Green2017predavanja

Prof. Dr. Edward Green, Manhattan School of Music, New York City Muzička akademija, Odsjek za muzikologiju Boravak u Zagrebu: nedjelja, 12. 3. 2017. – subota, 18. 3. 2017. 

Teme predavanja (3) 1) What Does All World Music Have in Common? (Što imaju zajedničkoga sve svjetske glazbe?)

- Utorak, 14. 3. 2017. u 18:30 (termin estetike glazbe) Soba 326 Godine 1941. veliki američki filozof Eli Siegel utemeljio je estetički realizam. Taj korpus znanja sadrži univerzalni pristup estetici koji može omogućiti ljudima da po prvi put shvate što sva glazba ima zajedničkoga.

Taj je zajednički element ontološki: jedinstvo protivnosti što je trajna struktura svijeta. Vidjeti glazbu na ovaj način baca fundamentalno novo svjetlo na pitanje zašto posvuda u svijetu glazba znači ljudima nešto duboko. „Sva ljepota“, tvrdi Eli Siegel, „je tvorba jednoga iz suprotnosti, a tvorba jednoga iz suprotnosti je ono za čim težimo u sebi“.

Domašaj ovog velikog načela vrlo je velik za glazbeni odgoj. Preko estetičkog realizma pokazuje se da umjetnost i život imaju istu u podlozi istu strukturu.

Zbog toga možemo naučiti tehnički iz ljepote glazbe kako da ostvarimo živote koji nam se istinski sviđaju.

Bit će pruženi primjeri iz glazbenih kultura iz čitavoga svijeta i tijekom mnogih stoljeća koji ilustriraju istinu ovih zamisli.

In 1941, the great American philosopher Eli Siegel founded Aesthetic Realism. This body of knowledge contains a universal approach to aesthetics, one which can enable people to grasp, for the first time, what all music has in common.

That common element is ontological: the oneness of opposites, the permanent structure of the world. Seeing music this way sheds fundamental, new light on the question of why, everywhere in the world, music matters so deeply to people. "All beauty," stated Eli Siegel, "is a making one of opposites, and the making one of opposites is what we are going after in ourselves."

The implications of this great principle for music education are profound. Through Aesthetic Realism art and life are shown to have the same underlying structure. Because of this, we can learn technically from the beauty of music how to have lives which honestly please us.

Examples illustrating the truth of these concepts will be given from musical cultures around the world, and across many centuries.

2) Aesthetic Realism, Jazz, and the Music of Duke Ellington (Estetički realizam, jazz i glazba Dukea Ellingtona) -

četvrtak (16. 3. 2017.): 10:30 – 12:00 Soba 336 Estetički realizam objašnjava da je najdublja želja svake osobe voljeti svijet na pošteni način. U nastavku na temu prvog predavanja ove serije govori se o načinu kako voljeti svijet vidjevši ga estetički – kao jedinstvo suprotnosti. Jazz dovodi protivnosti zajedno na divan način; nigdje se to ne vidi tako jasno kao u glazbi Dukea Ellingtona, njegova najvećeg skladatelja.

Među Ellingtonovim skladbama raspravljat će se o "The Mooche," "Harlem Airshaft," "Black and Tan Fantasy" i "Symphony in Black." Analizirat će se i glazbeni motto Ellingtonova orkestra "Take the A Train" što ga je komponirao njegov bliski suradnik Billy Strayhorn. Drugi ključni element ovoga predavanja je razmatranje uloge grada New Yorka u Ellingtonovu životu i karijeri.

Eli Siegel (1902.-1978.) bio je prvi kritičar koji je sagledao jazz kao umjetnost u punom smislu riječi: umjetnost kao onu Homera, Beethovena i Picassa. U svojem članku "The Novel of Our Time and Jazz" Siegel piše o tome kako su protivnosti NE i DA fundamentalne za jazz – za njegovu tehniku i emotivni utjecaj. Rasprava o tome tekstu središnja je tema Greenova predavanja, koje će biti oživljeno živim ilustracijama na klaviru i mnogim vizualnim slikama, uključujući odlomak filma iz 1935. s Ellingtonom i njegovim glazbenicima.

Every person's deepest desire, Aesthetic Realism explains, is to like the world on an honest basis. Continuing with the theme of the first talk in this lecture series, the way to like the world is by seeing it aesthetically--as the oneness of opposites. Jazz brings opposites together in a stunning manner; nowhere can this be seen more clearly than in the music of its greatest composer, Duke Ellington.

Among the Ellington compositions discussed are "The Mooche," "Harlem Airshaft," "Black and Tan Fantasy," and "Symphony in Black." The theme song of Ellington's orchestra, "Take the A Train," composed by his close associate Billy Strayhorn, is also analyzed. Another core element of this lecture is a consideration of the role New York City played in Ellington's life and career.

Eli Siegel, who lived from 1902 to 1978, was the earliest critic to see jazz as art in the full, respectful sense of the word: art as Homer is art; Beethoven; Picasso. In his essay, "The Novel of Our Time and Jazz," he writes of how the opposites of NO and YES are fundamental to jazz: to its technique, and emotional impact. Discussion of that essay is a central feature of Edward Green's talk--a talk enlivened both by live illustrations on the piano and many visual images, including a portion of a 1935 film featuring Ellington and his musicians.

