I am wondering if standard copyright applies to the score of the AI-generated orchestral work constructed after the drafts of Beethoven’s 10th Symphony, which was performed recently by Beethoven Orchester Bonn and Dirk Kaftan for the Beethoven 2020 anniversary. Given that it isn’t actually a human work, and that it is uncertain how significantly Walter Werzowa contributed to it, shouldn’t it be in the public domain? Maybe the Beethoven-Haus Bonn can clarify.
I am happy to announce that I have been elected vice president of Deutscher Tonkünstlerverband Berlin. Looking forward to representing our members’ professional interests and to shaping the association’s future work together with my colleagues on the board, Elizabeth Franzen, Jens Domeyer, Agnes Stein von Kamienski, and Simon Borutzki, who now serves as president.
During the past semester I tried to augment my music theory classes with music by women and BIPoC composers. In doing so, I was delighted again and again to see how well these fit into my teaching, and to discover pieces that I hadn’t been aware were existing. There is so much more that is worth listening and analysing beside the so-called classical canon (which I didn’t want to exclude, but to enhance with lesser-known compositions), and I got a number of very positive reactions from the students, so there’s no reason not to continue in this manner. Promoting diversity in the music theory curriculum turned out so easy that I feel I should have done this so much earlier.
Here is a non-exhaustive list of composers from whose music I took the most inspiring and rewarding examples offered during the last four months: Maddalena Casulana, Raffaella Aleotti, Francesca Caccini, Anna Amalia of Prussia, Joseph Bologne de Saint-Georges, Juliane and Louise Reichardt, Maria Theresia Paradis, Sophie Westenholz, Maria Szymanowska, Louise Farrenc, Emilie Mayer, Pauline Viardot, Ella Adaïewsky, Cécile Chaminade, Mélanie Bonis, Ethel Smyth, Amy Beach, Leokadiya Kashperova, Elena Gnesina, Florence Price, Germaine Tailleferre, and Lili Boulanger.
As of today, I will be staying in the beautiful North Frisian town of Husum for just over a week to attend the Raritäten der Klaviermusik piano festival. Looking forward to the recitals of Hiroaki Takenouchi, Simon Callaghan, Peter Froundjian, Florian Noack, Andrey Gugnin, Zlata Chochieva, Ludmila Berlinskaia & Arthur Ancelle and others, and to reporting on the festival for VAN Magazin!
I’m a bit late in sharing the following two articles. However, I don’t want to neglect them as both are noteworthy for voicing remarkable positions in the field of professional music education, and deserve appreciation and further discussion even with some weeks of delay.
In April 2021, composer Fabien Lévy‘s passionate plea for diversity in repertoire and ways of approaching music appeared as a nmz longread. The piece should be considered more than a theoretical observation or a polemic reckoning with the fetish-like traits of classical music tradition, and be seen as a possible model for designing future curricula and study programmes.
In May 2021, an initiative of eighteen ASta student representations at German music universities issued an open letter that deals with a number of deficiencies in the current system of higher education in music, particularly in times of dealing with a pandemic. All of their points are worth considering, especially for being the first substantial claim of engaged student committees unwilling to bear with the status quo any longer.