Mauricio Kagel Website │Publications

Björn Heile

 

http://www.sussex.ac.uk/Users/bh25/passport.jpgI am Lecturer in Music and Head of Department at the University of Sussex. I studied musicology and English and American Literature at Technische Universität Berlin (M.A. 1996), before making my PhD at Southampton (2001). The title of my thesis is ‘Transcending Quotation’: Cross-cultural Musical Representation in Mauricio Kagel’s Die Stücke der Windrose für Salonorchester; this is now available for download here: http://www.sussex.ac.uk/music/documents/thesis.pdf and http://www.sussex.ac.uk/music/documents/appendix.pdf. Before becoming a full-time lecturer, I was Leverhulme Special Research Fellow at the University of Southampton (2001-02) and at Sussex (2002-03).

Most of my research centres on new music, experimental music theatre and contemporary jazz. My book The Music of Mauricio Kagel (Aldershot: Ashgate, 2006) has been variously described as 'masterly' (The Musical Times), 'impressive' (Notes), 'highly successful' (Studies in Musical Theatre), 'fine' (Music and Letters) and 'extremely well-crafted and stimulating' (Latin American Music Review), among other things. My new book, a collection of articles entitled The Modernist Legacy: Essays on New Music (Aldershot: Ashgate, 2009), is intended to shift the debate on contemporary music.

I am currently working with Martin Iddon (Lancaster) on an edition of the correspondence and other documents relating to Mauricio Kagel's participation at the Darmstadt International Summer Courses on New Music. At the same time, I am working on a larger project, tentatively entitled 'New Music, Globalisation and the Cultural Geography of Modernism', which will, among other things, examine the global spread of contemporary classical music and the ensuing dynamics of centres and peripheries as well as the curiously deterritorialised (to employ a Deleuzian term) nature of new music.

Publications

Books

The Modernist Legacy: Essays on New Music (Aldershot: Ashgate, 2009) [as editor]; including ‘Introduction’, and ‘Weltmusik and the Globalization of New Music’, http://www.ashgate.com/isbn/9780754662600

‘Transcending Quotation’: Cross-cultural Musical Representation in Mauricio Kagel’s Die Stücke der Windrose für Salonorchester (Saarbrücken: VDM, 2008) [published version of my PhD thesis], http://www.amazon.co.uk/Transcending-Quotation-Bjorn-Heile/dp/3639099990/ref=sr_1_1?ie=UTF8&s=books&qid=1239118398&sr=8-1

The Music of Mauricio Kagel (Aldershot: Ashgate, 2006), http://www.ashgate.com/default.aspx?page=637&calcTitle=1&title_id=6009&edition_id=7090

Forthcoming

Mauricio Kagel bei den Darmstädter Ferienkursen für Neue Musik: Eine Dokumentation (Hofheim: Wolke, exp. 2009) [as co-editor with Martin Iddon, Lancaster University]

Articles in Peer-reviewed Journals

‘Uri Caine’s Mahler: Jazz, Tradition, and Identity’, twentieth-century music, 4/2 (2007), 229-55.

‘Recent Approaches to Experimental Music Theatre and Contemporary Opera’ [Review Article], Music and Letters, 87 (2006), 72-81.

‘”Transcending Quotation”: Cross-cultural Musical Representation in Mauricio Kagel’s Die Stücke der Windrose für Salonorchester’, Music Analysis, 23/1 (2004), 57-85.

‘Darmstadt as Other: British and American Responses to Musical Modernism’, Twentieth-Century Music, 1/2 (2004), 161-78.

Book Chapters and Other Scholarly Publications

‘Homo ludens? Spiel und Spielen im Werk von Mauricio Kagel’, in Vom instrumentalen zum imaginären Theater: Musikästhetische Wandlungen im Werk von Mauricio Kagel, ed. Werner Klüppelholz (Hofheim: Wolke, 2008), 109-27.

‘”Composition with Film”: Mauricio Kagel as Filmmaker’, in Composing for the Screen in the USSR and Germany, eds. Robynn Stilwell & Phil Powrie (Bloomington: Indiana University Press, 2008), 106-21.

