{"id":276,"date":"2020-11-24T22:40:34","date_gmt":"2020-11-24T21:40:34","guid":{"rendered":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/?p=276"},"modified":"2020-11-24T23:14:50","modified_gmt":"2020-11-24T22:14:50","slug":"session-10","status":"publish","type":"post","link":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/session-10\/","title":{"rendered":"SESSION 10: Thinking Crisis"},"content":{"rendered":"

Saturday, 28 November 2020<\/strong><\/p>\n\n\n\n\n\n\n
11:15 \u2013 13:45<\/strong><\/td>\nSESSION 10:<\/strong><\/p>\n

Thinking Crisis<\/em><\/strong><\/p>\n

chair: Leon Stefanija<\/td>\n<\/tr>\n

11:15 \u2013 11:45<\/td>\nDalibor Davidovi\u0107:<\/p>\n

Eva Sedak, a Musicologist in Times of Crises <\/em><\/td>\n<\/tr>\n

11:45 \u2013 12:15<\/td>\nSanela Nikoli\u0107:<\/p>\n

Considering a Global Perspective: The Case of <\/em>Musicological Brainfood<\/td>\n<\/tr>\n

12:15 \u2013 12:45<\/td>\nJan Giffhorn:<\/p>\n

The Perks of Being Post-Factual: Fiction and Research in Musicology<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Dalibor Davidovi\u0107<\/strong><\/p>\n

Department of Musicology, Academy of Music, University of Zagreb<\/p>\n

ddavidovic@muza.hr<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

Eva Sedak, a Musicologist in Times of Crises<\/strong><\/p>\n

In response to the \u201cnarratives of crisis\u201d that permeate contemporary musi\u00adcological research and to concerns about the future of the discipline, I propose to look into its past in order to outline the respective former narratives. My intention is to consider what in such cases is called the “crisis” into which musicology has fallen and how musicologists have tried to deal with it. An example where I will consider these issues is the work of Eva Sedak (1938-2017), a musicologist who considered herself living in \u201ctimes of crisis\u201d. In this paper, I would like to show that the notion of \u201ccrisis\u201d in her writings appears in three characteristic contexts, which to some extent overlap. In the writings from the 1970s, Eva Sedak appeared as a kind of witness to the “crisis” in which fell, in her opinion, contempo\u00adrary composition on the one hand and music criticism, on the other. In the second context, which began in the mid-1970s, “crisis” was the term to describe the state of musical life in Croatia in past and present times, which, precisely because of its position in the “border area”, posed a chal\u00adlenge to musicological considerations. Finally, in the third context, out\u00adlined gradually but particularly strikingly in the late 1990s, the “crisis” emerged as an integral part of a historiographical conception capable of adequately responding to the “crisis” state of music in the “border area”. In this context, the notion of “crisis” gradually gives way to the notion of “deconstruction”.<\/p>\n

Key words<\/strong>: crisis, musicology in Croatia, Eva Sedak, nationalism, deconstruction<\/p>\n

Dalibor Davidovi\u0107<\/strong> (1972) completed his musicology studies in Zagreb and Hamburg. His recent research has been focused on the notion of anarchy in the work of John Cage, on the music ontology of the Jewish philosopher Ivan Focht and on the work of the German artist Hans J\u00fcrgen Syberberg. He teaches at the Music Academy in Zagreb. From 2016 to 2018 visiting re\u00adsearcher at Berlin University of the Arts.<\/p>\n

\n

Sanela Nikoli\u0107<\/strong><\/p>\n

Faculty of Music, University of Arts, Belgrade; International Association of Aesthetics Delegate-at-Large<\/p>\n

saneladnikolic@gmail.com<\/em><\/p>\n

 <\/p>\n

Considering a Global Perspective: <\/strong><\/p>\n

The Case of Musicological Brainfood<\/em><\/strong><\/p>\n

Since 2017, the International Musicological Society has published Musico\u00adlogical Brainfood<\/em> online: Tasty Bite-Size Provocations to Refuel Your Think\u00ading<\/em>. Each issue contains one or two short contributions moving away from the form of \u2018classical\u2019 musicological journal. Yet, the authors of these texts are the leading musicologists of our time. At first glance, these texts look like some short musicological manifestos. Hence, the editors suggest not to understand them as \u201crepresentative, official, exhaustive or definitive\u201d but as \u201ccooked up to advance, refresh, or reinvigorate different aspects of our field\u201d. From reading this \u201ctasty brain food\u201d it becomes obvious that considering how a global perspective challenges musicology, \u201ctasty brain food\u201d is a predominant \u2018ingredient\u2019 of it. So, the thesis provoked here by these texts is: musicology develops its potential as a socially engaged prac\u00adtice challenged by a global perspective. It becomes responsible for the sustainability of music cultures and thus actively involved in a global sustainable development project.<\/p>\n

But, is there some new \u2018global\u2019 research object of musicology? or are we still talking about the cases of local musi\u00adco\u00adlogical works that fit into the global tendency to preserve the culture? Or, maybe, the appropriate would be to talk about \u2018global\u2019 on the level of musicological aims and goals. What kind of tools in the interdisciplinary musi\u00adcological toolbox should be picking up as the most useful for prac\u00adticing global musicology? And how does the global musicology that takes responsibility for the sustainability of music in the form of a collaborative project work collide with the traditional musicological forms of writing history and theory of (Western) music? Provoked and \u2018refuelled\u2019 by Musi\u00adco\u00adlogical Brainfood<\/em>, the answers on these will be used to outline global musicology disciplinary features.<\/p>\n

