@book{Rein2021, author = {Rein, Katharina}, title = {Gothic Cinema}, series = {Genrediskurse}, journal = {Genrediskurse}, publisher = {Springer}, address = {Wiesbaden}, isbn = {978-3-658-33204-4}, issn = {2522-0276}, doi = {10.1007/978-3-658-33205-1}, pages = {VII, 221}, year = {2021}, abstract = {Als erste deutschsprachige Einf{\"u}hrung in das Gothic Cinema stellt dieser Band ein im deutschsprachigen Raum bisher kaum etabliertes und wenig erforschtes Filmgenre vor. Er begreift Gothic Cinema als eine Form inoffizieller Historiographie, die einen Blick nicht nur auf die Geschichte des Films und seiner Technik, sondern auch auf Moralvorstellungen, Geschlechterverh{\"a}ltnisse, kollektive {\"A}ngste oder {\"a}sthetische Str{\"o}mungen zul{\"a}sst. Auf eine Abgrenzung und Bestimmung des Begriffs und der zentralen Elemente des Gothic folgt ein umfassender historischer {\"U}berblick von 1896 bis zur heutigen Zeit. Der Schwerpunkt im dritten Teil liegt auf Analysen einzelner Gothic-Filme und Fernsehserien nach 2015. Die untersuchten Beispiele sind einerseits repr{\"a}sentativ im Hinblick auf typische Elemente, Motive oder Topoi und weisen andererseits Besonderheiten und Br{\"u}che auf, die sich f{\"u}r eine kultur- und medienwissenschaftliche Untersuchung als fruchtbar erweisen.}, language = {de} } @article{SchuelerHartmannHilliger2020, author = {Sch{\"u}ler, Eliana and Hartmann, Anna and Hilliger, Dorothea}, title = {Multiperspektivische in Forschung und Tanz, Theater und Performance}, series = {Kulturelle Bildung : theoretische Perspektiven, methodologische Herausforderungen und empirische Befunde}, journal = {Kulturelle Bildung : theoretische Perspektiven, methodologische Herausforderungen und empirische Befunde}, publisher = {M{\"u}nster}, address = {Waxmann}, isbn = {978-3-8309-4150-7}, doi = {https://doi.org/10.31244/9783830991502}, pages = {163 -- 176}, year = {2020}, language = {de} } @article{LudwigThomsen2020, author = {Ludwig, Joachim and Thomsen, Sarah}, title = {Bildungsprozesse von Teilnehmenden in Tanz-, Theater und Performance-Projekten}, series = {Kulturelle Bildung : theoretische Perspektiven, methodologische Herausforderungen und empirische}, journal = {Kulturelle Bildung : theoretische Perspektiven, methodologische Herausforderungen und empirische}, publisher = {Waxmann}, address = {M{\"u}nster}, isbn = {978-3-8309-4150-7}, doi = {https://doi.org/10.31244/9783830991502}, pages = {265 -- 278}, year = {2020}, language = {de} } @article{Waterfeld2018, author = {Waterfeld, Sarah}, title = {B6112—Art after All}, series = {Theatre Survey}, volume = {59}, journal = {Theatre Survey}, number = {2}, publisher = {Cambridge Univ. Press}, address = {New York}, issn = {0040-5574}, doi = {10.1017/S0040557418000108}, pages = {276 -- 281}, year = {2018}, abstract = {B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.}, language = {en} } @article{Thorau2020, author = {Thorau, Christian}, title = {Listening for leitmotifs}, series = {The Cambridge companion to Wagner's Der Ring des Nibelungen}, journal = {The Cambridge companion to Wagner's Der Ring des Nibelungen}, publisher = {Cambridge University Press}, address = {Cambridge}, isbn = {978-1-107-51947-3}, doi = {10.1017/9781316258033.007}, pages = {124 -- 140}, year = {2020}, abstract = {Introduction to Wagner's use of leitmotifs in the Ring and the discourse that accompanied and shaped the notion of this compositional technique from its beginnings. Special focus on the making of the concept (which Wagner neither initiated nor supported), on the idea of "foreboding and reminiscent melodic moments" he developed in Opera and Drama and on core motifs from the Ring that provide the material for four evenings of music drama and characterize the tetralogy as a whole (renunciation, woe, Rheingold, Ring, Valhalla, and redemption through love motifs). Aesthetic questions about Wagner's trademark tool of composition are discussed from the listener's perspective: Are we really supposed to learn leitmotifs like vocabulary and, if so, what did Wagner think about this? Did he anticipate that for the next 140 years nearly everyone who wanted to say something about his music would talk about leitmotifs? How can we dive into the magic web of the Ring's leitmotifs without simply blindly memorizing dozens of melodies and their supposed meaning?