{"id":1489,"date":"2023-03-07T14:41:01","date_gmt":"2023-03-07T20:41:01","guid":{"rendered":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/?page_id=1489"},"modified":"2023-03-22T11:24:28","modified_gmt":"2023-03-22T17:24:28","slug":"claudia-albert-y-tomasz-kurianowicz-city-music-text-20-24-de-febrero-2012","status":"publish","type":"page","link":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/vida-academica\/cursos-especiales\/claudia-albert-y-tomasz-kurianowicz-city-music-text-20-24-de-febrero-2012\/","title":{"rendered":"Claudia Albert y Tomasz Kurianowicz: \u00abCity, Music, Text\u00bb (20-24 de febrero 2012)"},"content":{"rendered":"<p style=\"text-align: center;\">Curso extraordinario de Posgrado<\/p>\n<p style=\"text-align: center;\"><strong>City, Music, Text<\/strong> (20-24 de febrero 2012)<\/p>\n<p style=\"text-align: center;\">Impartido por <strong>Prof. Dr. Claudia Albert y Tomasz Kurianowicz<\/strong> (Freie Universit\u00e4t Berlin)<\/p>\n<p style=\"text-align: center;\">The course will be held in English.<\/p>\n<p style=\"text-align: justify;\"><strong>Program:<\/strong><\/p>\n<p style=\"text-align: justify;\"><strong>Session 1:<\/strong> Relations between Text, City and Sound. And: Virtuoses in Paris.<\/p>\n<p style=\"text-align: justify;\"><strong>Session 2:<\/strong> Musical and Urban Topographies: Rome, Vienna, Paris, Leipzig.<\/p>\n<p style=\"text-align: justify;\"><strong>Session 3:<\/strong> Machinism and Technology in Music. \/ Brecht \/ Weill<\/p>\n<p style=\"text-align: justify;\"><strong>Session 4:<\/strong> Brecht \/ Eisler: Hollywood and Heidelberg.<\/p>\n<p style=\"text-align: justify;\"><strong>Session 5:<\/strong> Jazz in the GDR.<\/p>\n<p style=\"text-align: justify;\"><strong>Requirements:<\/strong> All students should read: \u2022 Denis Diderot: <em>Rameau\u2019s Nephew<\/em> \u2022 Brecht&#8217;s libretto: <em>Rise and Fall of the City Mahagonny<\/em> \u2022 Brecht \/ Eisler: <em>Hollywood Elegies<\/em><\/p>\n<p style=\"text-align: justify;\">Other texts by Heine, Bachmann and Fries will be provided in a Spanish or English version during the course.<\/p>\n<p style=\"text-align: justify;\">The analysis regarding the musical will consider some scores, but will focus mainly on the literary text-sources.<\/p>\n<p style=\"text-align: justify;\"><strong>Literary references:<\/strong><\/p>\n<p style=\"text-align: justify;\"><strong>Denis Diderot:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>Link to the English version of <em>Rameaus Nephew<\/em>: <a href=\"http:\/\/gutenberg.net.au\/ebooks07\/0700101h.html\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/gutenberg.net.au\/ebooks07\/0700101h.html<\/a><\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>Bertolt Brecht:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>Martin Puchner: <em>Stagefright. Modernism, Anti-Theatricality &amp; Drama<\/em>, The Johns Hopkins University Press, Baltimore 2002, specifically pp. 139-156, Chapter: \u00abBertolt Brecht: The Theatre on the Leash\u00bb.<\/li>\n<li>John C. Nichols: \u00abSaving the Fallen City of Mahagonny: The Musical Elaboration of Brecht\u2019s Epic Theatre\u00bb. In: Helmut Hal Rennart (Hrsg.): <em>Essays on Twentieth Century German Drama and Theatre<\/em>, New York 2004.<\/li>\n<li>Rebecca Hilliker: \u00abBrecht\u2019s Gestic Vision for Opera. Why the Shock of Recognition Is More Powerful in \u201a<em>The Rise and Fall of the City of Mahagonny<\/em> than in <em>The Three Penny Opera<\/em>\u00ab. In: Helmut Hal Rennart (Hrsg.): <em>Essays on Twentieth Century German Drama and Theatre<\/em>, New York 2004, specifically pp. 219-224.