Browsing by Author "KAM Lap Kwan"

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Webern's Bach and the Dilemma of Austro-German Music Before the Anschluss
(2007)
金立群
;
KAM Lap Kwan
;
國立交通大學音樂研究所
Austro-German music has been deeply associated with both German and Austrian national identities, although Schoenberg bluntly claimed that only Austrians like he himself will uphold the future of German music. This perplexity of national and cultural identifications of the Austrians only intensified in 1933-1938, the period before Austria』sfinal Anschluss with Germany. After Schoenberg』s exile to the United States in 1933, the dilemma of Austro-German music was very much felt by his student Webern, who though far from an anti-Semite, had been under the sway of pan-German nationalism. And that dilemma was whether to follow the path of modernism, now condemned as (Jewish) cosmopolitanism, or to resort to romantic historicism, clinging to the national (German) heritage. After the exposure of Webern』s enthusiasm for the Nazi and for Hitler by Hans Moldenhauer in 1978, Webern studies were silent on this aspect for a decade. Then in the 90s there was a sea change from formal analysis to contextual criticism with Anne Shreffler (re)discovering Webern』s lyric impulse in 1994 and Julian Johnson exploring Webern』s preoccupation with nature and its roots in the aesthetics of romanticism in 1999. On the other hand, two conferences in Austria in 1990 and 1995 attempted to tackle the social and political dimensions of the Schoenberg school and Webern particularly. This study will proceed to decipher Webern』s inner conflict by looking at the genesis and reception of his Bach-related works in this period, i.e. the Quartet for clarinet, tenor saxophone, violin and piano op. 22 (1928–30), the orchestration of the six-part fugue (「ricercare」) from the Musical Offering (1934-35) and the String Quartet op. 28 (1936–38). In these works, the confrontation of modernism and historicism that induced the dilemma of Austro-German music were pervasively and deeply felt. New sources published recently such as Webern』s lecture notes (2002), his letters to Zemlinsky (1995) and to Jalowetz (1999), and other archival material will be incorporated for a contextual reading.
音樂史學在奧地利與臺灣（奧地利傳統Ⅱ）
(2006)
金立群
;
KAM Lap Kwan
;
國立交通大學音樂研究所
有關音樂與德意志國族身份之建構，2002 年有一重要研究文集出版(Music and German National Identity, ed. Celia Applegate & Pamela Potter [Chicago UP])。與之相關並更為複雜的奧地利研究卻仍在起步中。其一原因是奧地利政府要到1990 年代才正式開始處理其在二次大戰中的歷史責任，但2000 年卻出現極右政黨聯合執政。奧地利音樂史在建構國族身份與文化身份中掙扎，而因作曲家是音樂史的主要角色，誰是我者與他者的界定更顯爭議。其難處一方面在於奧地利久遠坎坷的歷史，另一方面在於國族觀念的改變。本計畫結合奧地利國史、政治理論、作曲家傳記研究等，再思音樂史寫作的文化與政治意義，以尋求擺脫狹隘國族框架並更符合普世人文精神的音樂史學模式。