}, language = {en} } @book{OPUS4-42396, title = {The Oxford handbook of music listening in the 19th and 20th centuries}, editor = {Thorau, Christian and Ziemer, Hansjacob}, publisher = {Oxford University Press}, address = {New York}, isbn = {978-0-19-046696-1}, pages = {524}, year = {2019}, abstract = {An idealized image of European concert-goers has long prevailed in historical overviews of the nineteenth and twentieth centuries. This act of listening was considered to be an invisible and amorphous phenomenon, a naturally given mode of perception. This narrative influenced the conditions of listening from the selection of repertoire to the construction of concert halls and programmes. However, as listening moved from the concert hall to the opera house, street music, and jazz venues, new and visceral listening traditions evolved. In turn, the art of listening was shaped by phenomena of the modern era including media innovation and commercialization. This Handbook asks whether, how, and why practices of music listening changed as the audience moved from pleasure gardens and concert venues in the eighteenth century to living rooms in the twentieth century, and mobile devices in the twenty-first. Through these questions, chapters enable a differently conceived history of listening and offer an agenda for future research.}, language = {en} } @incollection{Thorau2019, author = {Thorau, Christian}, title = {"What ought to be heard" : touristic listening and the guided ear}, series = {The Oxford handbook of music listening in the 19th and 20th centuries}, booktitle = {The Oxford handbook of music listening in the 19th and 20th centuries}, publisher = {Oxford University Press}, address = {New York}, isbn = {978-0-19-046696-1}, pages = {207 -- 227}, year = {2019}, language = {en} } @article{Rudolph2021, author = {Rudolph, Pascal}, title = {Der Klang der Erinnerung}, series = {Walzerfilme und Filmwalzer : Geschichte und Rezeption des Walzers und des Walzertanzens im Film (Film - Musik - Sound ; 01)}, journal = {Walzerfilme und Filmwalzer : Geschichte und Rezeption des Walzers und des Walzertanzens im Film (Film - Musik - Sound ; 01)}, publisher = {Sch{\"u}ren}, address = {Marburg}, isbn = {978-3-7410-0402-5}, pages = {253 -- 260}, year = {2021}, language = {de} } @article{AignerMalmberg2022, author = {Aigner, Wilfried and Malmberg, Isolde}, title = {Das duale Perlenmodell f{\"u}r DBR}, series = {Musikunterricht durch Forschung ver{\"a}ndern? : Design-Based Research als Chance f{\"u}r Theoriebildung und Praxisver{\"a}nderung}, journal = {Musikunterricht durch Forschung ver{\"a}ndern? : Design-Based Research als Chance f{\"u}r Theoriebildung und Praxisver{\"a}nderung}, publisher = {Institut f{\"u}r musikp{\"a}dagogische Forschung}, address = {Hannover}, isbn = {978-3-931852-53-5}, pages = {29 -- 48}, year = {2022}, language = {de} } @article{Malmberg2022, author = {Malmberg, Isolde}, title = {Entwicklungsforschung in Musik}, series = {Musikunterricht durch Forschung ver{\"a}ndern? : Design-Based Research als Chance f{\"u}r Theoriebildung und Praxisver{\"a}nderung}, journal = {Musikunterricht durch Forschung ver{\"a}ndern? : Design-Based Research als Chance f{\"u}r Theoriebildung und Praxisver{\"a}nderung}, publisher = {Institut f{\"u}r musikp{\"a}dagogische Forschung}, address = {Hannover}, isbn = {978-3-931852-53-5}, issn = {1430-8088}, pages = {49 -- 68}, year = {2022}, language = {de} }