Menke, Johannes

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Menke
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Johannes
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Menke, Johannes

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2015 - 20193
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Enddatum: 2019 × Anfangsdatum: 2014 × Typ: 01A - Beitrag in wissenschaftlicher Zeitschrift ×

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  • Vorschaubild nicht verfügbar
    Publikation
    Musik fürs "Eiserne Zeitalter". Rubens, Seneca und Monteverdis achtes Madrigalbuch
    (Klett-Cotta, 01/2019) Menke, Johannes [in: Musik & Ästhetik]
    Music for the 'Iron Era': Rubens, Seneca and Monteverdi's Eighth Book of Madrigals - In the preface to his Libro ottavo, Monteverdi presents an aesthetic and genre-theoretical concept that involves, on the hand, a new composing style - concitato genere - and, on the other hand, aims for a contrasting and symmetrically organised formal structure in which madrigali guerrieri and madrigali amorosi are placed in opposition. The essay attempts to relate this concept to the work of the contemporaneous painter Peter Paul Rubens and the reception of the Stoic philosopher Seneca. Whereas Rubens thematises war and love in his pictures and adopts a clear pacifist position, Seneca presents a theory of the war-triggering affect of anger, which Monteverdi's concitato genere attempts to portray.
    01A - Beitrag in wissenschaftlicher Zeitschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Musiktheorie und Werturteil. Beobachtungen zur Geschichte eines systematischen Faches
    (Klett-Cotta, 2016) Menke, Johannes [in: Musik & Ästhetik]
    01A - Beitrag in wissenschaftlicher Zeitschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Der Morgenlandfahrer und der tonale Abenteurer. Neues über Scelsi und Tosatti
    (Klett-Cotta, 07/2015) Menke, Johannes [in: Musik & Ästhetik]
    The Oriental Traveller and the Tonal Adventurer. New Information About Scelsi and Tosatti – Studies and editions from the last ten years make it possible to see the genesis of Scelsi’s works and his view of himself in a new light. As far as the writing of the music is concerned, the central figure is Vieri Tosatti, who produced most of the scores. Once it became clear that both the production of the tape recordings and that of the scores displayed a high degree of sometimes autonomous constructivity, the question remains of how it was possible for Tosatti, whose aesthetic views were very different from Scelsi’s, to produce such convincing and innovative results. Scelsi’s autobiography, published in German in 2013, offers insight not only into his life, but also his way of thinking. Of particular interest are his statements about his musical training, his attitude to contemporary music, concern about his works, his Christianity and the imaginary orient as a place of spiritual longing.
    01A - Beitrag in wissenschaftlicher Zeitschrift