Element contents
Series: Elements in Music since 1945
Herbert Eimert and the Darmstadt School
The Consolidation of the Avant-Garde
Published online by Cambridge University Press: 09 November 2020
Summary
After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as 'punctual music', 'post-Webern music', and 'static music', all collected under the newly-christened unity of the Darmstadt School. This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert's understanding of music history - whereby technical procedures are universalised as the acme of historical progress - was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.
Information
- Type
- Element
- Information
- Series: Elements in Music since 1945Online ISBN: 9781108891691Publisher: Cambridge University PressPrint publication: 03 December 2020
Bibliography
Adorno, Theodor W., ‘Berg and Webern – Schönberg’s Heirs’, Modern Music, 8.2 (1931), 29–38Google Scholar
Adorno, Theodor W. Essays on Music, ed. Leppert, Richard (Berkeley: University of California Press, 2002)Google Scholar
Adorno, Theodor W. Minima Moralia: Reflections from Damaged Life, trans. Jephcott, E. F. N. (London: Verso, 1974)Google Scholar
Adorno, Theodor W. ‘New Music and the Public: Some Problems of Interpretation’, trans. Myers, Rollo H., in Twentieth Century Music: A Symposium, ed. Myers, Rollo H. (London: John Calder, 1960), 40–51Google Scholar
Adorno, Theodor W. Philosophie der neuen Musik, Gesammelte Schriften XII, ed. Tiedemann, Rolf (Frankfurt am Main: Suhrkamp, 1975)Google Scholar
Adorno, Theodor W. Quasi una Fantasia: Essays on Modern Music, trans. Livingstone, Rodney (London: Verso, 1998)Google Scholar
Ashby, Arved, ‘Of Modell-Typen and Reihenformen: Berg, Schoenberg, F. H. Klein and the Concept of Row Derivation’, Journal of the American Musicological Society, 48 (1995), 67–105CrossRefGoogle Scholar
Attali, Jacques, Noise: The Political Economy of Music, trans. Massumi, Brian (Minneapolis: University of Minnesota Press, 1985)Google Scholar
Attinello, Paul, ‘Postmodern or Modern: A Different Approach to Darmstadt’, Contemporary Music Review, 26.1 (2007), 25–37CrossRefGoogle Scholar
Blüggel, Christian, E. = Ethik + Ästhetik: Zur Musikkritik Herbert Eimerts (Saarbrücken: Pfau, 2002)Google Scholar
Blumrӧder, Christoph von, Die Grundlegung der Musik Karlheinz Stockhausens (Stuttgart: Franz Steiner, 1993)Google Scholar
Blümroder, Christoph ‘Orientation to Herman Hesse’, trans. Kohl, Jerome, Perspectives of New Music, 36.1 (1998), 65–96Google Scholar
Born, Georgina, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley: University of California Press, 1995)Google Scholar
Burkholder, Peter J., Grout, Donald J., and Palisca, Claude V., A History of Western Music (New York: Norton, 2006)Google Scholar
Carroll, Mark, Music and Ideology in Cold War Europe (Cambridge: Cambridge University Press, 2003)Google Scholar
Christiaens, Jan, ‘“Absolute Purity Projected into Sound”: Goeyvaerts, Heidegger and Early Serialism’, Perspectives of New Music, 41.1 (2003), 168–78Google Scholar
Chua, Daniel K. L., ‘Drifting: The Dialectics of Adorno’s Philosophy of New Music’, in Apparitions: New Perspectives on Adorno and Twentieth-Century Music, ed. Hoeckner, Berthold (Abingdon: Routledge, 2006), 1–18Google Scholar
Claussen, Detlev, Theodor W. Adorno: One Last Genius (Cambridge: Harvard University Press, 2008)Google Scholar
Clifton, Thomas, Music as Heard: A Study in Applied Phenomenology (New Haven, CT: Yale University Press, 1983)Google Scholar
