Federico Celestini

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Federico Celestini (born December 5, 1964 in Rome ) is an Italian musicologist. Since 2011 he has held the chair for musicology at the Leopold-Franzens University Innsbruck (Austria).

Studies and career

Federico Celestini studied violin at the Giulio Briccialdi Conservatory in Terni (Italy) and musicology, literary studies and aesthetics at the La Sapienza University in Rome. After receiving his doctorate in 1998 and his habilitation in 2004 - both in musicology - at the Karl-Franzens University in Graz, he worked from 1999 to 2005 with coordination tasks in the musicology department of the special research area Modernism - Vienna and Central Europe around 1900 at the Karl Franzens University Graz. From 2008 to 2011 Celestini was a lecturer at the Institute for Music Aesthetics at the Art University Graz . Since October 2011 he has been teaching and researching as a university professor at the Institute for Musicology at the University of Innsbruck. Celestini headed the FWF- funded Scelsi and Austria project from 2010 to 2012 . Since 2011 he has co-edited the magazine Acta Musicologica . Fellowships and visiting professorships have taken him to the University of Oxford (British Academy, 2002), the Riemenschneider Bach Institute (2004), the Free University of Berlin (Alexander von Humboldt Foundation, 2005–2007) and the University of Chicago (Mellon Foundation, 2010).

In 2018 Celestini was elected to the Austrian Academy of Sciences .

Focus

Books

  • Nietzsche's philosophy of music. On the performativity of thinking. Wilhelm Fink Verlag, Paderborn 2016, ISBN 3770560574
  • The mess of things. The musically grotesque in Viennese modernism (1885–1914). Steiner, Stuttgart 2006 (Supplements to the archive for musicology . 56), ISBN 3-515-08712-5 .
  • Joseph Haydn's early piano sonatas . Schneider, Tutzing 2004 (Supplements to the Studies in Musicology 52), ISBN 3-7952-1168-9 .
  • with Andreas Dorschel : work on the canon. Aesthetic studies of music from Haydn to Webern. Universal Edition, Vienna, London, New York 2010 ( Studies on Valuation Research 51), ISBN 978-3-7024-6967-2 .
  • with Helga Mitterbauer (ed.): Verrückte Cultures. On the dynamics of cultural transfers. Stauffenburg, Tübingen 2003; 2. corr. Edition 2011, ISBN 978-3-86057-050-0 .
  • with Moritz Csáky, Ulrich Tragatschnig (Hrsg.): Barock - A place of memory. Böhlau, Cologne, Weimar and Vienna 2007, ISBN 978-3-205-77468-6 .
  • with Gregor Kokorz, Julian Johnson (Eds.): Musik in der Moderne / Music and Modernism. Böhlau, Cologne, Weimar and Vienna 2011 (Viennese publications on music history, 9), ISBN 3-205-77438-8 .
  • with Gregor Kokorz (Ed.): Rudolf Flotzinger: The so-called Organum. Adeva, Graz 2011, ISBN 978-3-201-01921-7 .

Essays

  • The sightless eye of classical art. A contribution to the classical music discussion. In: Ad Parnassum. Journal of 18th- and 19th-Century Instrumental Music. I / 1 (2003), pp. 147-160.
  • The allegation of triviality to Gustav Mahler. A discourse-analytical consideration (1889–1911). In: Archives for Musicology . 62 (2005), pp. 165-176.
  • Viotti and the London Violin Concertos: A Challenge for Analysis and Historiography. In: Massimiliano Sala (ed.), Giovanni Battista Viotti between the Two Revolutions, Bologna 2006 (Ad Parnassum Studies, 2), pp. 253-272.
  • The Acoustic Proximity of Temporal Distance. Auratic Sonority in Mahler's Songs of a Journeyman. In: Melania Bucciarelli and Berta Joncus (eds.): Music as Social and Cultural Practice. Essays in Honor of Reinhard Strohm. Woodbridge 2007, pp. 355-373.
  • Between convention and expression. Walter Benjamin and the music. In: Moritz Csáky, Federico Celestini and Ulrich Tragatschnig (eds.): Barock - A place of memory. Cologne, Weimar and Vienna 2007, pp. 199–211.
  • Aspects of the sublime in Haydn's late work. In: Basler Jahrbuch für historical Musikpraxis. 30, 2006 [2008], pp. 79-98.
  • Ferruccio Busoni 's 'Secession'. On the piano concert with male choir op. 39. In: Archiv für Musikwissenschaft 65 (2008), issue 4, pp. 272–288.
  • Schubert's homecoming. Figures of alienation in the Heine song "Die Stadt". In: Dietmar Goltschnigg, Charlotte Grollegg-Edler and Peter Revers (eds.): Harry ... Heinrich ... Henri ... Heine: German, Jew, European. Berlin 2008, pp. 231-239.
  • Hearing and thinking. Musical aesthetics according to Adorno and postmodernism. In: Andreas Dorschel (Ed.): Art and knowledge in modernity. Otto Kolleritsch on his 75th birthday. Vienna 2009, pp. 55–69.
  • Gustav Mahler's Fifth Symphony. In: Peter Revers and Oliver Korte (eds.): Gustav Mahler. Interpretations of his works. 2nd volume. Laaber 2011, pp. 3–51.
  • with Andreas Dorschel : Objective Music: Traditions of Soundmaking without Human Expression. In: Deniz Peters (Ed.): Bodily Expression in Electronic Music , New York - London 2012, pp. 130–142
  • "Structure in Schönberg, figure in Webern". Harald Kaufmann's polemical analysis. In: Music & Aesthetics. 16/63, 2012, pp. 43-54.
  • Busoni and Scelsi, or: From the sounding backworlds. In: Archives for Musicology. 69/3, 2012, pp. 218-228.
  • Music and collective identities. In: Michele Calella and Nikolaus Urbanek (ed.): Historical musicology: Fundamentals and perspectives. Stuttgart 2013, pp. 318–337.

Remarks

  1. ↑ The authors. In: Federico Celestini, Andreas Dorschel : Work on the canon. Aesthetic studies of music from Haydn to Webern. Universal Edition, Vienna, London, New York 2010 ( Studies on Valuation Research 51), p. 232.

Web links

  • Federico Celestini on the website of the Institute for Musicology at the University of Innsbruck
personal data
SURNAME Celestini, Federico
BRIEF DESCRIPTION Italian musicologist
DATE OF BIRTH 5th December 1964
PLACE OF BIRTH Rome