This is the first general rule of classical music journalism: Do not, by all means, comment on a blogpost on Slipped Disc. Don’t even think of it. Do read the blog and comments if necessary, but #neverever take the bait to add your own two cents. Rather follow Norman‘s example: He will never comment one of his contributions himself (and I am pretty sure he won’t react to this post either). Mark my words, and keep clear of a whole load of embarrassment. Thanks for your attention!
I don’t consider this article a particularly convincing piece of journalistic work, but at least it demonstrates the incredible extent of sexually offensive and abusive behaviour that, in all probability, has been carried out for decades by some professors of Hochschule für Musik und Theater München. To me this looks like a collective failure on all levels of academic administration, and in case I had the dubious honour of being employed by this institution, I would quit immediately. If only half of these accusations prove right, the state authority in charge should appropriately install an official committee of inquiry and, if the university fails to prevent further victimisation of their staff and students, take action to close it down as a last consequence.
Just finished a paper on historical theories of sonata form in Russia and the early Soviet Union. It is fascinating to examine how, after relying on translations and adaptations of Western European textbooks by Hugo Riemann, Ludwig Bussler, and Ebenezer Prout, the contributions of Russian scholars such as Anton Arensky, Sergei Taneyev, Georgi Catoire, and Boris Asafiev gradually paved the way for a more individual approach towards the traditional model, regarding sonata form as a paradigm of both composition and analysis. The article will, hopefully, soon be published in ZGMTH, the journal of the German Music Theory Association.
Held my first lecture on techno music today. It’s been a pleasure discussing a popular music topic with an audience of music theorists, and I very much enjoyed talking about the stuff I was totally crazy about as a teen, back in the 1990s—the intriguing productions of former rave music duo RMB. Their tracks used to provide inspiration for my own humble attempts to create electronic dance music, and continue to fascinate me to this day. Thank you also, Rolf Maier-Bode, for answering my questions on the role of movie soundclips in your music.
This week I will start working as a lecturer in music theory at the Institute of Musicology of Robert Schumann Hochschule Düsseldorf. I will be in charge of the artistic subjects included in Heinrich Heine University Düsseldorf‘s musicology minor programme, such as basic elements of composition, musical form, keyboard practice, and a preparatory course in music theory. I will continue to live in Berlin for the time being, while commuting to Düsseldorf for two days a week. Thrilled about this new challenge in teaching!