Dahlhaus, Carl, Foundations of Music History, transRobinson, . J. B. (Cambridge: Cambridge University Press, 1983)CrossRefGoogle Scholar
Decroupet, Pascal, ‘Développements et ramifications de la pensée sérielle. Recherches et oeuvres musicales de Pierre Boulez, Henri Pousseur et Karlheinz Stockhausen de 1951 à 1958’. Doctoral thesis, Université de Tours (1994)Google Scholar
Delaere, Mark, ‘Auf der Suche nach serieller Stimmigkeit: Goeyvaerts’ Weg zur Komposition Nr. 2 (1951)’, Die Anfänge der seriellen Musik, ed. Finnendahl, Orm (Berlin: wolke, 1999), 13–36Google Scholar
Delaere, Mark ‘“Jede kleine Leiche könnte ein Beethoven-Thema sein.” Karel Goeyvaerts’ Webern- Rezeption: Punkte und “tote Töne”’, in Anton Webern und das Komponieren im 20. Jahrhundert. Neue Perspektiven, ed. Cavallotti, Pietro and Schmusch, R. (Vienna: Musikzeit, 2019), 231–48Google Scholar
Delaere, Mark ‘Olivier Messiaen’s Analysis Seminar and the Development of Post-War Serial Music’, trans. Evans, Richard, Music Analysis, 21.1 (2002), 35–51Google Scholar
Delaere, Mark ‘The Projection in Time and Space of a Basic Idea Generating Structure: The Music of Karel Goeyvaerts’, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekweteschap, 48 (1994), 11–14Google Scholar
Delaere, Mark ‘The Stockhausen-Goeyvaerts Correspondence and the Aesthetic Foundations of Serialism in the Early 1950s’, in The Musical Legacy of Karlheinz Stockhausen: Looking Back and Looking Forward, ed. Grant, M. J. and Mische, Imke (Hofheim: wolke, 2016), 20–34Google Scholar
Delaere, Mark, ed., Rewriting Recent Music History: The Development of Early Serialism 1947–1957 (Leuven: Peeters, 2011)Google Scholar
Delaere, Mark, Knockaert, Yves, and Sabbe, Herman, Nieuwe muziek in Vlaanderen (Bruges: Het Kunstboek, 1998)Google Scholar
Desmet, Lieve, and Vande Winkel, Roel, ‘Historisch onderzoek naar de nieuwsproductie van de Vlaamse televisieomroep (NIR – BRT – BRTN – VRT): Een praktijkgebaseerde bronnenanalyse’, Belgisch Tijdschrift voor Nieuwste Geschiedenis/Revue Belge d’Histoire Contemporaine, 39 (2009), 93–122Google Scholar
Drew, David, ‘The Darmstadt Summer School of New Music, 1954’, The Score and IMA Magazine, 10 (December 1954), 77–81Google Scholar
Eggebrecht, Hans Heinrich, ed., Terminologie der Musik im 20. Jahrhundert (Stuttgart: Franz Steiner, 1995)Google Scholar
Eimert, Herbert Grundlagen der musikalischen Reihentechnik (Vienna: Universal Edition, 1964)Google Scholar
Ewen, David, Modern Music: A History and Appreciation – from Wagner to the Avant-Garde (Philadelphia: Chilton, 1962)Google Scholar
Feneyrou, Laurent, ‘Entre l’écorce et le bourgeon: Trois analyses du Refrain de la “Danse Sacrale”’, Du politique en analyse musicale, ed. Buch, Esteban, Donin, Nicolas, and Feneyrou, Laurent (Paris: VRIN, 2013), 227–52Google Scholar
Fox, Christopher, ‘Darmstadt and the Institutionalisation of Modernism’, Contemporary Music Review, 26.1 (2007), 115–23CrossRefGoogle Scholar
Fox, Christopher ‘Luigi Nono and the Darmstadt School: Form and Meaning in the Early Works (1950–1959)’, Luigi Nono: Fragments and Silence, ed. Davismoon, Stephen, Contemporary Music Review, 18.2 (1999), 111–30CrossRefGoogle Scholar
Fox, Christopher ‘Other Darmstadts: An Introduction’, Contemporary Music Review, 26.1 (2007), 1–3Google Scholar
Gallope, Michael, ‘Why Was This Music Desirable? On a Critical Explanation of the Avant-Garde’, The Journal of Musicology, 31.2 (2014), 199–230Google Scholar
Goeyvaerts, Karel, ‘Paris – Darmstadt: 1947–1956: Excerpt from the Autobiographical Portrait’, trans. Delaere, Mark, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekweteschap, 48 (1994), 35–54Google Scholar
