“Great minds…

…think alike”, is a saying in English (and is always used with a bit of self-deprecating irony, when used to include oneself!). And so I recently discovered a blog entry by musicologist Dr Leah Broad from the University of Oxford, which succinctly raises and eloquently discusses some of the very questions and themes that we seek to tackle in our DFG research project. In fact, the parallels between her observations – even though focussing on 19th century incidental music – and the introduction to my forthcoming book on contemporary theatre music are striking. 

Broad is also puzzled by the mismatch between the “sheer volume of incidental music written in the late nineteenth- and early twentieth-centuries” and the lack of scholarly and artistic interest in this wealth of material: “Why”, she asks, “[has] incidental music received so little attention until now?”

She gives some very plausible answers to this question. In the tradition of musicology and classical concert programming a number of factors work against an appreciation of theatre music: the myths of the autonomy of music and the cult of the “solo genius”, the particularly strong dependence of theatre music on its context, and the challenges it presents to publishing and performance. All this she develops in more detail and I highly recommend reading it in her blog entry “Why incidental music?” directly.

She summarizes (and I couldn’t agree more):

Prioritising incidental music means questioning many of the values and assumptions that have labelled it as uninteresting, unexciting, and unworthy. It doesn’t just give us new music. It gives us a new way of looking at the music that we already know, of hearing it afresh, and listening to theatre history with new ears. (Leah Broad)

The only thing to add would be to say: an appreciation of theatre music not only opens our ears afresh for theatre history, but equally for the theatre of the present and the future.

I look forward to discussing our mutual interest further at this year’s meeting of the working group Sound, Voice and Music at the TaPRA (Theatre and Performance Research Association) conference in Exeter.

Dieser Eintrag wurde veröffentlicht in In English, Portrait, Zitate von David Roesner. Setze ein Lesezeichen zum Permalink.

Über David Roesner

David Roesner ist Professor für Theaterwissenschaft mit Schwerpunkt Musiktheater an der LMU München. Er forschte und lehrte bisher an den Universitäten Hildesheim, Exeter und Kent. 2003 erschien seine Dissertation Theater als Musik, 2007 wurde er mit dem Thurnauer Preis für Musiktheaterwissenschaft ausgezeichnet. Zuletzt publizierte er die Monographie Musicality in Theatre (Ashgate, 2014) und arbeitet jetzt an einem Buch zur zeitgenössischen Theatermusik.

Schreibe einen Kommentar

Deine E-Mail-Adresse wird nicht veröffentlicht.

Diese Website verwendet Akismet, um Spam zu reduzieren. Erfahre mehr darüber, wie deine Kommentardaten verarbeitet werden.