Birgit Lodes

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Birgit Lodes (born April 30, 1967 in Marktredwitz ) is a German musicologist and professor at the University of Vienna .

Career

Lodes grew up in Bayreuth . In 1986 she was accepted into the Maximilianeum Foundation (Wittelsbach Anniversary Foundation). From 1986 to 1991 she studied music for teaching at grammar schools (with piano and violoncello) as well as musicology with the minor subjects organizational psychology and general pedagogy at the University of Music and the Ludwig Maximilians University in Munich . In 1988/89 she studied at the University of California in Los Angeles in the USA. In 1991 she passed her first state examination in school music. In 1992/93 she was a visiting fellow at Harvard University .

In 1995 she received her doctorate with the grade summa cum laude at the University of Munich. Her dissertation Das Gloria in Beethoven's Missa solemnis was awarded the university's doctoral prize. From 1994 to 2004 Lodes was a research assistant, assistant or senior assistant at the Institute for Musicology at the University of Munich, and from 1998 to 2000 she was also a faculty representative for the mid-level academic staff, receiving a three-year habilitation scholarship. From 1995 to 1998 she was also a lecturer at the Munich University of Music (song history and music history).

In 2002 he completed his habilitation at the University of Munich. The title of the habilitation thesis is Gregor Mewes ' Concentus harmonici and Jacob Obrecht's last masses . Subsequently, in the summer semester of 2002, she represented the C3 professorship for musicology at the University of Erlangen-Nuremberg . In the 2002/03 winter semester she was visiting professor at the Institute for Musicology at the University of Vienna.

Since February 2004 she has been a university professor for musicology there, with a special focus on older historical musicology. In 2008 she was elected a corresponding member of the philosophical-historical class of the Austrian Academy of Sciences . She has been a member of the Academia Europaea since 2013 .

Lodes is a member of the Advisory Board for Valuation Research Studies .

Fonts (selection)

Books

  • The Gloria in Beethoven's Missa solemnis (= Munich publications on music history , Volume 54), Tutzing 1997, ISBN 3-7952-0853-X

