Relevant bibliographies by topics / Donaueschinger Musiktage

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Academic literature on the topic 'Donaueschinger Musiktage'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Donaueschinger Musiktage"

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Adler-McKean, Jack. "Donaueschinger Musiktage 2015." Tempo 70, no. 276 (April 2016): 87–89. http://dx.doi.org/10.1017/s0040298215001084.

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An atmosphere of sadness, anger and uncertainty dominated this year's Donaueschinger Musiktage. The passing in November 2014 of Armin Köhler, the artistic driving force behind the festival for the last 23 years, has left a hole that will be hard to fill. Meanwhile, due to state budget cuts Donaueschingen's orchestra-in-residence, the SWR Sinfonieorchester Freiburg und Baden-Baden, paid what will almost certainly be their final visit. Musically, however, it was business as usual, with the programme featuring a wide variety of world premieres, several of works that will certainly be heard many times again, alongside much experimentation of varying interest and executional success.
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Engström, Andreas. "Donaueschinger Musiktage 2016." Tempo 71, no. 280 (March 3, 2017): 86–88. http://dx.doi.org/10.1017/s0040298217000146.

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A theme for the festival in Donaueschingen was popular music, or so I heard in a radio broadcast on the six-hour drive from Berlin to that little Southern German new music metropole. But in Donaueschingen, there really wasn't that much pop music; the theme was actually a kind of after-construction, something that had, according to the festival director Björn Gottstein, crystallised as a kind of a common denominator in several of the works that had been commissioned. For me this felt like grabbing something out of the void; in the three days of the usual intense programme, it hardly shone through as something specific.
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Lash, Dominic, and James Saunders. "AFTER #[unassigned]: an Interview with James Saunders." Tempo 70, no. 276 (April 2016): 5–21. http://dx.doi.org/10.1017/s0040298215000947.

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AbstractI have long been intrigued by the way James Saunders’ music is at home both in the more canonical new music contexts (such as the Darmstädter Ferienkurse, Donaueschinger Musiktage or Huddersfield Contemporary Music Festival) and in more underground, fugitive contexts. This may be because – unlike so many composers who tip the scales to one side or another – Saunders is equally interested in relationships between sounds and relationships between people. The following text explores the ways Saunders’ work has balanced these interests; it originated in an interview initiated by Simon Reynell to accompany the CD release of Saunders’ composition assigned #15, performed by Apartment House, on Reynell's Another Timbre label. We subsequently followed up with a second interview extending the discussion to more recent work.
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4

Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 54, no. 12 (January 1999). http://dx.doi.org/10.7767/omz.1999.54.12.62.

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Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 56, no. 1 (January 2001). http://dx.doi.org/10.7767/omz.2001.56.1.73.

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Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 60, no. 12 (January 2005). http://dx.doi.org/10.7767/omz.2005.60.12.62.

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Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 63, no. 1 (January 2008). http://dx.doi.org/10.7767/omz.2008.63.1.62.

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Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 64, no. 1 (January 2009). http://dx.doi.org/10.7767/omz.2009.64.1.71.

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Knessl, Lothar. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 65, no. 1 (January 2010). http://dx.doi.org/10.7767/omz.2010.65.1.53.

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10

Hagmann, Peter. "Donaueschinger Musiktage." Österreichische Musikzeitschrift 66, no. 1 (January 2011). http://dx.doi.org/10.7767/omz.2011.66.1.80.

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Books on the topic "Donaueschinger Musiktage"

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Donaueschinger Musiktage (1995 : Donaueschingen), ed. Programmheft: Donaueschinger Musiktage 1995. Saarbrucken: Pfau, 1996.

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Donaueschinger Musiktage (1994 : Donaueschingen), ed. Programm: Donaueschinger Musiktage 1994. Saarbrucken: Pfau, 1996.

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Häusler, Josef. Spiegel der neuen Musik, Donaueschingen: Chronik, Tendenzen, Werkbesprechungen. Kassel: Bärenreiter, 1996.

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contributor, Nasritdinov Heike, and Weber, Fabian, M.A., contributor, eds. Die Donaueschinger Musikfeste 1921 bis 1926: Regesten zu den Briefen und Dokumenten im Fürstlich Fürstenbergischen Archiv mit einer historischen Einführung. Regensburg: ConBrio Verlagsgesellschaft, 2017.

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Musiktage, Donaueschinger. Festschrift: 75 Jahre Donaueschinger Musiktage 1921-1996. Edited by Everding August 1928-1999, Köhler Armin, and Gesellschaft der Musikfreunde Donaueschingen. Saarbrücken: Pfau-Verlag, 1999.

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6

Donaueschinger Musiktage (1993 : Donaueschingen), ed. Programm: Donaueschinger Musiktage 1993, 15. bis 17. Oktober. Saarbrucken: Pfau, 1996.

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7

Bunse, Heinz. Musikfreunde: Bilder aus der bewegten Geschichte eines Donaueschinger Vereins, 1913-2013. Donaueschingen: Mory's Hofbuchhandlung, 2013.

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8

Die Innovation bleibt immer auf einem Fleck: Die Donaueschinger Musiktage und ihr Metier : begleitende Texte zum Festival : eine Publikation der Donaueschinger Musiktage. Mainz: Schott Music, 2011.

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Book chapters on the topic "Donaueschinger Musiktage"

1

Wackerbauer, Michael, Bernd Künzig, Dirk Wieschollek, and Lydia Jeschke. "Donaueschinger Musiktage (1921–2021)." In Musik in Baden-Württemberg. Jahrbuch 2021/22, 33–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-66099-7_4.

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Lovell, Rosanna, and Brandon Farnsworth. "Gender Relations in New Music is Institutional Critique." In New Music and Institutional Critique, 139–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_9.

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AbstractThis chapter documents key actions of institutional critique by Gender Relations in New Music (GRiNM), a collective advocating for gender equality and intersectional diversity in New Music. The article follows their interventions in major German New Music institutions including the Darmstadt Summer Course, MaerzMusik Festival Berlin, and Donaueschinger Musiktage, as well the group’s own events and the pandemic’s impact on its activism. It also analyses how the group’s tactics have developed in response to these institutions beginning to address diversity questions themselves. The article links the group’s methods to collective critique, para-institutionality, and the question of who is in position to critique the institution at all. It concludes by positioning critique as necessary-but-opposed to the institution, calling the reader to also take action, while underscoring how institutional stratification can undermine criticality.
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Andraschke, Peter. "Vielfalt der Moderne. Die Musiktage in Donaueschingen und Baden-Baden in den 1920er Jahren." In Studia musicologica Labacensia, 63–72. Založba Univerze na Primorskem, Festival Ljubljana, 2018. http://dx.doi.org/10.26493/978-961-7023-72-5.63-72.

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You might also be interested in the extended bibliographies on the topic 'Donaueschinger Musiktage' for particular source types:
Journal articles
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