Goeyvaerts, Karel Selbstlose Musik: Texte • Briefe • Gespräche, ed. Delaere, Mark (Cologne: MusikTexte, 2010)Google Scholar
Grant, M. J., Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe (Cambridge: Cambridge University Press, 2001)Google Scholar
Grant, M. J., and Misch, Imke, eds., The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward (Hofheim: wolke, 2016)Google Scholar
Grier, James, The Critical Editing of Music: History, Method, and Practice (Cambridge: Cambridge University Press, 1996)Google Scholar
Griffiths, Paul, The Sea on Fire: Jean Barraqué (Rochester: University of Rochester Press, 2003)Google Scholar
Hall, Patricia, and Sallis, Friedemann, eds, A Handbook to Twentieth-Century Musical Sketches (Cambridge: Cambridge University Press, 2004)Google Scholar
Harper-Scott, J. P. E., The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton (Cambridge: Cambridge University Press, 2012)CrossRefGoogle Scholar
Hauer, Josef Matthias, Vom Melos zur Pauke: Eine Einführung in die Zwölftonmusik (Theoretische Schriften Band I) (Vienna: Universal Edition, 1925)Google Scholar
Hauer, Josef Matthias Zwölftontechnik: Die Lehre von den Tropen (Theoretische Schriften Band II) (Vienna: Universal Edition, 1926)Google Scholar
Heile, Björn, ‘Darmstadt as Other: British and American Responses to Musical Modernism’, Twentieth-Century Music, 1.2 (2004), 161–78Google Scholar
Hodeir, André, ‘Serialism and Developments in Western Music since Webern’, trans. Myers, Rollo H., in Twentieth Century Music: A Symposium, ed. Myers, Rollo H. (London: Calder, John, 1960), 29–39Google Scholar
Iddon, Martin, ‘Darmstadt Schools: Darmstadt as a Plural Phenomenon’, Tempo, 65.256 (2011), 2–8Google Scholar
Iddon, Martin ‘Institutions, Artworlds, New Music’, in The Routledge Research Companion to Modernism in Music, ed. Heile, Björn and Wilson, Charles (Abingdon: Routledge, 2019)Google Scholar
Iddon, Martin John Cage and David Tudor: Correspondence on Notation and Performance (Cambridge: Cambridge University Press, 2013)Google Scholar
Iddon, Martin New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge: Cambridge University Press, 2013)CrossRefGoogle Scholar
Iddon, Martin ‘Selbstlose Musik. Texte, Briefe, Gespräche by Karel Goeyvaerts, Mark Delaere’, review, Notes, 69.3 (2013), 531–5Google Scholar
Iddon, Martin ‘Serial Canon(s): Nono’s Variations and Boulez’s Structures’, Contemporary Music Review, 29.3 (2010), 265–75CrossRefGoogle Scholar
Iddon, Martin ‘Trying to Speak: Between Politics and Aesthetics, Darmstadt 1970–1972’, Twentieth- Century Music, 3.2 (2007), 255–75Google Scholar
Iverson, Jennifer, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde (Oxford: University of Oxford Press, 2019)Google Scholar
Kirchmeyer, Helmut, Kleine Monographie über Herbert Eimert (Leipzig: Sächsischen Akademie der Wissenschaften, 1998)Google Scholar
Kirchmeyer, Helmut ‘Stockhausens Elektronische Messe nebst einem Vorspann unveröffentlichter Briefe aus seiner Pariser Zeit an Herbert Eimert’, Archiv für Musikwissenschaft, 66.3 (2009)CrossRefGoogle Scholar
Kirchmeyer, Helmut, and Schmidt, Hugo Wolfram, Aufbruch der jungen Musik: Von Webern bis Stockhausen, Die Garbe: Musikkunde Teil IV (Cologne: Hans Gerig, 1970)Google Scholar
Kovács, Inge, Wege zum musikalischen Strukturalismus. René Leibowitz, Pierre Boulez, John Cage und die Webern-Rezeption in Paris um 1950 (Schliengen: Argus, 2004)Google Scholar
Kurtz, Michael, Stockhausen: A Biography, trans. Toop, Richard (London: Faber & Faber, 1992)Google Scholar