‘W poszukiwaniu Kagela: rozważania o twórczej subiektywności’ [‘Apocrypha and Simulacra: On Kagel’s Recent Work’], trans. P.T. Żebrowski, Res facta nova (Poznań), 9/18 (2007), 11-19.

‘Avantgarde, Engagement und Autonomie: Mauricio Kagel in den sechziger Jahren’, Rebellische Musik: Gesellschaftlicher Protest und kultureller Wandel um 1968, ed. Arnold Jacobshagen and Markus Leniger (Cologne: Dohr, 2007), 81-91.

‘Mauricio Kagel’s “Instrumental Theatre”: Metaxis, Framing and Modes of Presentation – Five Propositions’, La musique et la scène : L’écriture musicale et son expression scénique au xxe siècle, ed. Giordano Ferrari (Paris: L’Harmattan, 2007), 183-92.

‘Imaginäre und imaginierte Musik im Werk von Mauricio Kagel’, Musik-Konzepte, 124: Mauricio Kagel (2004), 83-96.

‘Kagel, Bachtin und eine dialogische Theorie musikalischer Intertextualität’, Musiktheorie zwischen Historie und Systematik: 1. Kongreß der deutschen Gesellschaft für Musiktheorie, ed. Felix Diergarten, Ludwig Holtmeier and Michael Polt (Saarbrücken: Wißner, 2004), 62-69.

Personalia entries for the appendix of The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004).

‘Muziek voor open ogen: Het instrumentaal theater van Mauricio Kagel’, transl. Simonne Claeys, Kunsttijdschrift Vlaanderen, 52/297 (September 2003), 228-32.

‘Collage vs. Compositional Control: The Interdependency of Modernist and Postmodernist Approaches in the Work of Mauricio Kagel’, in Postmodern Music/Postmodern Thought, ed. Joseph Auner and Judy Lochhead (New York: Routledge, 2002), 287-99.

‘Schamanismus und Serialität: Die Entstehung von Mauricio Kagels Norden für Salonorchester’, Mitteilungen der Paul Sacher Stiftung, 15 (2002), 47-51.

‘Kopien ohne Vorbild: Kagel und die Ästhetik des Apokryphen’, Neue Zeitschrift für Musik, 162 (Nov.-Dec. 2001), 10-15.

‘Musik an der Grenze der Empfindsamkeit: Björn Heile im Gespräch mit Mauricio Kagel’ [interview with Mauricio Kagel], Neue Zeitschrift für Musik, 162 (Nov.-Dec. 2001), 16-20.

‘Auseinandersetzung mit einem Mythos: Mauricio Kagels Streichquartette’, Positionen, 34 (1998), 15-19.

‘Neutralising History: Mauricio Kagel’s String Quartet No. 3’, British Postgraduate Musicology, 2 (1998), 16-23.

‘Semantisierung des Instruments: Das Klavier in den Werken Mauricio Kagels’, MusikTexte, 66 (1996), 22-30.

‘Mauricio Kagel’, in: Klangkunst, exhibition catalogue for ‘Sonambiente: Festival für Hören und Sehen’, ed. Akademie der Künste Berlin (Munich: Prestel, 1996), 80.

Forthcoming

‘”Nachdenken über die Komplexität der Kulturgeografie“: Reflexion kultureller Identität im Werk von Mauricio Kagel’, Bericht über den Kongress der Gesellschaft für Musikforschung, Weimar, 2004, ed. Detlef Altenburg, forthcoming.

‘“The Apocryphal has Become the Authentic”: Simulacrum and Subjectivity in Mauricio Kagel’s Recent Work’, Proceedings from the IMS Symposium Gothenburg 2006, ed. Stephanus Muller and Chris Walton (Unisa, South Africa), forthcoming.

 ‘A Porteño at Darmstadt: Music History as Story-telling’, Proceedings from the International Conference ‘Darmstadt – City of My Dreams’ Brno 2006, forthcoming; translation in MusikTexte (March 2009).

‘On Taking Leave: Mahler, Jewishness and Jazz in Uri Caine’s Urlicht/Primal Light’, in Music and (Dis)placement, ed. Erik Levy and Florian Scheding (New York: Scarecrow, forthcoming).

