Herbert Eimert And The Darmstadt School


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Herbert Eimert and the Darmstadt School


Herbert Eimert and the Darmstadt School

Author: Max Erwin

language: en

Publisher: Cambridge University Press

Release Date: 2020-12-03


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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.

New Music at Darmstadt


New Music at Darmstadt

Author: Martin Iddon

language: en

Publisher:

Release Date: 2013


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The first full-length English-language discussion of the Darmstadt New Music Courses, showing the rise and fall of the 'Darmstadt School'.

New Music at Darmstadt


New Music at Darmstadt

Author: Martin Iddon

language: en

Publisher: Cambridge University Press

Release Date: 2013-04-18


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New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.