of protests appear, on the superficial level, to have been the proximate cause for a gradual transformation of the institution, in its move away from the authority of its earlier senior figures in favour of a more egalitarian model, where different approaches can co-exist. Yet this history belies the ways in which that apparent diversity both repeats the ways in which the territory of new music was historically divided up and that territorial disputes actually prevent criticism of the institution itself, critiques which were being undertaken by a small group of composers who arguably represented a very different possible, unrealised future for new music in the 1980s: Fernando Grillo, Moya Henderson, Christina Kubisch, and Davide Mosconi.
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Item Type: | Book Section |
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Copyright, Publisher and Additional Information: | © The Author(s) 2024. This chapter is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this chapter are included in the chapter's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the chapter's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. |
Keywords: | Darmstadt New Music Courses; Institutional critique; 1970s; Karlheinz Stockhausen; Moya Henderson |
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Institution: | The University of Leeds |
Academic Units: | The University of Leeds > Faculty of Arts, Humanities and Cultures (Leeds) > School of Music (Leeds) |
Depositing User: | Symplectic Publications |
Date Deposited: | 02 Nov 2023 16:18 |
Last Modified: | 02 Nov 2023 16:18 |
Status: | Published |
Publisher: | Metzler |
Series Name: | Ästhetiken X.0 – Zeitgenössische Konturen ästhetischen Denkens |
Identification Number: | 10.1007/978-3-662-67131-3_4 |
Open Archives Initiative ID (OAI ID): | oai:eprints.whiterose.ac.uk:204799 |