Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
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.
Negotiating History, Nation and the Canon: The String Quartets of Silvestre Revueltas
Summary: The Mexican composer Silvestre Revueltas (1889–1940) and his musical oeuvre are still to a large extent marginalized within twentieth-century scholarship outside of Mexico and Latin America. This marginalisation is due in part to the fact that Revueltas’ musical compositions are considered within paradigms that largely refer to his Mexican origin. The close link between Revueltas’ music and a constructed and imagined Mexico is itself part of the broader discourse of treating Latin American music as peripheral to what is generally considered the tradition of European art music. Revueltas’ four string quartets, composed between 1930 and 1932, prove to be a remarkable instance in this respect. Considering his string quartets in the wider – and not geographically limited – context of twentieth-century Western art music brings to light aspects of his utilisation of the normative forces of string quartet composition as established by the works of Haydn, Mozart and Beethoven and their subsequent canonisation by specific discourses in music aesthetics and music theory and compositional practice. As the chapter will explore, Revueltas challenges conventions of the string quartet genre by radically scrutinising them and talking to history in “a truly unashamedly manner.” The four string quartets by Revueltas are thus an invitation to reconsider, and perhaps even abandon, fond notions about twentieth-century string quartet history.
Silvestre Revueltas caged in the paradigms of “musical nationalism” and “musical Modernism”
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