Markus Gärtner - Academia.edu (original) (raw)
Musician, musicologist, music teacher
Address: Dr. Markus Gärtner
Beim Langen Rick 23
D-26441 Jever
Germany
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Books by Markus Gärtner
Olms Verlag, 2005
The dispute between the music critic Eduard Hanslick and the composer Franz Liszt cannot merely b... more The dispute between the music critic Eduard Hanslick and the composer Franz Liszt cannot merely be explained by their contrary opinions on programme music. The programmatic element was the most obvious and at the same time the most superficial part of Hanslick's criticism of symphonic poems. But as his opinion on themes and thematic development is decidedly based on musical aesthetics, the disagreement was rather caused by Liszt's compositional technique.
Furthermore, the devaluation of musical skills suggests a social problem: music critic and composer had a divergent view on the listener, whose perception of music is analysed for the first time in a systems-theoretical (Niklas Luhmann) way. Not only does the study give a whole range of opposing opinions, it also examines so-far neglected opinions they shared, as both Hanslick and Liszt aimed to evoke a deeper understanding of musical works in the mind of the listener. However, their interpretation of "understanding music" diverged widely.
Papers by Markus Gärtner
Nach Grusworten von Harald Goertz und Gernot Gruber (beide Wien) eroffnete Thomas Grey (Stanford)... more Nach Grusworten von Harald Goertz und Gernot Gruber (beide Wien) eroffnete Thomas Grey (Stanford) die Tagung mit einem Vortrag uber Eduard Hanslicks Bewertung von Richard Wagner und setzte abei de Begriff der „A abeske" mit dem „Gewebe" des T istan -Stils in Beziehung. Beim Roundtable zu „Eduard Hanslick im g istesgeschichtlichen Kontext" akzentuierte Di tmar Straus (Saarbrucken) mit „Vom MusikalischLangweiligen" d Verfall musikalischen Materi ls. Den Horer ve lange es nach i mer mehr „Schocks". Barbara Boisits (Wien/Graz) verfolgte it „Die Ges tze des spezifisch Musikalischen" in etwa die gleiche Stosrichtu g wie W ner Abegg ( ortmund) mit s inem Vortrag zu „Hanslick un die Ide der einen Instrumentalmusik", in dem er funf Grunde zur Abgrenzung von der Vokalmusik aufstellt . Das Proble „For vs. Gehalt" kommentierte Lothar Sch eider (Giesen) v m Standpunkt der Philosophie. Sein Rekurs auf Herbart leit te uber zu Ch istoph Lander rs (Salzburg) „...
Die Tonkunst online, 2006
Was Joachim Raff a member of the so-called New German School in Weimar? This portrait tries to lo... more Was Joachim Raff a member of the so-called New German School in Weimar? This portrait tries to locate the aesthetical position of the composer, who was born in Switzerland and who became famous for his collaboration with Franz Liszt. But: Is Raff in point of fact more a prototyp of a postmodern composer?
Oesterreichische Musikzeitschrift, 2009
Liszts Programmmusik stand schon immer im Verdacht, funktionale Musik zu sein. Unüberwindbar ersc... more Liszts Programmmusik stand schon immer im Verdacht, funktionale Musik zu sein. Unüberwindbar erscheint das Vorurteil einer vertonten Erzählung, welches die Funktion der Musik einzig in geistreicher Illustration der im Programm dokumentierten Bezugspunkte sieht. In diesem Sinne wäre die Form des jeweiligen Werkes allein dazu gedacht, einen dahinter stehenden, außermusikalischen Sinngehalt möglichst genau "nachzugeigen und nachzublasen" (Hanslick).
Musik & Ästhetik, 2002
Hanslick and Liszt. Reconstruction of a musical aesthetic controversy Next to the dualism Hansli... more Hanslick and Liszt. Reconstruction of a musical aesthetic controversy
Next to the dualism Hanslick-Wagner the controversy between Hanslick and Franz Liszt has receded into the background. However this particular aesthetic controversy of opinions is of especial interest to conservatives and neo-Germans for the process of taking sides. A minimal consensus was avoided in favor of an obviously refined reduction of the viewpoints to the superficial. Greater tolerance is to be ascribed to Liszt here because he merely attempted to limit the scope of absolute music. Hanslick on the other hand was of the opinion that program music in general and Liszt's compositions in particular were bad music. On account of these hardened attitudes similarities such as both composers' entrenchment in the romantic unspeakabiltity topos and their attempts at the emancipation of instrumental music can be recognized only from a certain historical distance. Their mutual reference to Beethoven and Schumann also reveals common starting positions which were interpreted however under different conditions.