Maconie, Robin, The Works of Karlheinz Stockhausen (London: Oxford University Press, 1976)Google Scholar
Maconie, Robin The Works of Karlheinz Stockhausen, 2nd ed. (London: Oxford University Press, 1990)Google Scholar
Marie, Jean-Étienne, Musique Vivante: introduction au langage musical contemporain (Paris: Privat, 1953)Google Scholar
Marino, Stefano, ‘La ricezione dell’estetica musicale di Th.W Adorno in Italia’ (unpublished PhD thesis, University of Bologna, 2001)Google Scholar
McClary, Susan, ‘Terminal Prestige: The Case of Avant-Garde Music Composition’, Cultural Critique 12 (1989), 57–81.Google Scholar
Messiaen, Olivier, The Technique of My Musical Language, trans. Satterfield, John (Paris: Alphonse Leduc, 1956)Google Scholar
Metzger, Heinz-Klaus, ‘Just Who Is Growing Old?’, trans. Black, Leo, die Reihe, 4 (1960), 63–80Google Scholar
Metzger, Heinz-Klaus, and Riehn, Rainer, eds., Karlheinz Stockhausen: … wie die Zeit verging …, Musik-Konzepte, 19 (Munich: text + kritik, 1981)Google Scholar
Misch, Inge, and Brandur, Markus, eds., Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik Darmstadt 1951–1996: Dokumente und Briefe (Kürten: Stockhausen, 2001)Google Scholar
Morgan, Robert P., Twentieth-Century Music: A History of Musical Style in Modern Europe and America (New York: Norton, 1991)Google Scholar
Nielinger-Vakil, Carola, Luigi Nono: A Composer in Context (Cambridge: Cambridge University Press, 2015)Google Scholar
Pace, Ian, ‘The Reconstruction of Post-War West German New Music during the early Allied Occupation (1945–46), and Its Roots in the Weimar Republic and Third Reich (1918–45)’ (unpublished PhD thesis, University of Cardiff, 2018)Google Scholar
Paddison, Max, Adorno’s Aesthetics of Music (Cambridge: Cambridge University Press, 1993)Google Scholar
Piccardi, Carlo, ‘Tra ragioni umane e ragioni estetiche: i dodecafonici a congresso’, in Norme con Ironie: scritti per i settant’anni di Ennio Morricone, ed. Gallenga, Laura (Milan: Suivini Zerboni, 1998), 205–72Google Scholar
Piekut, Benjamin, Experimentalism Otherwise: The New York Avant-Garde and Its Limits (Berkeley: University of California Press, 2011)Google Scholar
Prieberg, Fred K., Handbuch Deutsche Musiker 1933–1945 (Auprès de Zombry: Fred K. Prieberg, 2004)Google Scholar
Ross, Alex, The Rest Is Noise: Listening to the Twentieth Century (London: Harper Perennial, 2007)Google Scholar
Sabbe, Herman, ‘Comentaar’, in Documenta Musicae Novae I, Publikaties van het seminarie voor muziekgeschiedenis, 3 (Ghent: Rijksuniversiteit-Gent, 1968), unpaginatedGoogle Scholar
Sabbe, Herman ‘Die Einheit der Stockhausen-Zeit: Neue Erkenntnismöglichkeit der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goeyvaerts’, Karlheinz Stockhausen: … wie die Zeit verging …, Musik-Konzepte, vol. 19 (Munich: text + kritik, 1981), 5–96Google Scholar
Sabbe, Herman ‘Das Musikdenken von Karel Goeyvaerts in Bezug auf das Schaffen von Karlheinz Stockhausen: Ein Beitrag zur Geschichte der frühseriellen und elektronischen Musik 1950–1956’, Interface. Journal of New Music Research, 2.1 (1973), 101–13Google Scholar
Sabbe, Herman ‘Goeyvaerts and the Beginnings of “Punctual” Serialism and Electronic Music’, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekweteschap, 48 (1994), 55–94Google Scholar
Sabbe, Herman Het muzikale serialisme als techniek en als denkmethode (Ghent: Rijksuniversiteit-Gent, 1977)Google Scholar
Sabbe, Herman ‘The New Music in the 20th Century – A Number of Key Concepts Essential For Interpretation’, in Inter Disciplinas Ars, ed. Dejans, Peter (Leuven: Leuven University Press, 1998), 81–92Google Scholar