Essays

  • Richard Strauss ' sketches on the "Metamorphoses" and their relationship to "Mourning for Munich" , in: Die Musikforschung , vol. 47 (1994), pp. 234-251
  • An “original version” of Richard Strauss's “Metamorphoses”? , in: Musica , Vol. 48 (1994), pp. 275-279
  • “From the heart - may it go to the heart again!” On the dedication of Beethoven's Missa solemnis , in: Old in New. Festschrift Theodor Göllner on his 65th birthday , ed. by Bernd Edelmann and Manfred Hermann Schmid , Tutzing 1995, pp. 295–306
  • Beethoven's individual appropriation of the slow introduction. On the first movement of the string quartet op. 127 , in: Musica , Jg. 49 (1995), pp. 311-320
  • "When I try, now and then, to give musical form to my turbulent feelings ..." The Human and the Divine in the Gloria of Beethoven's Missa solemnis , in: Beethoven Forum 6, Lincoln-London 1998, pp. 143-179
  • The 19th century , in: Mass and Motette , ed. by Horst Leuchtmann and Siegfried Mauser , Laaber 1998, pp. 270–332
  • Clause Nos. 24 and 25 , in: The clauses of the Saint-Victor manuscript (Paris, BN, lat. 15139) , ed. by Fred Büttner, Tutzing 1999, pp. 182-195
  • with Fred Büttner, Clause No. 12 , in: ibid, pp. 92-98
  • Strauss' arrangements in “Bürger als Edelmann” and Stravinsky's “Pulcinella” , in: Compositionswissenschaft. Festschrift Reinhold and Roswitha Schlötterer for their 70th birthday , ed. by Bernd Edelmann and Sabine Kurth, Augsburg 1999, pp. 261-279
  • The "modern" Strauss on the way to becoming a classic? Staging and criticism using the example of the Richard Strauss Week, Munich 1910 , in: Richard Strauss und die Moderne , ed. from the management of the Munich Philharmonic, Munich 1999, pp. 188–205
  • According to Beethoven: Music and Text in Schubert's E-flat Major Mass , in: Schubert Yearbook 1997. Report on the International Schubert Congress Duisburg 1997. Franz Schubert - Work and Reception , Part 1, Songs and Chants - Spiritual Works , ed. by Dietrich Berke, Walther Dürr , Walburga Litschauer and Christiane Schumann, Duisburg 1999, pp. 155–176
  • Probing the sacred genres: Beethoven's religious songs, oratorio, and masses , in: The Cambridge Companion to Beethoven , ed. by Glenn Stanley, Cambridge 2000, pp. 218-236 and pp. 332-334
  • Zarathustra in the dark. On Strauss' Dehmel setting Notturno, op. 44 No. 1 , in: Richard Strauss und die Moderne. Report on the international symposium Munich, July 21-23, 1999 , ed. by Bernd Edelmann, Birgit Lodes and Reinhold Schlötterer, Berlin 2001, pp. 251–282
  • Mass compositions at the end of the Viennese Classic: Could Beethoven learn from Cherubini ? , in: Anton Bruckner - Tradition and Progress in Church Music of the 19th Century , ed. by Friedrich Wilhelm Riedel, Sinzig 2001, pp. 207–236
  • “Maria zart” and the fear of purgatory and Malafrantzos - the career of a song at the beginning of the 16th century , in: Trossinger Jahrbuch für Renaissancemusik 1 , Kassel, pp. 99-133
  • In a different place, in a different way: Petruccis and Mewes' Obrecht-Drucke , in: Basler Jahrbuch für Historische Musikpraxis , Volume 25, Winterthur 2002, pp. 85–111
  • Denied sound. Beethoven's idea and its realization by interpreter and listener , in: Dem Ohr vor. Expectation and Prejudice in Music , ed. by Andreas Dorschel, Vienna 2004, pp. 79–111
  • Beethoven's sonatas for piano and violoncello op. 5 in their genre-historical context , in: Beethoven's works for piano and violoncello. Report on the International Conference Bonn, 18. – 20. June 1998 , ed. by Sieghard Brandenburg , Ingeborg Maaß and Wolfgang Osthoff, Bonn 2004, pp. 1-60
  • Schubert and Lachner read Heinrich Heine's “I stood in dark dreams” , in: Music history as a history of understanding. Festschrift for Gernot Gruber on his 65th birthday , ed. by Joachim Brügge , Franz Födermayr , Wolfgang Gratzer, Thomas Hochradner and Siegfried Mauser, Tutzing 2004, pp. 279–310
  • with Matthias Miller, Hic jacet Ludovicas Fenfflius. News on the biography of Ludwig Senfl , in: Die Musikforschung, vol. 58 (2005), pp. 260–266
  • "So dreamed I was traveling [...] to India": Temporality and Mythology in Opus 127 / I , in: The String Quartets of Beethoven , ed. by William Kinderman , Urbana and Chicago 2006, pp. 168–213 - German translation in: Chamber music on the Rhine and Main. Contributions to the history of the string quartet , ed. by Kristina Pfarr and Karl Böhmer, Mainz 2007, pp. 267–320
  • Franz Lachner's “Singer's Journey” op. 33 based on texts by Heinrich Heine , in: Franz Lachner und seine Brüder , ed. by Hartmut Schick and Stephan Hörner , Tutzing 2006, pp. 213–246
  • Text and Music , in: Discourse. Language. Text. A method-oriented introduction to linguistics for Romance scholars , ed. Michael Metzeltin, 3rd edition Vienna 2008, pp. 291–317
  • Reflections on Beethoven and Mozart , in: Mitteilungsblatt der Wiener Beethoven-Gesellschaft , Vol. 37, Issue 4/2006, pp. 16–23
  • Ludwig Senfl and the Munich Choirbooks , in: The Munich Court Orchestra of the 16th Century in a European Context , ed. by Theodor Göllner and Bernhold Schmid , Munich 2006, pp. 224–233
  • Sigmund Salminger's “Selectissimae cantiones” (Augsburg 1540) as a musical gift print for Queen Maria of Hungary , in: Gutenberg-Jahrbuch 2008 , pp. 93-106
  • Music printing as a media revolution? Codex versus book in the 15th and 16th centuries , in: From the price of progress. Profit and Loss in Music History , ed. Andreas Dorschel and Andreas Haug, Vienna 2008, pp. 161–194
  • with Laurenz Lütteken, introduction , in: Institutionalisierung als Process. Organizational forms of musical elites in Europe in the 15th and 16th centuries , ed. Birgit Lodes and Laurenz Lütteken, Laaber 2008, pp. 1–14
  • Multiple manifestations of a template: "Maria zart" contrasted and edited , in: The Art of Transition. Music on Music in the Renaissance , ed. by Nicole Schwindt, Kassel 2008, pp. 63-101
  • Des Kaisers Alamire: On the creation of the choir book Vienna, Austrian National Library, Mus. Hs. 15495 , in: Uno gentile et subtile ingenio: Studies in Renaissance Music in Honor of Bonnie J. Blackburn , ed. by Jennifer Bloxam, Gioia Filocamo and Leofranc Holford-Strevens, Turnhout 2009, pp. 247-258
  • "Not further! here to church music, there to the symphony ”. Hanslick's view of Beethoven. In: Eduard Hanslick in memory. Report of the symposium on the occasion of the 100th anniversary of his death. Edited by Theophil Antonicek, Gernot Gruber and Christoph Landerer, Tutzing 2010, pp. 259–296
  • The year 1507 in (music) printing technology perspective , in: LevelNicheNimbus. The beginnings of music printing north of the Alps , ed. by Birgit Lodes, Tutzing 2010, pp. 33–66
  • “Le congrès danse”: Set Form and Improvisation in Beethoven's Polonaise for Piano, Op. 89 , in: Musical Quarterly , Vol. 93 (2010), pp. 414-449
  • Music historiography without works of art? Carl Dahlhaus and the early music , in: Carl Dahlhaus and the musicology: work, effect, actuality , ed. by Hermann Danuser , Schliengen 2011, pp. 176–196

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personal data
SURNAME Lodes, Birgit
BRIEF DESCRIPTION German musicologist and university professor
DATE OF BIRTH April 30, 1967
PLACE OF BIRTH Marktredwitz