Key words: <\/strong>global musicology, music theory and history, music heritage, sustainability of music culture.<\/p>\n

Sanela Nikoli\u0107<\/strong> (1983), Assistant Professor of Applied Aesthetics at the Faculty of Music, University of Arts, Belgrade, graduated from the Department of Musicology at the Faculty of Music, Belgrade (2006), and obtained doctoral degree from the Interdisciplinary Studies at the University of Arts, Belgrade, PhD programme for Theory of Arts and Media (2011). Lecturer at Interdis\u00adcipli\u00adnary PhD studies, University of Arts, Belgrade (2013\u20132015, 2020). One of the editors of the AM Journal of Art and Media Studies<\/em>. In addition to numer\u00adous scholarly texts, she is the author of two books in the Serbian language. She is the International Association for Aesthetics Delegate-at-Large (2019\u20132022) and also a member of the Serbian Musicological Society. Fields of interest: avant-garde art schools and practices; applied aesthetics as a critical history of the humanities; interdisciplinarity and transdisciplinarity in the humanities; digital humanities.<\/p>\n

\n

Jan Giffhorn<\/strong><\/p>\n

Music and Arts University of the City of Vienna<\/p>\n

j.giffhorn@muk.ac.at<\/em><\/p>\n

\u00a0<\/b><\/p>\n

The Perks of Being Post-Factual: <\/strong><\/p>\n

Fiction and Research in Musicology<\/strong><\/p>\n

The Perks of Being Post-Factual<\/em> discusses elements of fiction as produc\u00adtive methodical means in musicology. The talk will outline didactic and pro\u00adfes\u00adsional relevance in face of recent developments and will provide exam\u00adples which shall demonstrate both the opportunities and the dan\u00adgers of the concept.<\/p>\n

Over the recent past, new approaches surfaced in musicology, some of them deemed to be unbecoming to the discipline at first. But Artistic Re\u00adsearch for example has been able to massively expand both methods and subjects, eventually aiming at the promising \u00bbjoint venture\u00ab of the artistic practice, the science of art, and their reflection in academia and the public sphere.<\/p>\n

In order to discuss additional methodical tools, I draw on Patricia Leavy’s Fic\u00adtion as Research Practice<\/em> (2013) as well asthe recently pub\u00adlished Ein\u00adladung zur \u00f6ffentlichen Soziologie \u2013 Eine post\u00addisziplin\u00e4re Passion<\/em> [Invita\u00adtion to Public Sociology \u2013 A Post-discipli\u00adnary Passion<\/em>] (2020) by German so\u00adci\u00adolo\u00adgist Stefan Selke. Based on Leavy and Selke, I willshow the possi\u00adble benefits of using elements such as storytelling in musicological con\u00adtexts. Ap\u00adproach\u00ades em\u00adbed\u00adding fictive aspects can be particularly helpful when work\u00ading with mu\u00adsic students who are skilled artists but at the same time un\u00adskilled writers and researchers: It may unblock the connec\u00adtion between the artist\u2019s prac\u00adtice and demands of science by liberating thought.<\/p>\n

The subject is highly relevant for strengthening the status of musicology at universities and academies, and fosters both artistic and scientific findings and research.<\/p>\n

Key words: <\/strong>artistic research, fiction-based research, storytelling, creative writing<\/p>\n

Jan Giffhorn<\/strong> (1978, Bonn, Germany) studied Music Theory and Piano from 2000 until 2005 at the Folkwang University Essen. In 2008 he began as a PhD-Candidate in Musicology at the then Institute for Analysis, Theory and History of Music with Prof. Dr Dieter Torkewitz at the University of Music and Per\u00adform\u00ading Arts Vienna (MDW). The thesis dealt with the symphonic work of Leonard Bernstein (\u201cZur Sinfonik Leonard Bernsteins \u2013 Betrachtungen zu Rezep\u00adtion, \u00c4sthetik und Komposi\u00adtion\u201d<\/em>). He received his PhD in 2014 (with distinction). Since 2017 he has been a Research Fellow at the Music and Arts University of the City of Vienna (MUK) at the Institute for Science and Re\u00adsearch, where he is concerned with bachelor\u2019s and master\u2019s theses, as well as formats such as Portfolio, teaching students how to write.<\/p>\n","protected":false},"excerpt":{"rendered":"

Saturday, 28 November 2020 11:15 \u2013 13:45 SESSION 10: Thinking Crisis chair: Leon Stefanija 11:15 \u2013 11:45 Dalibor Davidovi\u0107: Eva Sedak, a Musicologist in…   Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[9,1],"tags":[],"class_list":["post-276","post","type-post","status-publish","format-standard","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/276","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/comments?post=276"}],"version-history":[{"count":3,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/276\/revisions"}],"predecessor-version":[{"id":288,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/276\/revisions\/288"}],"wp:attachment":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/media?parent=276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/categories?post=276"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/tags?post=276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}