‘Kagel in Darmstadt: Texte und Kontexte’, in Wandel durch Annäherung: Begegnung mit Mauricio Kagel, ed. Hans-Klaus Jungheinrich, forthcoming.

‘Cook, Nicholas’ [entry], The New Grove Dictionary of Music and Musicians, 2nd edn., ed. Laura Macy, forthcoming.

Book reviews

‘Robin Maconie, Other Planets: The Music of Karlheinz Stockhausen (Lanham: Scarecrow, 2005), Music & Letters, 90 (2009), 123-26.

‘Amy C. Beal, New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley: University of California Press, 2006)’, Music & Letters, 89 (2008), 686f.

‘Benedikt Vennefrohne, Die Sinfonien Hans Werner Henzes: Entstehungsgeschichtliche und werkanalytische Untersuchungen zu einer Sinfonie-Ästhetik Henzes. Diskordanzen: Studien zur neueren Musikgeschichte, 15. (Georg Olms, Hildesheim, Zurich and New York, 2005), Music & Letters, 88 (2007), 545-7.

‘Werner Klüppelholz, Über Mauricio Kagel. Schriften 1985-2002 (Saarbrücken: Pfau, 2003); Lese-Welten. Mauricio Kagel und die Literatur. Eine Ausstellung des Heinrich-Heine-Instituts der Landeshauptstadt Düsseldorf im Rahmen der jüdischen Kulturtage. Konzipiert und realisiert von Werner Klüppelholz (Saarbrücken: Pfau, 2002)’, Die Musikforschung, 60/1 (2007), 71f.

Mervyn Cooke (ed.), The Cambridge Companion to Twentieth-Century Opera (Cambridge: Cambridge University Press, 2005), Music & Letters, 86 (2005), 493-7.

‘Raymond Fearn, The Music of Luigi Dallapiccola (Rochester: University of Rochester Press, 2003)’, Music & Letters, 86 (2005), 152-54.

‘David Metzer, Quotation and Cultural Meaning in Twentieth-Century Music (Cambridge University Press, Cambridge, 2003)’, Music & Letters, 85 (2004), 492-94.

‘M. J. Grant. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe (Cambridge: Cambridge University Press, 2001)’, Music & Letters, 84 (2003), 133-36.

‘Katja Schmidt-Wistoff. Dichtung und Musik bei Ingeborg Bachmann und Hand Werner Henze: Der ‘Augenblick der Wahrheit’ am Beispiel ihres Opernschaffens (Munich: Iudicium, 2001)’, Music & Letters, 84 (2003), 147-49.

‘Analysieren lernen durch praktischen Nachvollzug. Nicholas Cooks Analysis through Composition’, Musik & Ästhetik, 16 (2000), 116-18.

‘Wieland Reich. Mauricio Kagel: Sankt-Bach-Passion. Kompositionstechnik und didaktische Perspektiven’, Die Musikforschung, 52 (1999), 267-8.

Forthcoming

 ‘Matthias Rebstock, Komposition zwischen Musik und Theater: Das instrumentale Theater von Mauricio Kagel zwischen 1959 und 1965 (Hofheim: Wolke, 2007), Forum Modernes Theater (forthcoming).

‘Frank Hentschel, Die “Wittener Tage für neue Kammermusik”: Über Geschichte und Historiografie aktueller Musik (Stuttgart: Steiner, 2007), Music & Letters, forthcoming.

‘Eric Salzman and Thomas Desi, ‘The New Music Theatre: Seeing the Voice, Hearing the Body’ (New York: Oxford University Press, 2008), twentieth-century music, forthcoming.

Conference Reports

‘5th European Music Analysis Conference: Review’, SMA Newsletter, August 2002.

‘British Music of the 1990s’, Positionen, 39 (1999), 59.

Other

‘The Changing Faces of Twentieth-century Music’, New Notes (Newsletter of the Society for the Promotion of New Music), July/August 2005, 1-2.

Various Programme notes

Various CD reviews and articles in Crescendo (German music magazine)

 

Last update 7 April 2009

B.Heile@sussex.ac.uk

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