<\/li>\n<li>Erhard Bahr: <em>Weimar on the Pacific. German Exile Culture on the Pacific in Los Angeles and the Crisis of Modernism<\/em>, Berkeley \/ Los Angeles 2007, specifically Chapter 3, pp. 79ff.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>Franz Liszt:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>Dana Gooley: <em>The Virtuoso Liszt<\/em>, Cambridge University Press, Cambridge 2004, pp. 18-78 (\u201eParisian Publics\u201c).<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>John Cage:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>Majorie Perloff: \u00abJohn Cage\u2019s Dublin, Lyn Hejinian\u2019s Leningrad: Poetic Cities as Cyberspaces\u00bb. In: Maria Eugenia Diaz Sanchez, Craig Douglas Dworkin: <em>Architectures of Poetry<\/em>, New York 2004, specifically pp. 131-143.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>Jazz in the GDR and Poland:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>Martin Kane: \u00abFrom Oobliadooh to Prenzlauer Berg: Literature, Alternative Lifestyle and Identity in the GDR\u00bb. In: Axel Goodbody, Dennis Tate (Hrsg.): <em>German Monitor. Geist und Macht \u2013 Writers and the State in the GDR<\/em>, Amsterdam \/ Atlanta 1994, specifically pp. 90-103.<\/li>\n<li>Penny von Eschen: <em>Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War<\/em>, Harvard 2004.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>References to the essays regarding this field by Claudia Albert:<\/strong><\/p>\n<p style=\"text-align: justify;\"><strong> Monographies:<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>1991: <em>Das schwierige Handwerk des Hoffens. Hanns Eislers \u201eHollywooder Liederbuch\u201c (1942\/3).<\/em> Stuttgart 1991.<\/li>\n<li>2002: <em>T\u00f6nende Bildschrift. \u201aMusik\u2019 in der deutschen und franz\u00f6sischen Erz\u00e4hlprosa des 18. und 19. Jahrhunderts.<\/em> Heidelberg 2002.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>Articles<\/strong><\/p>\n<ul style=\"text-align: justify;\">\n<li>1991: \u00abAdorno und Eisler als Repr\u00e4sentanten des Musiklebens in den beiden deutschen Staaten der Nachkriegszeit.\u00bb &#8211; In: Jahrbuch Exilforschung 9 (1991), pp. 68-80.<\/li>\n<li>1992: \u00abOpernkomponisten im Exil\u00bb. &#8211; In: <em>Gesungene Welten. Aspekte der Oper<\/em>. Hamburg 1992, pp. 247-260.<\/li>\n<li>1994: \u00abMusik und Musiker in der Literatur &#8211; am Leitfaden von \u201eRameaus Neffe(n)\u00bb. &#8211; In: <em>Musica<\/em> 48 (1994) H.6, pp. 354-356.<\/li>\n<li>1995: \u00abZwischen Enthusiasmus und Kunstgrammatik: Pergolesi als Modell f\u00fcr Wackenroders \u201eBerglinger\u201c-Erz\u00e4hlung\u00bb. &#8211; In: <em>Ton &#8211; Sprache.<\/em> Bern\/Stuttgart\/Wien 1995, pp. 5-27.<\/li>\n<li>1999: \u00ab\u2018Nichts gleicht ihm weniger als er selbst\u2018 &#8211; Aufspaltung und Multiplikation der Identit\u00e4ten in Diderots Dialog \u2018Rameaus Neffe'\u00bb. In: <em>Doppelg\u00e4nger. Von endlosen Spielarten eines Ph\u00e4nomens<\/em>. Bern u.a. 1999, pp. 15-29.<\/li>\n<li>2000: \u00abDirigenten und Oberkellner: Eislers Kritik der musikalischen Verh\u00e4ltnisse\u00bb. In: <em>Brecht und seine Komponisten<\/em>. Laaber 2000, pp. 133-154.<\/li>\n<li>2006: \u00abStadttopographie als Texttopographie\u00bb. In: <em>Stadt &amp; Text.<\/em> Ed. Bettina Bock &amp; Bj\u00f6rn Dumont. Leipzig, pp. 157-166.<\/li>\n<li>2006: \u00abFritz Rudolf Fries auf dem \u2018Weg nach Oobliadooh\u2018\u00bb. In: <em>Literatur und Musik in der klassischen Moderne.