Майер Гюнтер

Майер  Гюнтер

Профессор Гюнтер Майер в 1959 г. закончил Гумбольдский университет в Берлине (ГДР) по философии и музыковедению. В начале 60-х гг. Г.Майер обучался в аспирантуре и в это время на протяжении шести месяцев он проходил стажировку в Ленинградском Государственном университете у Моисея Соломоновича Кагана (1961—1962). Будучи по профессии философом, Г.Майер большую часть времени занимался вопросами как музыковедения, так и философии. С 1972 года — доцент, с 1980 — профессор (специальность — проблемы эстетической культуры социалистического общества).

В 1994 году (т.е. после присоединения ГДР к ФРГ) Гюнтер Майер по политическим причинам был отправлен на пенсию, а его место было предоставлено западному профессору. Такое отношение вытеснения высоко профессиональных кадров науки, сформированных в ГДР, проистекало из политики радикального сокращения марксистски ориентированных специалистов в академической среде. Кстати, эта политика подавалась как процесс «христианизации» бывших университетов ГДР.

С многочисленными работами профессора Г.Майера можно познакомиться на его собственном сайте — http://www.guentermayer.de

Ниже мы представляем несколько статей данного автора.

I have studied only at Humboldt-University in Berlin (GDR) from 1953 to 1959 and have finished there in philosophy and partly in musicology.From 1959 to 1963 I was «Aspirant», that is a kind of doctorant-time, during this time I was for 6 months in Leningrad, at the university imeny shdanowa, with Moissej Samoilowitsch Kagan (1961/62).
My professija is officially «philosoph» but most time it is «musicologist» or both. I became Dozent in 1972 and professor 1980 (aesthetic cultur of socialist society). I was sent into pensii in 1994 - by political reasons: my profssorship was given to a professor from the West. It was the process of «christianization» of the Universities in the former GDR, that is, to cut out the marxist orientated people of the academic cader.

Список работ профессора Гюнтера Майера.

 

I. Книги Г.Майера на немецким языке

 

1. Weltbild – Notenbild. Zur Dialektik des musikalischen Materials, Leipzig 1978

Образ мира – Образ нот. К диалектике музыкального материала.

2. Zur Theorie des Ästhetischen. Musik – Medien – Kultur – Politik. 20 Ausgewählte Schriften, Berlin 2006

К теории эстетического. Музыка – Медиуми – Культура – Политика.

Научный сборник из 20 статей Г.Майера.

 

II. Статьи на английском языке

 

1. Popular Music in the GDR

In: Journal of Popular Culture, Volume 18:3, Ohio winter 1984, 145-158

2. Mass-Culture in different Marxist concepts

Unpublished (1984)

3. From music in the media to music for the media

    In: TVÄRSPEL, Festskrift till Jan Ling, Göteborg 1984, 386-405

    Musica/Realtà, Anno VI, numero 16 aprile 1985, 119-143 (in Italian)

    Ästhetik der Kunst, Berlin 1987, 82-102

4. Advanced Composition and Critical (Political) Ambition

In: Critical Composition Today, edited by Claus-Steffen Mahnkopf, Hofheim 2006, 171-184

5. Music historiography: music of the GDR – music in the GDR Unpublished (2009)

6. Музыка и марксово мышление (интервью Г. Майера) в журнале «Альтернативы» 2010 - № 2.

 

 

III. Список статей Г.Майера, написанных в соавторстве

1. Paul Dessau. Aus Gesprächen. Leipzig 1974

Пауль Дессау. Из Бесед.

2. Ästhetik heute, Berlin/DDR 1978, 173-140

Эстетика сегодня: Основные определения эстетической оценки.

3. Neues Handbuch der Musikwissenschaft, Band 10, Wiesbaden 1982, 124-170

Новый справочник музыкознания. Т. 10. Социология музыки.

4. Ästhetik der Kunst. Berlin/DDR 1987, 82-102

Эстетика искуства, медиумы и музыка.

5. Historisch-kritisches Wörterbuch des Marxismus, Hamburg 1994 -

Историко-критический Словаръ Марксизма: т.I, 1994: Эстетика, 648-673;

т.II, 1995: Базисная Эстетика, 50-65; т.IV, 1999: Кампании против формализма, 619-635; Формализм, русский, 636-654; т.VI/2, 2004: Интернет II, 1459-1464;

т.VII/1, 2008: Казарменный Коммунизм (с Бузгалином), 407-411, Пошлость/Безвкусица (с Ринэкером), 725-735.

6. Muziekpsychologie, Assen (Holland) 1995, Muzieksociologie, 185-203

Едитор

7. Hanns Eisler, Musik und Politik, Schriften 1924-1948, Leipzig 19731 , 19852

8. Hanns Eisler, Musik und Politik, Schriften 1948-1962, Leipzig 1982

9. Hanns Eisler, Musik und Politik, Addenda, Leipzig 1983

Ганнс Эйслер, Музыка и Политика. Собр. соч.

10. Hanns Eisler Edition (mit Jürgen Elsner) VEB Deutsche Schallplatten, Berlin/DDR 1978

Ганнс Эйслер Издание 42 граммофонных пластинок - (с Юргеном Эльснером)

11. Tradition in den Musikkulturen – Heute und Morgen. Konferenz des IMC 1985 in Berlin/DDR, Kongressbericht , Leipzig 1987

Традиция в музыкальных культурах – сегодня и завтра.