Sabbe, Herman ‘A Paradigm of “Absolute Music”: Goeyvaerts’s No. 4 as “Numerus Sonorus”’, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekweteschap, 59 (2005), 243–51Google Scholar
Sabbe, Herman ‘Techniques médiévales en musique contemporaine: histoire de la musique et sens culturel’, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekweteschap, 34/35 (1980/1981), 220–33Google Scholar
Salzman, Eric, Twentieth-Century Music: An Introduction (Upper Saddle River: Prentice Hall, 1967, fourth edition 2002)Google Scholar
Saunders, Frances Stonor, Who Paid the Piper?: The CIA and the Cultural Cold War (London: Granta, 1999)Google Scholar
Schiffer, Brigitte, ‘The Citadel of the Avant-Garde’, World of Music, 11.3 (1969), 32–43Google Scholar
Schneider, Urs Peter, Konzeptuelle Musik: Eine kommentierte Anthologie (Bern: Aart Verlag, 2016)Google Scholar
Simms, Brian R., Music of the Twentieth Century: Style and Structure (New York: Schirmer, 1986)Google Scholar
Smith Brindle, Reginald, The New Music: The Avant-Garde Since 1945 (London: Oxford University Press, 1975)Google Scholar
Steinecke, Wolfgang, ‘Kranichstein – Geschichte, Idee, Ergebnisse’, Darmstädter Beiträge zur neuen Musik, 4 (1962), 9–24Google Scholar
Stephan, Rudolf, Knessl, Lothar, Tomek, Otto, Trapp, Klaus, and Fox, Christopher, eds., Von Kranichstein zur Gegenwart (Stuttgart: DACO, 1996)Google Scholar
Stockhausen, Karlheinz Towards a Cosmic Music, trans. Nevill, Tim (Longmead: Element, 1989)Google Scholar
Stockhausen, Karlheinz ‘Weberns Konzert für 9 Instrumente op. 24: Analyse des ersten Satzes’, Melos, 20.12 (1953), 343–8Google Scholar
Stuckenschmidt, Hans Heinz, Twentieth-Century Composers, Volume II: Germany and Central Europe, ed. Kallin, Anna and Nabokov, Nicolas (London: Weidenfeld and Nicolson, 1970)Google Scholar
Taruskin, Richard, Music in the Late Twentieth Century, The Oxford History of Western Music, vol. V (Oxford: Oxford University Press, 2005)Google Scholar
Toop, Richard, ‘Against a Theory of Musical (New) Complexity’, Contemporary Music: Theoretical and Philosophical Perspectives, ed. Paddison, Max and Deliège, Irène (Surrey: Ashgate, 2010), 89–98Google Scholar
Toop, Richard ‘Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez’, Perspectives of New Music, 13.1 (1974), 141–69Google Scholar
Trudu, Antonio, La “Scuola” di Darmstadt: I Ferienkurse dal 1946 a oggi (Milan: Edizioni Unicopoli, 1992)Google Scholar
Ungeheuer, Elena, Wie die elektronische Musik ‘erfunden’wurde … : Quellenstudie zu Werner Meyer-Epplers Entwurf zwischen 1949 und 1953 (Mainz: Schott, 1992)Google Scholar
Weaver, Jennifer L., ‘Theorizing Atonality: Herbert Eimert’s and Jefim Golyscheff’s Contributions to Composing with Twelve Tones’ (unpublished PhD thesis, University of North Texas, 2014)Google Scholar
Webern, Anton, Letters to Hildegard Jone and Josef Humplik, ed. Polnauer, Josef, trans. Cardew, Cornelius (Bryn Mawr, PA: Theodore Presser, 1967)Google Scholar
Webern, Anton The Path to the New Music, ed. Reich, Willi, trans. Black, Leo (Bryn Mawr, PA: Theodore Presser, 1963)Google Scholar
Williams, Alistair ‘New Music, Late Style: Adorno’s “Form in the New Music”’, Music Analysis, 27.2–3 (2008), 193–9Google Scholar
Wörner, Karl H., Stockhausen: Life and Work, trans. Hopkins, Bill (Berkeley: University of California Press, 1973)Google Scholar
Accessibility standard: Unknown
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
Accessibility compliance for the HTML of this Element is currently unknown
and may be updated in the future.
- 15
- Cited by