Theodor
W. Adorno:
zum 100. Geburtstag
Participants:
Daniel K. L. Chua (Kings College)
is a Reader in Music Theory and Analysis, King's College
London. He is the author of The 'Galitzin' Quartets of Beethoven
and Absolute Music and the Constuction of Meaning (1999).
Lydia Goehr (Columbia University)
is a Full Professor of Philosophy at Columbia University
and the author of The Imaginary Museum of Musical Works: An Essay in
the Philosphy of Music and The Quest for Voice: Music, Politics,
and the Limits of Philosophy.
Berthold Hoeckner (University of Chicago)
is an Associate Professor of Music and the Humanities at
the University of Chicago and the author of Programming the Absolute:
Nineteenth-Century German Music and the Hermeneutics of the Moment.
Brian Hyer (University of Wisconsin, Madison)
is an Associate Professor of Music Theory. His forthcoming book, Figuring
Music, contextualizes the music of Bach, Rameau, Mozart, Schubert
and Wagner within and against contemporaneous cultural practices from
artifical perspective and landscape to stage design and stereoscopic photography;
from natural history and human physiognomy to plant genetics and evolutionary
biology; from mathematical logic and non-Euclidean geometry to political
economy, cultural geography and psychoanalysis.
Richard Leppert (University of Minnesota)
is the Samuel Russell Distinguished Professor of Humanities,
and
Morse Alumni Distinguished Teaching Professor at the University of Minnesota.
He is Chair of the Department of Cultural Studies and Comparative Literature.
Leppert's work is concentrated on the relations of music and imagery to
social and cultural construction, principally revolving around issues
of gender, class and race. He also writes on aesthetics, and on critical
theories of the arts and culture from the Frankfurt School to post-modernism,
with particular emphasis on Adorno. His most recent book is a critical
edition of writing by T.W. Adorno, Essays on Music (University
of California Press, 2002). He is currently at work on a book called Musical
Extremes: The Dialectics of Virtuosity.
Thomas Nelson (Minneapolis)
studied music at Carleton College, music theory at the
University of Wisconsin, and musicology at the University of Pennsylania
and the University of Minnesota. He received the Ph.D from the University
of Minnesota in 1998 with his dissertation, "The Fantasy of Absolute
Music." He has published articles on the Brahmsphantasie by Max Klinger
in the journal Art History and in the American Brahms Society
Newsletter. He is currently working on issues of absolute music and
the writings of Kant, Schiller, Hegel, Nietzsche, and Adorno.
Sanna Pederson (University of Oklahoma)
specializes in German nineteenth-century music and
culture and is currently working on a book called Musical Romanticism
and Cultural Pessimism: the Impact of the Revolutions of 1848-49 on German
Musical Life. She has published articles relating Beethoven and German
music to nation building, historiography, masculinity, and anti-romanticism.
She participated in the conference "Der männliche‚ und
der Weibliche‚ Beethoven" in Berlin last fall and the Bard conference
Beethoven and His World in 2000. Dr. Pederson received the Ph.D from the
University of Pennsylvania with a dissertation on the history of German
music criticism. She is Mavis C. Pitman Professor of Music and Associate
Professor of Music History at the University of Oklahoma.
Larson Powell (Texas A & M)
received his Ph.D. from Columbia
University 1999 in German and has taught at Fordham University (New York),
Mount Holyoke College and University of Massachusetts Amherst. He is currently
Asst. Prof. of German at Texas A&M. He has publications in German
and English on Adorno, Boulez, Stockhausen, Cage, Carter, Prokofiev. His
interests include psychoanalysis, film and media theory, philosophical
aesthetics, and comparative literature (French and Russian). He is currently
completing a book on 20th century German poetry of nature.
Alex Rehding (Princeton University)
is Cotsen Fellow at the Society of Fellows in the Liberal
Arts. His article, "Liszt's Musical Monuments," appeared recently
in 19th-Century Music.
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