Конференция международного музыкального сообщества. Берлин. 1985.

12. Bausteine zu einer Theorie der Populären Musik, Berlin 1992

Элементы теории популярной музыки.

13. Hanns Eisler der Zeitgenosse. Positionen und Perspektiven. Leipzig 1997

Ганнс Эйслер - Современик. Позиции и перспективы.

14. Hanns Eisler Edition. Berlin-classics/edel-records, Hamburg 1995-1998

Ганнс Эйслер Издание, 16. Компакт-диски и буклеты.

15. Musikwissenschaftlicher Paradigmenwechsel? Zum Stellenwert marxistischer Anätze in der Musikforschung, (mit Wolfgang M. Stroh). Bericht von der Fachtagung an der Universität Oldenburg 1999, Oldenburg 2000

Перемена парадигм в музыкологии? К oценке марксистских начал в музыкознании - (с Вольфгангом М. Штро).

Международная конференция, организованная университетом в Ольденбурге.

15. Hanns Eisler. Gesammelte Schriften 1921-1935. Hanns Eisler Gesamtausgabe, Serie IX,

Schriften Band 1.1 (mit Tobias Faßhauer), Wiesbaden – Leipzig – Paris, 2007

Ганнс Эйслер. Собр. Соч. - (с Тобиасом Фассхауером)

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FROM MUSIC IN THE MEDIA TO MUSIC FOR THE MEDIA

Günter Mayer

FROM MUSIC IN THE MEDIA TO MUSIC FOR THE MEDIA

Towards an Aesthetics of "Radiogenic" Music

"We have also sound-houses, where we practise and demonstrate all sounds and their genera­tion. We have harmonies, which you have not . . . divers instruments likewise to you un­known, . . . strange and artificial echoes reflect­ing the voice many times, and as it were toss­ing it, . . . also means to convey sounds in trunks and pipes in strange lines and distances".

(Roger Bacon, The New Atlantis)

The emergence of modern audiovisual media and the power they have unfurled are part of a very real, advancing process of socialization. The media are one fea­ture of the many processes of social and political transformation which also ex­ert increasing influence on the liberation movement and its development in the former colonial and oppressed countries of the Third World. The development of the record industry (not to mention film) the development of the big, industrially organized public institutions in radio and television , and the influence of the various branches within the media industry (especially leisure electronics) have brought about a deep, worldwide change in the historically inherited insti­tution of music, in the functions and structures of old and new music alike.

The latest revolution in the media, the introduction of cable and satellite technology and new peripheral technologies, is changing the way in which millions of people live and work, thus causing further changes in the mode of exist­ence of music, that is, in the social processes of production and reproduction of musical occurrences, of their distribution and exchange, and of their appropri­ation by recipients.

Popular Music in the GDR

Popular Music in the GDR

Günter Mayer

Internationally the German Democratic Republic is very well known for its high standard of music culture, especially in the realm of classical music. Classical music has long traditions which were followed and improved in the last decades.

Composers such as Heinrich Schütz, Johann Sebastian Bach, Georg Friedrich Handel, Philip Telemann, Robert Schumann, Felix Mendelssohn-Bartholdy and Richard Wagner were born in or lived within the territory which became the GDR in 1949. In 1985 Dresden, Leipzig and Halle will be celebrating the anniversaries of the 400th birthday of Schutz and the 300th birthdays of Bach and Handel respec­tively. The heritage of German classical music (including Haydn, Mozart, Beethoven and Schubert) is an important part of the programs of concert halls, opera houses, radio transmissions and record produc­tions. VEB Deutsche Schallplatten, for instance, released the world's first complete edition of Beethoven including more than 120 records.

Music historiography: music of the GDR – music in the GDR

Music historiography: music of the GDR – music in the GDR

 

Günter Mayer

This is a welcome opportunity to discuss the phenomenon of the GDR in a more objective and differentiated environment than that which dominated in the years immediately following the bankruptcy of socialism in 1989, and which has pervaded to some extent in recent publications about new music in the GDR.i I want to begin my essay with some moral and philosophical reflections. Interpretations of the GDR in which dictatorship is the central category determining the presentation of facts, in which all life is seen as a ‘dance in chains,’ii offer a decidedly one-sided view of reality. The theoretical reflection and the selection and evaluation of facts is emphatically critical, but condescending and underpinned by a presumptuous certainty. This approach involves a devaluation and de-legalisation of the lived experience of the majority of citizens of the GDR. It is an interpretation in which the attitude of depreciation is predominant. In practice this orientation is an anti-communist one.

Mass-Culture in different Marxist concepts

Mass-Culture in different Marxist concepts

Günter Mayer

 

1. Term of culture

 

a.)

- not very precisely used in history of concepts on culture

– ambiguous in its generality, abstractness

– tendency in the traditional use (look for instance Eckward B. Taylor, 1871) to define

culture as the quintessence of knowledge, beliefs, art, morals, behaviour and all other

capacities, talents and customs, which have been acquired by human beings as part

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