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From: Clemens Gresser <[log in to unmask]>

"Crossing the Borders - Musicology in Dialogue". Conference Proceedings of
the 13th International Symposium of the DVSM [Association of Students in
Musicology], Frankfurt am Main, October 1998. Edited by Antje Erben,
Clemens Gresser and Arne Stollberg, Hamburg (von Bockel-Verlag) 2000, ISBN
3-932696-39-5, 280 p., 29,80 DM

Since the 1960s, when interdisciplinarity became the subject of
theoretical scholary discourse, cross-disciplinary research has been seen
as innovative and thought-provoking. Such an attitude, which works in
contrast to the tendencies towards specialisation in society, has not
established itself in all disciplines. The 13th International Symposium of
the DVSM [Association of Students in Musicology] ("Crossing the Borders -
Musicology in Dialogue"  Frankfurt am Main, October 1998) set itself the
task of illuminating the perspectives of interdisciplinary work in
relation to concrete musicological questions and to reflect on them in
theoretical ways. Through a broad spectrum of topics, it became apparent
that 'crossing the border' between different subjects is not only
significant with regard to methodological approaches, but that it also
offers new views on different musical genres (from Gregorian chant to
opera), epochs (from antiquity to the present day) and different forms of
art (from stage sets to film). The authors of the papers are from various
subjects - from the humanities as well as from science subjects - and
approach music from their own research specialism.

Table of contents:
**
Andreas H.H. Suberg:
 Gespraechskonzert "Klangmaterial - Materialklang".  Grenzgaenge im Werk
des Komponisten Andreas H.H. Suberg
 [Concert and discussion: 'Sound-material - Material-sound'.  Crossing the
Borders in the Oeuvre of the Composer Andreas H.H.  Suberg]

Dominik Hoernel, Karin Hoethker:
 Kuenstl(er)i(s)che neuronale Netze lernen Musikstile
[Artificial and Artistic Neurological Nets Learn Musical Styles]

Joerg Jewanski: 
 Wie ein Komet am Sternenhimmel. Die Erstaufführung von Alexander Lászlós
Farblichtmusik am 16. Juni 1925
 [Like a Comet in the Starry Sky. The First Performance of Alexander
Laszlo's Colour-music, 16th June 1925] *

Kevin S. Amidon:
 "Schnelles 'Grammophon' Tempo": Ernst Krenek, 'Jonny spielt auf' and the
Dialectics of Operatic Modernity

Winfried Kirsch:
 Zu den Wechselbeziehungen zwischen Musik und Bühnenbild in der deutschen
romantischen Oper. Mit Beispielen aus Carl Maria von Webers Freischütz
 [On the Reciprocal Relations Between Music and Stage Setting in German
Romantic Opera, with Examples from Carl Maria von Weber's Freischuetz]
 
Werner Schulze:
 Heilung und Heil in Musik und Harmonik. Von den Wurzeln des
therapeutischen Umganges mit Musik.
 [Healing and Health in Music and Harmony. On the Roots of Therapeutic
Dealings with Music]
 
Joerg Fachner:
 Der musikalische Zeit-Raum, Cannabis, Synaesthesie und das Gehirn.
 [The Musical Time-space, Cannabis, Synaesthesia and the Brain]

Gabriele Mayer:
 Rhetorical and Dramatic Influences in Piano Writing from Mozart through
Liszt.

Christian Lehmann:
 Modi - musikalische Archetypen? Why do people sing? 
 [Modes - Musical Archetypes? Why do People Sing?]

Wolfgang Marx:
 Interdisziplinaritaet als Ueberlebensfrage. Vom Dialog nach innen und
aussen.
 [Interdisciplinarity as a Question of Survival.  On the Dialogue with the
Inner and Outer.]

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