Die Humanität der Musik

The book focuses on the relationship between music and its human dimension. In response to the supposed death of humanity, it examines the status, possibilities, limitations, and potential of human beings on the one hand, and the function and future viability of art, especially music, on the other. In doing so, it reinforces the conviction that human beings—however they are conceived—must be the central point of reference for art, and that this must be reinforced in the future.

The essays reflect the author as both a composer and a theorist. The theoretical contributions deal with modern music from the perspectives of politics, humanity, democracy, technology, complexity, deconstruction, Second Modernism, time, and history. Two chapters explore contemporary politics and the politics of the new music system. The compositional work and the biographical background necessary for its understanding serve as a framework. In this context, references are made to various personalities such as Theodor W. Adorno, Mark André, Frank Cox, Brian Ferneyhough, Klaus Huber, György Kurtág, Helmut Lachenmann, Daniel Libeskind, Luigi Nono, Thomas Pynchon, Steven Kazuo Takasugi, and Wolfram Schurig.
The book concludes with a detailed autobiographical digression.

contents

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