{"id":8411,"date":"2013-12-04T16:39:48","date_gmt":"2013-12-04T15:39:48","guid":{"rendered":"https:\/\/musikunrat.de\/?p=1539"},"modified":"2013-12-04T16:39:48","modified_gmt":"2013-12-04T15:39:48","slug":"enzyklopaedie-der-neuen-musik-schueler-von","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2013\/12\/enzyklopaedie-der-neuen-musik-schueler-von\/","title":{"rendered":"Enzyklop\u00e4die der Neuen Musik: Sch\u00fcler von \u2026"},"content":{"rendered":"<p>Seit Jahrhunderten eine einge\u00fcbte Sache. Komponisten outen sich als \u201eSch\u00fcler von und zu\u201c. Etikett druff und fertig.<\/p>\n<p>a) W\u00fcrde mich mal interessieren, welcher KomponistIn mal sagt: Leider! Das war K\u00e4se bei XXX oder etwas in der Art. Und<\/p>\n<p>b) Warum? Gew\u00e4hlt oder auserw\u00e4hlt, oder beides?<\/p>\n<p>Ich oute mich auch gleich mal, ich war Sch\u00fcler von Anton Bruckner, habe den Meister gerne kopiert, war aber immer deutlich schlechter. Vor allem in der B-Note, also bei transponierenden Instrumenten.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Enzyklop%C3%A4die%20der%20Neuen%20Musik%3A%20Sch%C3%BCler%20von%20%E2%80%A6 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2013%2F12%2Fenzyklopaedie-der-neuen-musik-schueler-von%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Enzyklop%C3%A4die%20der%20Neuen%20Musik%3A%20Sch%C3%BCler%20von%20%E2%80%A6 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2013%2F12%2Fenzyklopaedie-der-neuen-musik-schueler-von%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Komponisten outen sich als \u201eSch\u00fcler von und zu\u201c. Etikett druff und fertig. a) W\u00fcrde mich mal interessieren, welcher KomponistIn mal sagt: Leider! Das war K\u00e4se bei XXX oder etwas in der Art. Und b) Warum? Gew\u00e4hlt oder auserw\u00e4hlt, oder beides? Ich oute mich auch gleich mal, ich war Sch\u00fcler von [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Enzyklop%C3%A4die%20der%20Neuen%20Musik%3A%20Sch%C3%BCler%20von%20%E2%80%A6 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2013%2F12%2Fenzyklopaedie-der-neuen-musik-schueler-von%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient 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src='https:\/\/secure.gravatar.com\/avatar\/c23aee426d58e69f14ef471114d4cac215eec702ee1bc331e2a62ea77e96ed60?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/c23aee426d58e69f14ef471114d4cac215eec702ee1bc331e2a62ea77e96ed60?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":3282,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2013\/12\/sch-ler-von\/","url_meta":{"origin":8411,"position":0},"title":"Sch\u00fcler von \u2026","author":"huflaikhan","date":"4. Dezember 2013","format":false,"excerpt":"Seit Jahrhunderten eine einge\u00fcbte Sache. Komponisten outen sich als \u201eSch\u00fcler von und zu\u201c. Etikett druff und fertig. a) W\u00fcrde mich mal interessieren, welcher KomponistIn mal sagt: Leider! Das war K\u00e4se bei XXX oder etwas in der Art. Und b) Warum? Gew\u00e4hlt oder auserw\u00e4hlt, oder beides? Ich oute mich auch gleich\u2026","rel":"","context":"In &quot;Angriff auf \u2026&quot;","block_context":{"text":"Angriff auf \u2026","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/"},"img":{"alt_text":"Bruckner-Sch\u00fcler Dr. Hufner beim Toning-Training. 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Man hat dies unter den vielversprechenden Titel \u0084Wie ein Stein vom Mond\u0093 gestellt, und damit auch an Kubricks \u00842001 \u0096 A Space\u2026","rel":"","context":"In &quot;Rezension&quot;","block_context":{"text":"Rezension","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/rezension\/"},"img":{"alt_text":"Bruckner","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/09\/20030917-cd-bruckner-harnoncourt.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1141,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/04\/anton-webern-rauchen-kann-toedlich-sein-konzert-fuer-neun-instrumente-op-24\/","url_meta":{"origin":8411,"position":2},"title":"Anton Webern: Rauchen kann t\u00f6dlich sein &#8211; \u201eKonzert f\u00fcr neun Instrumente op. 24\u201c","author":"huflaikhan","date":"13. April 2005","format":false,"excerpt":"Auch hier ein Todestag \u2014 allerdings einer, der noch kommt \u0096, vor 60 Jahren, am 15. September, wurde Anton Webern erschossen. Ein dummes Ungl\u00fcck nach dem Ende des zweiten Weltkrieges. Webern war nach Mittersill gereist. Dort hielt es sich bei seinem Schwiegersohn auf. Der war offenbar ganz gut in Schwarzmarktgesch\u00e4fte\u2026","rel":"","context":"In &quot;Enzyklop\u00e4die der Kritischen Masse&quot;","block_context":{"text":"Enzyklop\u00e4die der Kritischen Masse","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/enzyklopaedie-der-kritischen-masse\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8656,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2016\/04\/orchesterselfies-next-season\/","url_meta":{"origin":8411,"position":3},"title":"Orchesterselfies \u2013 next season","author":"der huflaikhan","date":"5. April 2016","format":false,"excerpt":"Die n\u00e4chste Konzert-Saison steht schon in den Startl\u00f6chern. \u00dcberall gibt es Pressekonferenzen, dass es nur so scheppert. Die Orchester stellen ihre Programme vor. Und ihre Programmbrosch\u00fcren. Das \u00e4ndert sich ja jeder Jahr irgendwie doch, auch wenn es alles nur so um Mahler und Bruckner kreiselt. Die Sachen machen ja auch\u2026","rel":"","context":"In &quot;die Kommunikation&quot;","block_context":{"text":"die Kommunikation","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kommunikation\/"},"img":{"alt_text":"Deutsches Symphonieorchester. 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Ich habe ja nichts gegen die Popkultur und\u2026","rel":"","context":"Mit 3 Kommentaren","block_context":{"text":"Mit 3 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2006\/03\/fragebogen-zur-musik\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8738,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2017\/10\/enzyklopaedie-der-neuen-musik-gutmenschentremolo\/","url_meta":{"origin":8411,"position":5},"title":"Enzyklop\u00e4die der Neuen Musik: \u201eGutmenschentremolo\u201c","author":"der huflaikhan","date":"26. Oktober 2017","format":false,"excerpt":"Es sei \u201eeinwandfrei politisch korrektes Gutmenschentremolo,\u201c schreibt Eleonore B\u00fcning \u00fcber die Transit-Performance des Ensemble Kaleidoskop bei den Donaueschinger Musiktagen in ihrer Kolumne des Netzmagazins takt1.de in der \u201esociety of music\u201c. Das wundert, denn eigentlich empfand sie die Auff\u00fchrung ziemlich daneben. 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