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.
Gedanken und Erfahrungen zum Thema der nonverbalen Interaktion zwischen Dirigent und Orchester
Martin Lukas Meister
Summary: Within the traditional curriculum of conducting studies the most important non-verbal possibilities of expression that are available to the conductor (such as body language, appeal, and charisma) are rarely addressed. Although the topic is complex and diffuse, it is essential for the success of a conductor with regard to both communication with the musicians and general appeal. Popular opinion appears to be that the production of tension, energy, and motivation and the approach toward a coherent musical interpretation can be taught and learnt if the involved mechanisms are carefully observed and analysed. This opinion is, however, flawed. In this respect one can hardly overestimate the potential of mental power and the concept of self-fulfilling prophecy. Non-verbal control performed by the conductor is much broader and complex than is usually described and deserves careful attention within the context of the training of conducting. Based on long-time practical experiences the present chapter presents and discusses observations and reflections on this topic.
Das Berufsbild des Dirigenten, wie es sich gegen Ende des 19. Jahrhunderts im Bereich der Sinfoniekonzerte und Opern etabliert hat, bringt während den Aufführungen die eigentlich paradoxe Situation mit sich, dass derjenige, welcher die Interpretation verantwortet, leitet und koordiniert, als einziger aller mitwirkenden Musiker keinen Laut von sich gibt.
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