Frank Hentschel
Frank Hentschel studied Musicology, Philosophy and German Literature in Cologne and London, then being fellow of the Studienstiftung des deutschen Volkes. From 1995 to 1999 he was “Wissenschaftlicher Mitarbeiter” at the Thomas-Institut at the University of Cologne. After obtaining his PhD in 1999 he was “Wissenschaftlicher Assistant” at the Musicological Institute at Free University Berlin. He received awards for his master’s as well as for his PhD theses. In 2003/2004 he was visiting scholar at Harvard University Cambridge, MA, with a Feodor Lynen-scholarship of the Humboldt-Foundation. After his “Habilitation” at FU Berlin he became Associate Professor at the University of Jena (2007), then at the University of Gießen (2007-2011). In 2011 he was appointed Full Professor at the University of Cologne. Since 2017 he is member of the Academia Europaea, since 2019 also member of the Nordrhein-Westfälische Akademie der Wissenschaften. He is co-editor of "Archiv für Musikwissenschaft" and member of the Editorial board of "Music & Science".
His research areas embrace medieval music and mostly music theory, music of the 19th and 20th centuries, including film music. In particular he is focussing on social, political and ideological meanings of music. Also, he is especially interested in questions of methods and theory of science. More recently, a focus on what he calls Historical Music Psychology emerged.
His research areas embrace medieval music and mostly music theory, music of the 19th and 20th centuries, including film music. In particular he is focussing on social, political and ideological meanings of music. Also, he is especially interested in questions of methods and theory of science. More recently, a focus on what he calls Historical Music Psychology emerged.
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Der Schwerpunkt liegt auf dem Zeitraum zwischen 1970 und 2000. Dabei verknüpft die Arbeit die Geschichte des Festivals mit der Problematisierung historiografischer Methoden. Ästhetische, soziale, biografische und kompositorische Elemente werden herausgearbeitet, die die „neue Musik“ nicht so sehr als Resultat musikgeschichtlicher Entwicklungen, sondern als soziales und kulturpraktisches Konstrukt erscheinen lassen.
Ausgangspunkt ist die Analyse von Wertungsstrategien, die der Ordnung von Konsonanzen zugrunde liegen. Da die mittelalterliche musica theorica als mathematische Wissenschaft, also als philosophische Disziplin galt, führen die Darstellungen vielfach in die Geschichte der Philosophie und Wissenschaften.
Containing articles by specialists in medieval music and philosophy, this volume highlights aspects of the emergence and theory of knowledge, and the appearance of more aesthetic conceptions of music.