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UID:news57@musikwissenschaft.philhist.unibas.ch
DTSTAMP;TZID=Europe/Zurich:20191203T205444
DTSTART;TZID=Europe/Zurich:20191202T181500
SUMMARY:3. Basler Nietzsche-Vorlesung
DESCRIPTION:In Nietzsche’s objections “contra Wagner” it is good to d
 istinguish two fundamental targets\, closely intertwined to be sure\, but 
 nevertheless separable. First\, there were the institutions the composer c
 reated to promote and perpetuate his art\, the whole phenomenon of “Bayr
 euth:” the Festival\, the periodical\, as well as the Wagnerites—the p
 atrons and associated propagandists and hangers-on. And second\, there was
  the art itself. For the “Bayreuth\,” Nietzsche had nothing but contem
 pt. Wagner’s art\, he thought\, was in fact diametrically opposed to wha
 t the “Bayreuth” made of it. Far from being German and nationalist\, i
 t was cosmopolitan and decadent. The notion of “decadence” (in Nietzsc
 he’s vocabulary at once a term of praise and an objection) lies at the c
 enter of the diagnosis given in The Case of Wagner. The lecture will exam
 ine the validity of the philosopher’s principal arguments “contra Wagn
 er” and imagine the counter-arguments that might be derived from the com
 poser’s oeuvre “contra Nietzsche.”\\r\\nKarol Berger ist Professor 
 in Fine Arts am Department of Music der Stanford Universityund einer d
 er profiliertesten und produktivsten Musikforscher unserer Zeit. In seinen
  Schriften\, die detailreiche Musikanalysen mit markanten Einsichten in Ku
 lturtheorie und Ideengeschichte verbinden\, hat er weit über seine Diszip
 lin hinaus Wirkung entfaltet. Unter den zahlreichen Ehrungen\, die ihm fü
 r sein wissenschaftliches Werk zuteil wurden\, sind neben internationalen 
 Wissenschaftspreisen die Mitgliedschaften in der American Academy of Arts 
 and Sciences und der Polish Academy of Sciences sowie bedeutende Gastprofe
 ssuren zu nennen: So war er u.a. Visiting Professor am Harvard University 
 Center for Italian Renaissance Studies und Senior Fellow des EURIAS. Zu se
 inen Büchern gehören Musica Ficta (Cambridge University Press 1987)\,
  A Theory of Art (Oxford University Press 2000)\, Bach‘s Cycle\, Moza
 rt‘s Arrow (University of California Press 2007) und Beyond Reason: Wa
 gner contra Nietzsche (University of California Press 2017).
X-ALT-DESC:<p>In Nietzsche’s objections “contra Wagner” it is good to
  distinguish two fundamental targets\, closely intertwined to be sure\, bu
 t nevertheless separable. First\, there were the institutions the composer
  created to promote and perpetuate his art\, the whole phenomenon of “Ba
 yreuth:” the Festival\, the periodical\, as well as the Wagnerites—the
  patrons and associated propagandists and hangers-on. And second\, there w
 as the art itself. For the “Bayreuth\,” Nietzsche had nothing but cont
 empt. Wagner’s art\, he thought\, was in fact diametrically opposed to w
 hat the “Bayreuth” made of it. Far from being German and nationalist\,
  it was cosmopolitan and decadent. The notion of “decadence” (in Nietz
 sche’s vocabulary at once a term of praise and an objection) lies at the
  center of the diagnosis given in&nbsp\;The Case of Wagner. The lecture wi
 ll examine the validity of the philosopher’s principal arguments “cont
 ra Wagner” and imagine the counter-arguments that might be derived from 
 the composer’s oeuvre “contra Nietzsche.”</p>\n<p>Karol Berger&nbsp\
 ;ist Professor in&nbsp\;Fine Arts&nbsp\;am&nbsp\;Department of Music&nbsp\
 ;der Stanford Universityund einer der profiliertesten und produktivsten Mu
 sikforscher unserer Zeit. In seinen Schriften\, die detailreiche Musikanal
 ysen mit markanten Einsichten in Kulturtheorie und Ideengeschichte verbind
 en\, hat er weit über seine Disziplin hinaus Wirkung entfaltet. Unter den
  zahlreichen Ehrungen\, die ihm für sein wissenschaftliches Werk zuteil w
 urden\, sind neben internationalen Wissenschaftspreisen die Mitgliedschaft
 en in der American Academy of Arts and Sciences und der Polish Academy of 
 Sciences sowie bedeutende Gastprofessuren zu nennen: So war er u.a. Visiti
 ng Professor am Harvard University Center for Italian Renaissance Studies 
 und Senior Fellow des EURIAS. Zu seinen Büchern gehören&nbsp\;Musica Fic
 ta&nbsp\;(Cambridge University Press 1987)\,&nbsp\;A Theory of Art&nbsp\;(
 Oxford University Press 2000)\,&nbsp\;Bach‘s Cycle\, Mozart‘s Arrow&nb
 sp\;(University of California Press 2007) und&nbsp\;Beyond Reason: Wagner 
 contra Nietzsche&nbsp\;(University of California Press 2017).</p>
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