{"id":8804,"date":"2019-06-28T11:47:08","date_gmt":"2019-06-28T09:47:08","guid":{"rendered":"https:\/\/musikunrat.de\/?p=1870"},"modified":"2019-06-28T11:47:08","modified_gmt":"2019-06-28T09:47:08","slug":"enzyklopaedie-der-neuen-musik-eigene-welten","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2019\/06\/enzyklopaedie-der-neuen-musik-eigene-welten\/","title":{"rendered":"Enzyklop\u00e4die der Neuen Musik: \u201eEigene Welten\u201c"},"content":{"rendered":"<p>Eben noch gelesen und sch\u00f6n verbl\u00fcfft. Der NDR verk\u00fcndet im Rahmen seiner Website zur aktuellen Composerin in Residence:<\/p>\n<blockquote><p>&#8220;U. C.s t\u00e4nzerische und hoch anspruchsvolle Musik entf\u00fchrt in ganz eigene Welten.&#8221;<\/p><\/blockquote>\n<p>Was die Autorin vielleicht sagen wollte: Die Komponistin macht ihr eigenes Ding mit beatloser Tanzmusik, wo man einfach mitmuss und was man vorher nie zu h\u00f6ren bekam, weil es die Welt der Komponistin ist. Es ist ihre Welt oder zumindest irgendeine eigene, jedenfalls keine, die einem selbst geh\u00f6rt.<\/p>\n<p>Weil deren Musik aber auch hochansprchsvoll ist, darf diejenige, die sie h\u00f6rt, wenn sie sich entf\u00fchren l\u00e4sst, zu Kreis derjenigen z\u00e4hlen, die auch dieses Niveau selbst erreicht. Schafft man es nicht, war f\u00fcr einen der Anspruch wohl zu hoch. Dann muss man sich wohl zugestehen, dass man in dieser Hinsicht defizit\u00e4r ist. Man also irgendwie verkackt hat.<\/p>\n<p>Schlecht, das ist jetzt nat\u00fcrlich viel l\u00e4nger als das l\u00e4ssige Sprech f\u00fcr die Website. Jetzt also ab und hinterher in die beste aller Welten der Komponistin U. C.. 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Der NDR verk\u00fcndet im Rahmen seiner Website zur aktuellen Composerin in Residence: &#8220;U. C.s t\u00e4nzerische und hoch anspruchsvolle Musik entf\u00fchrt in ganz eigene Welten.&#8221; Was die Autorin vielleicht sagen wollte: Die Komponistin macht ihr eigenes Ding mit beatloser Tanzmusik, wo man einfach mitmuss und was man vorher nie zu [&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%20%E2%80%9EEigene%20Welten%E2%80%9C https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2019%2F06%2Fenzyklopaedie-der-neuen-musik-eigene-welten%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 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Juli 2024","format":false,"excerpt":"Der etablierte Komponist und sein KI-Stipendium \u2026 Wie die Jury vorab entscheiden will, was sp\u00e4ter dann als relevanter Beitrag zur Weiterentwicklung KI-basierter Musikkomposition gelten soll, bleibt ein astrologisches Geheimnis aus der Kaffeesatzlesekunde der F\u00f6rderungspoesie des Musikfonds.","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":"Das schlecht gelaunte Gemu\u0308se. \u00a9 MH","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/07\/Das-schlecht-gelaunte-Gemuese.-%C2%A9-MH.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/07\/Das-schlecht-gelaunte-Gemuese.-%C2%A9-MH.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/07\/Das-schlecht-gelaunte-Gemuese.-%C2%A9-MH.jpg?fit=1200%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/07\/Das-schlecht-gelaunte-Gemuese.-%C2%A9-MH.jpg?fit=1200%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/07\/Das-schlecht-gelaunte-Gemuese.-%C2%A9-MH.jpg?fit=1200%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":973,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/12\/quote-und-existenzgruendung\/","url_meta":{"origin":8804,"position":2},"title":"Quote und Existenzgr\u00fcndung","author":"huflaikhan","date":"20. Dezember 2004","format":false,"excerpt":"Das Kulturinformationszentrum der neuen musikzeitung hat sich ausgiebig mit der Deutsch-Quoten-Diskussion und der Frage nach freiwilliger Selbstverpflichtung im Rundfunk befasst. Eine Stellungnahme der Kulturstaatsministerin Weiss h\u00e4ngt an. Frau Vollmer von den Gr\u00fcnen wird zitiert mit: Die Gr\u00fcnen-Abgeordnete Antje Vollmer betonte, eine Quote w\u00e4re ein Signal zur Sicherung von K\u00fcnstlerexistenzen und\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":8738,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2017\/10\/enzyklopaedie-der-neuen-musik-gutmenschentremolo\/","url_meta":{"origin":8804,"position":3},"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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