3) Felix Mendelssohn and John Lennon: or, the Battle in Every Mind between Contempt and Respect (Felix Mendelssohn i John Lennon: ili bitka u svakome umu između prijezira i poštovanja) - petak (17. 3. 2017.): 9:30 – 11:00 (…)

Soba 334 Prva dva predavanja u ovoj seriji bila su usmjerena na estetiku glazbe. Ovo treće će biti uglavnom o etici. Kako tom vidi Estetički realizam, najtrajnija rasprava u duhu svakoga čovjeka jest – kao sredstvo brige za sebe – je li bolje prezirati svijet i druge ljude ili ga/ih poštovati. Kako je objašnjavao Eli Siegel, prijezir je „dispozicija svake osobe da misli kako će biti više za sebe ako učini manje za vanjski svijet“.

Promatrajući živote i umjetnost ovih dvaju važnih glazbenika i reprezentativnih ljudskih bića možemo jasnije razumjeti raspravu između prijezira i poštovanja u svim ljudima. Možemo zapitati: je li strastveni poriv za za poštovanjem u temeljima najfinijeg rada Mendelssohna i Lennona? Je li povjerenje u prijezir ograničavalo njihovu glazbu i također slabilo njihove živote? I što je najvažnije: što to sve govori nama, sada, o mudrosti u životu?

Kako bi učinio ovo posljednje pitanje živahnim, dr. Green će citirati iz rasprava u klasi Estetičkog realizma u kojima je naučio, kroz ljubazna pitanja Elija Siegela, kako su prijezir i poštovanje djelovali u njemu kao mladom čovjeku i glazbeniku.

Ove su rasprave prema vlastitim riječima promijenile njegov život.

Među glazbenim komadima o kojima se raspravlja u ovome predavanju su Mendelssohnova uvertira za njegov San ljetne noći i rani hit Beatlesa "I Want To Hold Your Hand."

The first two talks in this series focused on the aesthetics of music; this is largely about ethics. As Aesthetic Realism sees it, the most constant debate in the mind of every person is whether--as a means of taking care of oneself--it is better to have contempt for the world and other people, or respect. Contempt, Eli Siegel explained, is the "disposition in every person to think he will be for himself by making less of the outside world."

Through looking at the lives and art of these two important musicians and representative human beings, we can understand more clearly the debate between contempt and respect in all people. We can ask: Was the passionate drive for respect the foundation for the finest work of Mendelssohn and Lennon? Did the hope for contempt limit their music, and also weaken their lives? Most importantly: What does all this say to us, now, about wisdom in life?

To make this last question vivid, Dr. Green quotes from Aesthetic Realism class discussions in which he learned, through kind questions from Eli Siegel, how contempt and respect were at work in him--as a young man and musician. These discussions, he says, changed his life.

Among the music discussed in this lecture are Mendelssohn's Overture to A Midsummer Night's Dream and the Beatles' early hit "I Want To Hold Your Hand."

******** Životopis

Dr. Edward Green istaknuti je i nagrađivani američki skladatelj, koji predaje od 1984. povijest glazbe i etnomuzikologiju na Manhattan School of Music u New Yorku.

Doktorirao je na New York University s tezom Chromatic Completion in the Late Vocal Music of Haydn and Mozart.

Sredinom 1970-ih imao je čast studirati s Elijem Siegelom, osnivačem Estetičkog realizma. Opširni intervju biti profesorom na fakultetu Fondacije estetičkog realizma u New Yorku.

E. Green je višekratno objavio članke u časopisu Hrvatskog muzikološkog društva International Review of the Aesthetics and Sociology of Music, gdje je i član uredništva. Među njegovim publikacijama su i The Cambridge Companion to Duke Ellington i China and the West: The Birth of a New Music (Shanghai Conservatory Press). Bio je i urednik i sudjelovao prilozima u časopisima koji su obilježavali obljetnice Franza Josepha Haydna (Journal of Musicological Research) i Bernarda Herrmanna (Popular Music History).

Godine 2008. kao Fulbright Senior Scholar za područje američke glazbe E. Green je predavao o glazbi Johna Cagea na doktorskom programu Pontifikalnog sveučilišta Argentine u Buenos Airesu. Nedavno je održao predavanja na Escola Superior de Música u Lisabonu o tehnici komponiranja, a u Europu će se opet vratiti u svibnju 2017. za dva predavanja o glazbi Dukea Ellingtona na Sveučilištu u Bologni.

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Dr. Edward Green, a distinguished and award-winning American composer, has been a professor of music history and ethnomusicology at the Manhattan School of Music since 1984. His PhD is from New York University, with a thesis on Chromatic Completion in the Late Vocal Music of Haydn and Mozart.

In the mid-1970s, he had the honor to study with Eli Siegel, the founder of Aesthetic Realism. An extensive interview on the faculty of the Aesthetic Realism Foundation in New York.

He has been a frequent contributor to the International Review of the Aesthetics and Sociology of Music, the journal of the Croatian Musicological Society, and serves on its editorial board.

Among his scholarly publications are The Cambridge Companion to Duke Ellington, and China and the West: The Birth of a New Music (Shanghai Conservatory Press). He likewise edited and contributed to celebratory journal issues marking the anniversaries of Franz Joseph Haydn (Journal of Musicological Research) and Bernard Herrmann (Popular Music History).

In 2008, as a Fulbright Senior Scholar in the field of American Music, Edward Green taught a doctoral seminar on th music of Duke Ellington at the University of Bologna.