Page 295 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
P. 295
summaries
genössische Musikkultur der Ukraine einem nationalen und internationalen
Publikum wirksam zu vermitteln. Die sich verändernden Rollen von Musik-
vermittlern spiegeln das dynamische Zusammenspiel zwischen Musik, Ge-
sellschaft und Journalismus im Laufe der Geschichte wider.
Schlüsselwörter: Musikjournalismus, Musikkritik, Musik und Ideologie,
ukrainische Musik
Susanne Kogler
Innovation, Art, Society, and Life: Deliberations on Music Criticism’s
Past, Presence and Future
Already the controversy between Giovanni Maria Artusi and Claudio Mon-
teverdi, as well as the Querelles des anciens et des modernes and the artistic
debates in the 19th and 20th centuries, show that critical disputes concerning
music dealt in particular with the question of innovation. Whereas at first
mainly theoreticians and composers were involved, during the 19th and 20th
centuries philosophers such as Friedrich Nietzsche or Theodor W. Adorno
came to the fore. And it is their texts in particular that make clear that de-
liberations on music are always motivated by social values and certain atti-
tudes not only towards art, but towards life in general. The danger of an ide-
ological usurpation of music and its critique became clearly evident during
the totalitarian regimes of the 20th century. Today music criticism seems to
be endangered for different reasons. On the one hand the ongoing trans-
formation of public media deeply affects traditional cultural practices; on
the other hand, nobody seems to be convinced any more to be obliged to
fight for the “truth” of an aesthetic position or certain form of art. In ad-
dition, high quality public debates appear to be generally in decline. Thus,
the problematic situation of music criticism seems to correspond with a
broader crisis of critical thinking and Western culture. Taking this view as
a point of departure, I will first illuminate the socio-political dimensions
inherent in music criticism with the help of historical and topical examples.
Second, I will discuss what role music criticism might play and which forms
it might adopt in our time and in the future.
Keywords: Music Criticism, E.T.A. Hoffmann, Claude Debussy, Theodor W.
Adorno, Wilhelm Sinkovic
295
genössische Musikkultur der Ukraine einem nationalen und internationalen
Publikum wirksam zu vermitteln. Die sich verändernden Rollen von Musik-
vermittlern spiegeln das dynamische Zusammenspiel zwischen Musik, Ge-
sellschaft und Journalismus im Laufe der Geschichte wider.
Schlüsselwörter: Musikjournalismus, Musikkritik, Musik und Ideologie,
ukrainische Musik
Susanne Kogler
Innovation, Art, Society, and Life: Deliberations on Music Criticism’s
Past, Presence and Future
Already the controversy between Giovanni Maria Artusi and Claudio Mon-
teverdi, as well as the Querelles des anciens et des modernes and the artistic
debates in the 19th and 20th centuries, show that critical disputes concerning
music dealt in particular with the question of innovation. Whereas at first
mainly theoreticians and composers were involved, during the 19th and 20th
centuries philosophers such as Friedrich Nietzsche or Theodor W. Adorno
came to the fore. And it is their texts in particular that make clear that de-
liberations on music are always motivated by social values and certain atti-
tudes not only towards art, but towards life in general. The danger of an ide-
ological usurpation of music and its critique became clearly evident during
the totalitarian regimes of the 20th century. Today music criticism seems to
be endangered for different reasons. On the one hand the ongoing trans-
formation of public media deeply affects traditional cultural practices; on
the other hand, nobody seems to be convinced any more to be obliged to
fight for the “truth” of an aesthetic position or certain form of art. In ad-
dition, high quality public debates appear to be generally in decline. Thus,
the problematic situation of music criticism seems to correspond with a
broader crisis of critical thinking and Western culture. Taking this view as
a point of departure, I will first illuminate the socio-political dimensions
inherent in music criticism with the help of historical and topical examples.
Second, I will discuss what role music criticism might play and which forms
it might adopt in our time and in the future.
Keywords: Music Criticism, E.T.A. Hoffmann, Claude Debussy, Theodor W.
Adorno, Wilhelm Sinkovic
295
