2014 - Klang-Zeit-Räume in der neuen Musik - CTPSO-Abschlusskolloquium

17.–18. Juni 2014

Klang-Zeit-Räume in der neuen Musik
Internationales Kolloquium zum Abschluss des Forschungsprojekts 
CTPSO - A Context-Sensitive Theory of Post-tonal Sound Organisation


Diskutanten:  
Karol Berger, Stanford University
Tobias Janz, Universität Kiel
Markus Neuwirth, University of Leuven
Christian Thorau, Universität Potsdam  
Dieter Kleinrath, KUG
Christian Utz, KUG

Programmheft

PROGRAMM

Dienstag, 17.6.2014
Reiterkaserne, Leonhardstr. 82-84, 8010 Graz
Raum EG 12, Performancesaal, 15–16 Uhr 

15.00 Christian Utz: Begrüßung und Einführung
15.15 Christian Utz: Bewegungen im Klang-Zeit-Raum: Einige Ausgangsüberlegungen der CTPSO-Forschung
15.30 Christian Utz / Dieter Kleinrath: Konsequenzen der performativen Analyse auf die Aufführungspraxis neuer Musik anhand von Pierre Boulez’ Structures Ia (1952) mit Tsugumi Shirakura / Maria Flavia Cerrato, Klaviere
16.00 Pause

Raum EG 17 (Ensembleraum), 16.15–19 Uhr 

16.15 Christian Utz: Musikhistorische und musiktheoretische Dimensionen der CTPSO-Forschung
16.45 Diskussion
17.00 Dieter Kleinrath: Aspekte der Musiksemiotik und Aufführungspraxis
17.30 Diskussion
17.45 Pause
18.00 Tobias Janz/Christian Thorau: Statements zur CTPSO-Forschung: Desiderate und Entwicklungsmöglichkeiten
18.30 offenes Gespräch

Mittwoch, 18.6.2014
Palais Meran, Leonhardstr. 15, 8010 Graz
Kleiner Saal, 10–13 Uhr

10.00 Christian Utz: Zum Verhältnis von Performance und Analyse – Perspektiven einer Fortsetzung des CTPSO-Projekts
10.30 Markus Neuwirth: Zum Forschungsstand im Grenzbereich Analyse/Performance
11.00 Diskussion
11.30 Pause
11.45 offenes Gespräch

Karol Berger (Ph.D. Yale 1975) is the Osgood Hooker Professor in Fine Arts at the Department of Music, as well as an affiliated
faculty at the Department of German Studies, and an affiliated researcher at the Europe Center. A native of Poland, he
has lived in the U.S. since 1968 and taught at Stanford since 1982. He has received fellowships from the National Endowment
for the Humanities, Alexander von Humboldt Foundation, American Council of Learned Societies, the Rockefeller
Foundation’s Bellagio Study and Conference Center, and Stanford Humanities Center. In 2011‐12 he has been the EURIAS
Senior Fellow at the Institut für die Wissenschaften vom Menschen in Vienna. In 2005‐2006, he was the Robert Lehman
Visiting Professor at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies. He is a foreign member of
the Polish Academy of Sciences and an honorary member of the American Musicological Society. His Musica Ficta received
the 1988 Otto Kinkeldey Award of the American Musicological Society, and his Bach's Cycle, Mozart's Arrow the 2008 Marjorie
Weston Emerson Award of the Mozart Society of America. In 2011 he received the Glarean Prize from the Swiss Musicological
Society. Selected publications: Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto
da Padova to Gioseffo Zarlino (Cambridge: Cambridge University Press, 1987; paperback 2004); Bach's Cycle, Mozart's
Arrow: An Essay on the Origins of Musical Modernity (Berkeley and Los Angeles: University of California Press, 2007; paperback
2008).

