Papers by Johannes Kreidler
Johannes Kreidler, Personenregister zu den Büchern Musik mit Musik [MmM] (Wolke Verlag 2012) und ... more Johannes Kreidler, Personenregister zu den Büchern Musik mit Musik [MmM] (Wolke Verlag 2012) und Sätze über musikalische Konzeptkunst [SümK] (Wolke Verlag 2018)
Postscriptum to the extended and dissolved definition of music
On designing new instruments as a compositional practice
On Polemics (in the arts)
The Shutter Principle
On a composition technique I use in several pieces.
My daily festival
On art / music consumption on the internet.
What's new in >new conceptualism<
He does not only want to play
A critic on the verb "play" in the arts.
With Guidance?
On the reception of conceptual music.
A short essay on love.
What if Artists would be free to do whatever they want?
Music with Music
On the compositional practices with third party material in New Music.
The total archive
On the state and work with the archive in the digital age.
Calculated Objects in Time
On my self-developed composition software.
On the work of Mathias Spahlinger in general.
On >Art Music< vs. >Pop Music<
Prepared Listening
On compositional strategies that prepare the listening of music.
Eine Antwort auf Claus-Steffen Mahnkopf in der Kontroverse "Musik, Ästhetik, Digitalisierung" (2010)
The »State of Material« in Contemporary Music
In accordance with Niklas Luhmann´s theory of art ... more The »State of Material« in Contemporary Music
In accordance with Niklas Luhmann´s theory of art the concept of musical material expands into the connection of media-forforms where the material appears as a guiding difference within the medial fabric. From the postmodern perspective a »state of material« in Adorno´s sense only – if at all – applies to an individual work. It is shown however that the category of sound can nonetheless be used to determine an overarching historical situation – in the system of New Music at least – namely that of its institutional consolidation. (This situation is described as needing reform however as institutions conserve the sonic identity of New Music.) Sound in its important role as medium is joined by the »substance« postulated by Harry Lehmann; this comes about through a lingual and sonically objectifiable exploration of music. The technological innovation of the digital revolution finally concretises both the question of the medium and that of the substance and opens up new aesthetic and publicatory possibilities.
Eine Kritik an den institutionellen Apriori in der Neuen Musik.
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Papers by Johannes Kreidler
In accordance with Niklas Luhmann´s theory of art the concept of musical material expands into the connection of media-forforms where the material appears as a guiding difference within the medial fabric. From the postmodern perspective a »state of material« in Adorno´s sense only – if at all – applies to an individual work. It is shown however that the category of sound can nonetheless be used to determine an overarching historical situation – in the system of New Music at least – namely that of its institutional consolidation. (This situation is described as needing reform however as institutions conserve the sonic identity of New Music.) Sound in its important role as medium is joined by the »substance« postulated by Harry Lehmann; this comes about through a lingual and sonically objectifiable exploration of music. The technological innovation of the digital revolution finally concretises both the question of the medium and that of the substance and opens up new aesthetic and publicatory possibilities.
In accordance with Niklas Luhmann´s theory of art the concept of musical material expands into the connection of media-forforms where the material appears as a guiding difference within the medial fabric. From the postmodern perspective a »state of material« in Adorno´s sense only – if at all – applies to an individual work. It is shown however that the category of sound can nonetheless be used to determine an overarching historical situation – in the system of New Music at least – namely that of its institutional consolidation. (This situation is described as needing reform however as institutions conserve the sonic identity of New Music.) Sound in its important role as medium is joined by the »substance« postulated by Harry Lehmann; this comes about through a lingual and sonically objectifiable exploration of music. The technological innovation of the digital revolution finally concretises both the question of the medium and that of the substance and opens up new aesthetic and publicatory possibilities.