Correspondenz. Mitteilungen der Robert-Schumann-Gesellschaft e. V. Duesseldorf, 2013
Olms Verlag, 2005
The dispute between the music critic Eduard Hanslick and the composer Franz Liszt cannot merely b... more The dispute between the music critic Eduard Hanslick and the composer Franz Liszt cannot merely be explained by their contrary opinions on programme music. The programmatic element was the most obvious and at the same time the most superficial part of Hanslick's criticism of symphonic poems. But as his opinion on themes and thematic development is decidedly based on musical aesthetics, the disagreement was rather caused by Liszt's compositional technique.
Furthermore, the devaluation of musical skills suggests a social problem: music critic and composer had a divergent view on the listener, whose perception of music is analysed for the first time in a systems-theoretical (Niklas Luhmann) way. Not only does the study give a whole range of opposing opinions, it also examines so-far neglected opinions they shared, as both Hanslick and Liszt aimed to evoke a deeper understanding of musical works in the mind of the listener. However, their interpretation of "understanding music" diverged widely.
Nach Grusworten von Harald Goertz und Gernot Gruber (beide Wien) eroffnete Thomas Grey (Stanford)... more Nach Grusworten von Harald Goertz und Gernot Gruber (beide Wien) eroffnete Thomas Grey (Stanford) die Tagung mit einem Vortrag uber Eduard Hanslicks Bewertung von Richard Wagner und setzte abei de Begriff der „A abeske" mit dem „Gewebe" des T istan -Stils in Beziehung. Beim Roundtable zu „Eduard Hanslick im g istesgeschichtlichen Kontext" akzentuierte Di tmar Straus (Saarbrucken) mit „Vom MusikalischLangweiligen" d Verfall musikalischen Materi ls. Den Horer ve lange es nach i mer mehr „Schocks". Barbara Boisits (Wien/Graz) verfolgte it „Die Ges tze des spezifisch Musikalischen" in etwa die gleiche Stosrichtu g wie W ner Abegg ( ortmund) mit s inem Vortrag zu „Hanslick un die Ide der einen Instrumentalmusik", in dem er funf Grunde zur Abgrenzung von der Vokalmusik aufstellt . Das Proble „For vs. Gehalt" kommentierte Lothar Sch eider (Giesen) v m Standpunkt der Philosophie. Sein Rekurs auf Herbart leit te uber zu Ch istoph Lander rs (Salzburg) „...
Die Tonkunst online, 2006
Was Joachim Raff a member of the so-called New German School in Weimar? This portrait tries to lo... more Was Joachim Raff a member of the so-called New German School in Weimar? This portrait tries to locate the aesthetical position of the composer, who was born in Switzerland and who became famous for his collaboration with Franz Liszt. But: Is Raff in point of fact more a prototyp of a postmodern composer?
Oesterreichische Musikzeitschrift, 2009
Liszts Programmmusik stand schon immer im Verdacht, funktionale Musik zu sein. Unüberwindbar ersc... more Liszts Programmmusik stand schon immer im Verdacht, funktionale Musik zu sein. Unüberwindbar erscheint das Vorurteil einer vertonten Erzählung, welches die Funktion der Musik einzig in geistreicher Illustration der im Programm dokumentierten Bezugspunkte sieht. In diesem Sinne wäre die Form des jeweiligen Werkes allein dazu gedacht, einen dahinter stehenden, außermusikalischen Sinngehalt möglichst genau "nachzugeigen und nachzublasen" (Hanslick).
Musik & Ästhetik, 2002
Hanslick and Liszt. Reconstruction of a musical aesthetic controversy Next to the dualism Hansli... more Hanslick and Liszt. Reconstruction of a musical aesthetic controversy
Next to the dualism Hanslick-Wagner the controversy between Hanslick and Franz Liszt has receded into the background. However this particular aesthetic controversy of opinions is of especial interest to conservatives and neo-Germans for the process of taking sides. A minimal consensus was avoided in favor of an obviously refined reduction of the viewpoints to the superficial. Greater tolerance is to be ascribed to Liszt here because he merely attempted to limit the scope of absolute music. Hanslick on the other hand was of the opinion that program music in general and Liszt's compositions in particular were bad music. On account of these hardened attitudes similarities such as both composers' entrenchment in the romantic unspeakabiltity topos and their attempts at the emancipation of instrumental music can be recognized only from a certain historical distance. Their mutual reference to Beethoven and Schumann also reveals common starting positions which were interpreted however under different conditions.
Correspondenz. Mitteilungen der Robert-Schumann-Gesellschaft e. V. Duesseldorf, 2013