Tobias Janz, geboren 1974, studierte Klavier, Kammermusik und Musiktheorie an der Musikhochschule Lübeck sowie Musikwissenschaft
und Philosophie an der Humboldt‐Universität zu Berlin. Nach Diplomabschlüssen in Klavier und Musiktheorie
wurde er 2005 mit einer Dissertation über die Dramaturgie des Orchesterklangs in Wagners Ring des Nibelungen
promoviert. 2007–2013 Juniorprofessor für Historische Musikwissenschaft an der Universität Hamburg. Sommersemester
2011 Vertretungsprofessur (C4) an der Humboldt‐Universität zu Berlin; Juli/August 2013 Visiting Assistant Professor an
der National Taiwan University. Seit Oktober 2013 Professor für Historische Musikwissenschaft an der Christian‐Albrechts‐
Universität zu Kiel. 2006 erschien seine Dissertation Klangdramaturgie. Studien zur theatralen Orchesterkomposition in
Wagners ‚Ring des Nibelungen‘ bei Königshausen & Neumann, Würzburg. Buch in Vorbereitung: Zur Genealogie der musikalischen
Moderne, erscheint voraussichtlich Herbst 2014. Tobias Janz ist auch als praktizierender Musiker aktiv. 2004 entstand
eine Einspielung mit Werken von Ligeti, Brahms und Feldman.

Markus Neuwirth studied musicology, psychology, and philosophy at the University of Würzburg (2001‐2006), where he
obtained his Master’s degree (Magister Artium) with a thesis on classical sonata form (supervised by Ulrich Konrad). During
his study, he held a Hanns‐Seidel scholarship. From 2007 to 2012, Markus served as a research assistant at the Department
of Musicology, University of Leuven. Between 2008 and 2012, he was a doctoral fellow of the FWO (Research Foundation
Flanders). In 2013 he completed his doctorate on “Recomposed Recapitulations in the Sonata‐Form Movements of Joseph
Haydn and His Contemporaries” (supervised by Pieter Bergé). Since October 2013, he holds a three‐year postdoctoral fellowship
from the FWO. Markus is co‐editor (with Pieter Bergé) of the volume “What is a Cadence? Theoretical and Analytical
Perspectives on Cadences in the Classical Repertoire” (Leuven University Press) as well as guest editor (with Christian
Utz) of a special issue of the Zeitschrift der Gesellschaft für Musiktheorie on musical expectancy. Selected publications:
“Strukturell vermittelte Magie. Kognitionswissenschaftliche Annäherungen an Helmut Lachenmanns Pression und Allegro
Sostenuto,” in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Hörästhetik bei Helmut
Lachenmann (= musik.theorien der gegenwart, Band 2), ed. Christian Utz and Clemens Gadenstätter, Saarbrücken: PFAU
2008, 73–100; Re‐investigating the Primary‐Theme Zone in Haydn’s Early Symphonies – Periods, Sentences, Loops, and
Their Temporal Implications, in: Zyklus und Prozess. Haydn und die Zeit, ed. Marie‐Agnes Dittrich, Martin Eybl, and Reinhard
Kapp, Vienna: Böhlau 2011, 237–274.

Christian Thorau received his Dr. phil. from the University of Arts in Berlin, Germany and holds M.A. degrees in music,
history and semiotics from the Berlin Technical University. He held a research and teaching position in music history at the
University of Arts in Berlin 1995‐1999 and was a lecturer in musicology at the Free University Berlin. He has received the
Berlin Council Dissertation Award. As a Humboldt fellow he stayed in the United States 2001 through 2002 at Harvard and
at Stanford University. Between 2004 and 2010 he was professor at the University of Music and Performing Art in Frankfurt,
Germany. In the academic year 2008/2009 he held the William J. Bouwsma Fellowship at the National Humanities Center in
the Triangle, N.C. and was a Senior Fellow at the International Research Center for Cultural Studies in Vienna. 2010 he took
a position as Professor for Musicology at the University of Potsdam.
His dissertation focussed on the reception of Richard Wagner’s works and the making of a Wagnerian audience between
1876 and 1914 (Semantisierte Sinnlichkeit – Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard
Wagners, Archiv für Musikwissenschaft Vol. 50, Stuttgart 2003). His recent book is a contribution to the theory, methodology
and practice of music analysis (Vom Klang zur Metapher. Perspektiven der musikalischen Analyse, Hildesheim: Olms
2012). He was a co‐editor of the interdisciplinary volumes, recent volumes discuss the relations between early and contemporary
music (Rückspiegel – Zeitgenössische Musik im Dialog mit älterer Musik, 2010) and the history of concerts and music
listening.