Musik, Ästhetik, Digitalisierung

In this book, worlds collide. The digital revolution seems like an attack on the established music industry. This applies not only to the orchestra, but also to the study, practice, teaching, performance, and dissemination of new and old "serious" music in general. The positions represented here suggest a generational conflict between those who have grown up taking computers for granted as a "second world" and who see quantification and acceleration as a gain in freedom, and those who are committed to an emphatic concept of work and art and thus to the immanence process of artistic production.
Belief in progress in art is nothing new. A good hundred years ago, Filippo T. Marinetti formulated his first Futurist Manifesto of a new machine art. However, it took a hundred years before the technical possibilities also hinted at a qualitative quantum leap. Opinions now differ on the point of "quality." And: Does the concept kill the idea, or does the latter merge into the former...
Composition, musical practice, and musical perception are at a crossroads. The rapid development of the digital world and its networking will not remain without consequences for musical creation. For too long, there has been silence about differences in musical aesthetics in new music. In this fundamental controversy, long-overdue and pressing questions about the future of new music are now being asked and, in some cases, polemically debated.
The controversy between Johannes Kreidler and Claus-Steffen Mahnkopf, which follows Harry Lehmann's introductory text, ultimately remains open-ended and will certainly give rise to further discussion. The concluding contributions are personal texts from the wider context of the debate.

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