Dr. Marcus Zagorski

Marcus Zagorski je muzikológ a skladateľ. Medzi jeho profesionálne záujmy patrí hudba 20. storočia (obzvlášť hudba po roku 1945), filozofická estetika a dejiny hudobnej teórie. Vyštudoval muzikológiu na Stanford University (tu získal v roku 2006 titul PhD.) a kompozíciu na McGill University (1998). V minulosti pôsobil na Bowling Green State University (USA) a University College Cork (Írsko). Na Filozofickej fakulte Univerzity Komenského v Bratislave vyučuje hudobnohistorické a hudobnoteoretické predmety, estetiku, hudobnú analýzu a kompozíciu.

PUBLIKAČNÁ ČINNOSŤ

KNIHY

Kapitoly z estetiky seriálnej hudby [Elements of Serial Aesthetics, trans from English by Robert Kolář], Bratislava: NM Code, 2017 (in press).

Musicologica Istropolitana 12, co-edited with Vladimír Zvara, Bratislava: Comenius University Press, 2016 (ISBN 978-80-223-4100-4).

 

RECENZOVANÉ ŠTÚDIE

 “Making the Postwar Avant-Garde More German,” Studia Musicologica 56/4 (2015), 285-292.

 “Carl Dahlhaus and the Aesthetics of the Experiment,” Acta Musicologica 87/2 (2015), 249-264.

 “Aesthetics and Truth in Nietzsche and Adorno,” Hudba - Integrácie - Interpretácie 18 (2015), 37-57.

 “Hearing Beethoven, Truth, and ‘New Music’,” International Review of the Aesthetics and Sociology of Music 44/1 (2013), 49-56.

 “Material and History in the Aesthetics of ‘serielle Musik’,” Journal of the Royal Musical Association 134/2 (2009), 271-317.

 “‘Nach dem Weltuntergang’: Adorno’s Engagement with Postwar Music,” Journal of Musicology 22/4 (2005), 680-701.

 

KAPITOLY V KNIHÁCH / KONFERENČNÉ PRÍSPEVKY /ESEJE

 “The Role of Technology in the Aesthetics of Postwar Serial Music,” Musicologica Brunensia 52/1 (2017), forthcoming.

 “Stockhausen’s Theoretical Legacy: An Aesthetics of Experimentation,” The Musical Legacy of Karlheinz Stockhausen, eds. Morag Grant and Imke Misch, Hofheim: Wolke, 2016, 52-62.

 “Adorno and Musical Material,” Tempus Konnex, available online at tempus-konnex.com/spip.php?article245.

 “How Adorno Heard Beethoven,” Musicologica Istropolitana 12, eds. Marcus Zagorski and Vladimír Zvara, Bratislava: Comenius University Press, 2016, 163-173. [An edited reprint of my article “Hearing Beethoven, Truth, and ‘New Music’”]

 “Poňatie pokroku v západonemeckej hudbe po roku 1945,” Slovenská hudba 41/2 (2015), 150-158. [Slovak translation of “Narratives of Progress in West German Music after 1945”]

 “Narratives of Progress in West German Music after 1945,” Konzeptionen des musikalischen Denkens in der europäischen Musikwissenschaft des 20. Jahrhunderts (anlässlich des 100. Geburtsjahres von Jozef Kresánek), ed. Markéta Štefková, Bratislava: Ústav hudobnej vedy SAV, 2014, 209-222.

 

ŠTUDIJNÝ MATERIÁL (E-BOOK)

 A Companion to 20th-Century Music History, Bratislava: Comenius University Press, 2014 (ISBN 978-80-8127-105-2).

RECENZIE

 “Jazz from Socialist Realism to Postmodernism: Jazz under State Socialism, vol. 5” (eds. Yvetta Kajanová, Gertrud Pickhan, Rüdiger Ritter, Frankfurt am Main: Peter Lang, 2016), Human Affairs (forthcoming).

 “Kultur und Musik nach 1945: Ästhetik im Zeichen des Kalten Krieges” (ed. Ulrich J. Blomann, Saarbrücken: Pfau, 2015), Journal of Musicological Research 35/3 (2016), 270-272.

 “Melos-Ethos International Festival of Contemporary Music 2015,” Tempo 70/276 (2016), 91-92.

 “Melos-Étos 2015,” (in Slovak) Hudobný život, 47/12 (2015), 4-5.

 “Wien Modern 2014,” Tempo 69/272 (2015), 77-78.

 “Wien Modern 2014,” (in Slovak) Hudobný život, 46/12 (2014), 26.

 

PREKLADY

“Signalling a Promised Paradise,” by Peter Behýl, Program Book for Beethoven’s Fidelio, Slovak     National Theatre, 2016, 49-51.

 “A Word from the Director,” by Martin Bendik, Program Book for Beethoven’s Fidelio, Slovak National Theatre, 2016, 53.

 “On the Clash between Religion and Eros. A Conversation with Friedrich Haider,” by Vladimir Zvara and Friedrich Haider, Program Book for Ermanno Wolf-Ferrari’s I gioielli della Madonna, Slovak National Theatre, 2015, 80-84.

 “We Have to Serve the Composer,” by Manfred Schweigkofler, Program Book for Ermanno Wolf-Ferrari’s I gioielli della Madonna, Slovak National Theatre, 2015, 86.

 “In a Conceptual Note to La Bohème” by Peter Konwitschny, Program Book for Giacomo Puccini’s La Bohème, Slovak National Theatre, 2014, 91-92.

 “Does Puccini Glorify Common People and Common Lives? Theses to La Bohème” by Gerd Rienäcker, Program Book for Giacomo Puccini’s La Bohème, Slovak National Theatre, 2014, 99-104.

 “New Music in Japan in the 1990s” by Seiji Choki (translated from the German original), Ensemble-Modern-Jahresmagazin 3.

 “‘Returning to the Skin’: On Theodor W. Adorno’s Theory of Musical Interpretation” by Hermann Danuser (translated in conjunction with László Vikárius), Essays in Honor of Lásló Somfai on his 70th Birthday, Lanham, MD: Scarecrow, 2005, 109-123.

 INTERVIEW

 “Rozhovor: Marcus Zagorski,” Hudobný život, 46/9 (2014).

 “Rozhovor,” Naša Univerzita: časopis Univerzity Komenského v Bratislave 60/10 (2014), 28.

 

EDITORSKÁ ČINNOSŤ

English-language Editor, Program Book for La Bohème, Slovak National Theatre, 2014

English-language Editor, International Society for Contemporary Music Program, 2013

Co-Editor, Stanford Humanities Review (1998-2000), Stanford University

 

DIZERTAČNÁ PRÁCA

Between History and Nature: Theories of Material in Postwar Serialism, Stanford University (USA), 2006.