Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
Remo Rau (1927–1987): Katalysator für die Emanzipation des Jazz in der Schweiz
Summary: The estate of the jazz musician and concert organiser Remo Rau from Zurich provides material for a pilot study on the emancipation of jazz music in Switzerland during the period between 1960 and 1980 spanning from peaceful coexistence of the different scenes through breakthrough and a phase of experiments and on to revolt and ennoblement. As promoter and principal musician of Café Africana and later of Modern Jazz and as composer and teacher Remo Rau’s career is paradigmatic for increasing professionalisation and stylistic developments including traditional jazz and Hardbop but also jazz-rock and free improvisation. Later in his career, Rau became more involved in transdisciplinary projects extending beyond the borders of music. Rau’s career is also exemplary with regard to the rapidly changing scenes that were constantly seeking new places, that continually had to stylistically reinvent and justify themselves and that worked under economic conditions against which they began to successfully rebel. In this respect the musician Rau took matters in his own hands, not only becoming his own publisher and teacher, but also a driving force and model for many colleagues with whom he teamed up. From 1960 onward the pace of his original compositions increased. Lists compiling performances, performed music and revenues show a manifold repertoire and lively activity, involving already amateur musicians as well as, significantly, guest musicians from South Africa in exile in Zurich. The club scene was very important at the dawn of jazz music until...
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