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Follow Us. App Download. US UK. The fact that the 31 composers and sound artists hail from 19 different countries underlines the festival s international claim. The decisive aspect of the commissioned works is not the ideological legitimation of an aesthetic, let alone the assertion of an artistic action s historical necessity, but rather the fact that something relevant and independent has been created.

That is why one work employs a solo harp while another calls for a fog machine. Texts set to music include Japanese ghost stories and a current news report. Ensembles specializing in avant-garde music come together with presenters from the SWR4 network, who normally act as experts in the field of popular music, and whose involvement in the festival is a special honour for me. Thus each work unfolds against its own historical and cultural background. The central element of the experience of art is the response a piece triggers in the listener. But the dramaturgy of the classical concert also comes up against its limits in an installative work like the one by Marina Rosenfeld.

In Donaueschingen, these limits and their transgression will become audible and visible. I would like to express my sincere thanks to them here. I wish you a stimulating and exciting weekend with many surprising musical experiences. One of these is the ongoing engagement with the technical challenges of our life. But it is also implied in situative and conceptual works such as those by Francesca Verunelli, in which there is a musician sitting at the piano, but the piano is controlled by a computer. Or the prepared bird s eggs of Serge Baghdassarians and Boris Baltschun as a symbol of a technology that simulates nature.

A second aspect that manifests itself in various ways in this year s programme is the question of the validity of old and new concert forms. Plus, , 20 Uhr 1 Museum Art. Mittlerweile hat sich Widerstand formiert, z. In the supposedly enlightened domain of culture, in all areas, equality between men and women is hardly put into practice. The reaction was anger and outrage. In the meantime, resistance to this has developed among groups such as Gender Research in New Music, which call for radical changes.

Our round table discussion will feature four women: a composer, a curator, a musicologist, and a performing musician who has had to fight for years against sexist discrimination. Dabei geraten insbesondere die durch unser Zeitalter rasende Digitalisierung und der technologische Fortschritt in den Fokus. Es geht immer ums Ganze. Manifeste zwingen ihre Leser, sich an der politischen Vision, die sie anbieten, zu beteiligen. Manifeste sind kollektive Dokumente, die ihre Leser dazu auffordern, zu spielen, anders zu denken, Chancen zu ergreifen.

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Es geschieht jetzt, an diesem Ort, zu dieser Zeit. Die Welt wird nie mehr dieselbe sein. Heute kann ein Manifest verschiedene Formen annehmen. Es muss nicht schriftlich verfasst und an die Wand genagelt sein. Selten passten die Formen unsere Genres der Kommunikation so gut mit dem sozialen Ethos unserer Zeit zusammen.

For some years we have been experiencing a form of renaissance, and we have therefore compiled a small selection in this year s programme book. The translation of the Latin verb manifestare only actually means to reveal or to make visible. Considering the abundance of manifesto-like text forms, however, no definition of this text genre has managed to establish itself: it cannot be definitively classified either in terms of literary theory or aesthetically. What the different rhetorical versions have in common, however, is that, as a pragmatic-discursive medium addressing a public, they articulate critique and wishes for change, point to alternatives and, not infrequently, vigorously call for action.

The manifestos gathered here sometimes do this with irony, sometimes in a more personal or didactic tone, some are provocative and others are uncompromising. Because, as Tzaro so aptly put it: A manifesto is a communication made to the whole world, whose only pretension is to the discovery of an instant cure for political, astronomical, artistic, parliamentary, agronomical and literary syphilis. This leads to a particular focus on the incredibly rapid digitalization and technological progress of our time.

Worries about the current developments are mingled with great enthusiasm for them. The manifestos give food for thought and urge us to dare to do new things, to create unusual and radical things. Manifesto Manifesto. And perhaps they can even serve as a stimulus for future artistic positions. Looking at recent work, the video and photo artist Julian Rosefeldt devoted his his epoch-defining film installation of , Manifesto, to the tradition and literary beauty of the manifesto.

He says, Manifestos in the original sense are not usually written when someone asks for them, but out of an inner absolute necessity to communicate something to the world and demand something of it. It s always all or nothing. A manifesto is always absolute and excessive; it encompasses everything, the concept of art and the whole world along with it. He too has commented on the art and significance of the manifesto: Manifestos are a joyous expression of political ideas.

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They allow their author to present a vision of what could be, but also to invoke a community of actors who might realize the author s vision. Perhaps this is why the manifesto genre seems to be so popular contemporarily. Social media is all about community building, and it often reveals stark social and political differences among the communities is manifests. Manifestos also compel their reader to participate in the political vision they offer. Manifestos are collective documents that invite their reader in to play, to think differently, and to take chances.

There is an improvisational character to what manifestos propose and how its proposals become actualized. It happens now, in this place, at this time. Manifestos proclaim that something new has entered the world. The world will never be the same. Today, a manifesto might take many forms.

It need not be written and nailed to a wall. Perhaps this speaks to the genre s contemporary popularity, also. If a manifesto can communicate to its audience via video, music, or otherwise, it can be shared more rapidly and in more places, impacting more people. If manifestos are participatory in intent, then they are open to interpretation, remixed every time they are read and put into practice.

The genre s malleability mirrors the means and acts of contemporary communication writ-large. Anreden an ein geliebtes metaphysisches Du. Entsprechend pendelt er hier im schmalen Rahmen zwischen E und Gis. Zwar gibt Nunes eine Dauer in Sekunden vor, aber die einzelnen Instrumente spielen melodisch und rhythmisch unterschiedliches Material in unterschiedlichen Tempi.

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Barbara Eckle Emmanuel Nunes Minnesang In Minnesang, a cappella composition for twelve mixed voices , Nunes is evoking not so much the courtly love of medieval feudal culture as love for a god. Only the opening and closing words are by Nunes himself: Let sound, word and love be yours forever and Tarry not, beloved soul! Accordingly, sentences, fragments of sentences or complete text passages only appear at certain points in Minnesang.

The main body of the text consists of key terms like heart-fire, star-spirit, body of the word and repeatedly Adonai, one of the names of God. The spectrum of declamation consists of six intermediate and mixed fields: from speaking to singing with the mouth open or closed, from intelligible text to sounds separated from any language.

The overall structure of Minnesang is based on six rhythmic formulas which Nunes uses in a way that recalls compositions from the ars nova period. The vocal work, which sounds unusually tonal compared to his other music, falls in the time of his first large cycle. Accordingly, he alternates between E and G within a narrow framework. This tonal restriction focuses the attention on the nuanced and multidimensional inner workings of text, words, syllables and sounds within semantic boundaries and beyond.

I must deepen my understanding of open form: it does not exist of its own accord, only through its various possible manifestations. In Quodlibet , with its massive forces and comprehensive spatial disposition, spatialization was realized by purely instrumental means, and it reached its zenith in his later work with electronics.


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