German Studies Committee OBF Symposium 2008
April 17-18, 2008
Collier House
All lectures open to the public

April 17th 2008 – 2:30-4:45

Symposium

2:30-3:15

Marcel Cobussen (Leiden University)
“Specters of Bach: from Meaning to Working”

3:15-3:30

Discussion

3:30-3:45

Pause

3:45-4:30

Max Paddison (University of Durham)
"Music and the Generation of Meaning: Hanslick's Historical Turn"

4:30-4:45

Discussion

April l8, 2008 – 10:00-11:30 and 3:15-5:00

Works-in-Progress Seminars

10:00-11:00

Marcel Cobussen (Leiden University) Seminar on Improvisation

11:00-11:30

Discussion

11:30-3:15

Pause

3:15-4:15

Max Paddison (University of Durham) "Adorno's Theory of Musical Reproduction" (in THEMES series, Directed by Prof. Steve Larson, University of Oregon, School of Music)

4:15-5:00

Discussion

Note: This German Studies OBF Symposium is sponsored by the German Studies Committee, and the Oregon Bach Festival, with the generous support of the Department of German and Scandinavian, the Oregon Humanities Center, and the School of Music.

Bios:

Marcel Cobussen is a musician and a philosopher. He studied jazz piano at the Conservatory of Rotterdam, and Art and Cultural Studies at Erasmus University Rotterdam. When he is not busy writing about music and (post-structuralist) philosophy, he teaches philosophy and music at the Royal Conservatory of The Hague, jazz piano at the Rotterdam School of Music (SKVR), and aesthetics in the Department of Philosophy at Erasmus University. At home, he plays mostly Bach. Note: he only writes about music he appreciates (not reversible). He is the co-author of the book, Dionysos danst weer. Essays over hedendaagse muziekbeleving (1996) [Dionysos Dances Again. Essays on Contemporary Music].

Max Paddison is Professor of Music Aesthetics at Durham University. He studied piano and composition at the Royal Manchester College of Music (where he was awarded the Royal Philharmonic Society Prize), musicology at Exeter University, and philosophy and sociology at the Johann Wolfgang Goethe University, Frankfurt am Main (on a DAAD Scholarship). He teaches courses in aesthetics, nineteenth- and twentieth-century music, contemporary music and popular music. He is an Associate Director of the Research Centre for Contemporary Music at Durham, and is also a member of the board of the Centre for Iranian Studies. He won an AHRC Research Leave award in 2006, and is completing a project on Adorno's theory of musical performance. Well known for his work on critical theory and Adorno, Max Paddison has written two books in this area: Adorno's Aesthetics of Music (Cambridge, 1993,1997), and Adorno, Modernism and Mass Culture (London, 1996, rev. ed. 2004). He is joint editor of a volume of essays with Irène Deliège, Musique Contemporaine: Perspectives théoriques et philosophiques (Liège, 2001), which is also to appear in English, and has contributed to a multi-authored volume, Order and Disorder: Music-Theoretical Strategies in Twentieth-Century Music, with Jonathan Dunsby, Joseph N. Straus, et al. (Leuven, 2004).