<\/em> Ed. Joachim Grage. W\u00fcrzburg, pp. 347-360.<\/li>\n<li>2008: \u00abMusic and Romantic Narration\u00bb. In: <em>Romantic Prose Fiction<\/em>. Ed. by Gerald Gillespie et al. Amsterdam\/Philadelphia, S. 69-89.<\/li>\n<li>2010: \u00abHarmonie\/harmonisch\u00bb. In <em>\u00c4sthetische Grundbegriffe. Studienausgabe<\/em>, Stuttgart: Metzler 2010, pp. 1-25.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><strong>Claudia Albert<\/strong> is Adjunct Professor of German Literature at the Freie Universit\u00e4t Berlin. She studied German, French and comparative literature at Cologne, Toulouse and Berlin (Freie Universit\u00e4t) and music education at the Hochschule der K\u00fcnste (Berlin). Her main fields of interest are the relationships between literature and music, and literature and culture in exile. Her book Das schwierige Handwerk des Hoffens in particular examines the reception of H\u00f6lderlin in Brecht\/Eislers \u00abHollywooder Liederbuch\u00bb (1942\/3). Currently, she is completing a book on Stadt und Text which analyzes the different relationships between the geographical structure of cities (Berlin, Vienna, Paris, New York, and others) and those of literary texts describing them.<\/p>\n<p style=\"text-align: justify;\"><strong>Tomasz Kurianowicz<\/strong>, born in 1983, is a PhD candidate at the Freie Universit\u00e4t Berlin. He studied German Literature and Musicology at the Freie Universit\u00e4t Berlin and Universit\u00e4t Z\u00fcrich and wrote his master thesis about Robert Musils opus magnum \u00abThe man without qualities\u00bb, analyzing the relation between irony and the language of madness by comparing the social theories of Niklas Luhmann and Michel Foucault. After finishing his studies in 2010 he began to work on a Phd thesis, focusing on Robert Musils concept of contingency. His essays, feuilletons and articles have appeared in German and Swiss newspapers, mainly for the Frankfurter Allgemeine Zeitung and the Neue Z\u00fcrcher Zeitung. He also works as a literary critic and reporter. Recently he published articles in the \u00abMusil-Forum\u00bb and IASL-online. In 2011 he will join the German Department of the University of Michigan, USA, working as a Teaching Assistant for the graduate program. His PhD adviser is Prof. Dr. Claudia Albert.<\/p>\n<div id=\"themify_builder_content-1489\" data-postid=\"1489\" class=\"themify_builder_content themify_builder_content-1489 themify_builder\">\n\n    <\/div>\n<!-- \/themify_builder_content -->","protected":false},"excerpt":{"rendered":"<p>Curso extraordinario de Posgrado City, Music, Text (20-24 de febrero 2012) Impartido por Prof. Dr. Claudia Albert y Tomasz Kurianowicz (Freie Universit\u00e4t Berlin) The course will be held in English. Program: Session 1: Relations between Text, City and Sound. And: Virtuoses in Paris. Session 2: Musical and Urban Topographies: Rome, Vienna, Paris, Leipzig. Session 3: [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":1459,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/pages\/1489"}],"collection":[{"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/comments?post=1489"}],"version-history":[{"count":0,"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/pages\/1489\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/pages\/1459"}],"wp:attachment":[{"href":"https:\/\/investigacion.filos.unam.mx\/letras_comp\/wp-json\/wp\/v2\/media?parent=1489"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}