Page 49 - 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
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innovation, art, society, and life: deliber ations on music cr iticism’s past, pr esence ...
By doing so the authors appear to take exactly the third position men-
tioned above between scientific interest, the artist’s intention, and the mar-
ket. In addition, by appearing on the web they make their voices heard in a
novel way – demonstrating possibilities new technologies offer the old gen-
re of criticism. When they describe their aim, they stress – as we have seen
it with critics since 200 years – the social and aesthetical values of music in
which they are interested: “to bring classical music and its many artistic and
social messages and values to the widest possible audience.”35
Bibliography
Literature
Adorno, Theodor W. “Zur Dreigroschenoper.” In Musikalische Schriften V [Ges.
Schriften 18], edited by Rolf Tiedemann, 539–40. Frankfurt a. M.: Suhrkamp,
1970.
Anon. “Criticism.” In The New Grove Dictionary of Music and Musicians, vol. 5,
edited by Stanley Sadie, 670–98. London: Macmillan, 1980.
Appel, Bernhard R. “Die ‘Marseillaise’ bei Heinrich Heine und Robert Schu-
mann.” In Übergänge: zwischen Künsten und Kulturen. Internationaler Kon-
gress zum 150. Todesjahr von Heinrich Heine und Robert Schumann, edited by
Henriette Herwig, 289–304. Stuttgart: Metzler, 2007.
Brecht, Bertolt. “Autobiographische Notizen 1921 bis Juni 1938.” In Bertolt Bre-
cht: Werke. Große kommentierte Berliner und Frankfurter Ausgabe, vol. 26:
Journale 1, edited by Werner Hecht, Jan Knopf, Werner Mittenzwei, and
Klaus-Detlef Müller, 299. Berlin, Frankfurt: Suhrkamp Verlag, 1913–1941.
Brecht, Bertold, and Kurt Weill. “Die Dreigroschenoper.” Kammerspiele der Josef
stadt, Programm 2021/22.
Debussy, Claude. “Le ‘Faust’ de Schumann. – Ouverture pour ‘Le Roi Lear’ d’A.
Savard. – Le troisième acte de ‘Siegfried’. – Une Symphonie de Witkowski.”
In: Claude Debussy, Monsieur Croche et autres écrits, edited by Francois
Lesure, 25. Paris: Gallimard, 1987.
Heinemann, Michael. “Kritik. Emanzipation des Hörers im 18. Jahrhundert.” In
Kleine Geschichte der Musik, edited by Michael Heinemann, 145–57. Stutt-
gart: Reclam, 2013.
Hentschel, Frank. “Zur Rolle der Wertung in der Musikhistoriographie.” In Musik
– Politik – Gesellschaft. Michael Walter zum 65. Geburtstag, edited by Kordu-
la Knaus and Susanne Kogler, 339–58. Berlin: Metzler, 2023.
35 “portare la musica classica, i suoi molteplici messaggi e valore artistici e sociali al più
ampio pubblico possibile.” Ibid.
49
By doing so the authors appear to take exactly the third position men-
tioned above between scientific interest, the artist’s intention, and the mar-
ket. In addition, by appearing on the web they make their voices heard in a
novel way – demonstrating possibilities new technologies offer the old gen-
re of criticism. When they describe their aim, they stress – as we have seen
it with critics since 200 years – the social and aesthetical values of music in
which they are interested: “to bring classical music and its many artistic and
social messages and values to the widest possible audience.”35
Bibliography
Literature
Adorno, Theodor W. “Zur Dreigroschenoper.” In Musikalische Schriften V [Ges.
Schriften 18], edited by Rolf Tiedemann, 539–40. Frankfurt a. M.: Suhrkamp,
1970.
Anon. “Criticism.” In The New Grove Dictionary of Music and Musicians, vol. 5,
edited by Stanley Sadie, 670–98. London: Macmillan, 1980.
Appel, Bernhard R. “Die ‘Marseillaise’ bei Heinrich Heine und Robert Schu-
mann.” In Übergänge: zwischen Künsten und Kulturen. Internationaler Kon-
gress zum 150. Todesjahr von Heinrich Heine und Robert Schumann, edited by
Henriette Herwig, 289–304. Stuttgart: Metzler, 2007.
Brecht, Bertolt. “Autobiographische Notizen 1921 bis Juni 1938.” In Bertolt Bre-
cht: Werke. Große kommentierte Berliner und Frankfurter Ausgabe, vol. 26:
Journale 1, edited by Werner Hecht, Jan Knopf, Werner Mittenzwei, and
Klaus-Detlef Müller, 299. Berlin, Frankfurt: Suhrkamp Verlag, 1913–1941.
Brecht, Bertold, and Kurt Weill. “Die Dreigroschenoper.” Kammerspiele der Josef
stadt, Programm 2021/22.
Debussy, Claude. “Le ‘Faust’ de Schumann. – Ouverture pour ‘Le Roi Lear’ d’A.
Savard. – Le troisième acte de ‘Siegfried’. – Une Symphonie de Witkowski.”
In: Claude Debussy, Monsieur Croche et autres écrits, edited by Francois
Lesure, 25. Paris: Gallimard, 1987.
Heinemann, Michael. “Kritik. Emanzipation des Hörers im 18. Jahrhundert.” In
Kleine Geschichte der Musik, edited by Michael Heinemann, 145–57. Stutt-
gart: Reclam, 2013.
Hentschel, Frank. “Zur Rolle der Wertung in der Musikhistoriographie.” In Musik
– Politik – Gesellschaft. Michael Walter zum 65. Geburtstag, edited by Kordu-
la Knaus and Susanne Kogler, 339–58. Berlin: Metzler, 2023.
35 “portare la musica classica, i suoi molteplici messaggi e valore artistici e sociali al più
ampio pubblico possibile.” Ibid.
49
