Project

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Ina Lohr (1903-1983), an Early Music Zealot: Her Influence in Switzerland and the Netherlands

Applicant Llewellyn Jeremy
Number 152654
Funding scheme Project funding (Div. I-III)
Research institution Schola Cantorum Basiliensis Musik Akademie Basel FHNW
Institution of higher education University of Applied Sciences and Arts Northwestern Switzerland (without UTE) - FHNW
Main discipline Musicology
Start/End 01.09.2014 - 31.08.2016
Approved amount 257'340.00
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All Disciplines (5)

Discipline
Musicology
Educational science and Pedagogy
Swiss history
Religious studies, Theology
Music, Theatre

Keywords (6)

Musikgeschichte 20. Jh.; Interpretationsanalyse; historische Aufführungspraxis; Musikpädagogik; Singbewegung; Paul Sacher (1906-1999)

Lay Summary (German)

Lead
Das Projekt untersucht Ina Lohr (1903-1983), einer Mitbegründerin der renommierten Hochschule für Alte Musik Schola Cantorum Basiliensis, und ihren Einfluss auf die europäische Alte-Musik-Bewegung im 20. Jahrhundert.
Lay summary

Inhalt und Ziel des Forschungsprojekts

Der zunehmende Erfolg ab der zweiten Hälfte des 20. Jh.s der ‘Alten Musik’ bzw. der historischen Aufführungspraxis war keineswegs gesichert und hätte wohl ein peripheres Phänomen bleiben können. Das Projekt untersucht Ina Lohr (1903-1983), einer Pionierin an einem Pionierinstitut, deren Einfluss auf die wissenschaftlich-ästhetische Entwicklung der europäischen Alten-Musik-Bewegung bis heute kaum Beachtung gefunden hat. Als Niederländerin war sie zunächst als Assistenz vom Basler Mäzen Paul Sacher (1906-1999) angestellt, bevor sie 1933 bei der Gründung eines neuen ‚Lehr- und Forschungsinstituts’, die Schola Cantorum Basiliensis, mitwirkte. Sie prägte den Studienplan inhaltlich und ideologisch, nicht zuletzt durch die anfängliche Schwerpunktbildung in Hausmusik, Gregorianik und Musik des 16. Jahrhunderts.  Durch Archivarbeit in der Schweiz und den Niederländen, ergänzt durch Interviews mit ihren ehemaligen Studierenden, werden die Konturen ihres pädagogischen und ästhetischen Projekts dargestellt. Darüber hinaus werden die Schweiz-Niederlande-Achse in der Alten Musik analysiert, den kulturellen Kontext der Singbewegung im frühen 20. Jh. ausserhalb Deutschlands untersucht und die Biographie dieser einflussreichen Aussenseiterin beleuchtet.

 

Wissenschaftlicher und gesellschaftlicher Kontext

Neben der Kulturgeschichte, Musikwissenschaft und gender studies bietet das Projekt einen anwendungsorientierten Brückenschlag zu performance analysis, historischer Aufführungspraxis und der Musikpädagogik für Kinder und Laien.

 

Keywords

Musikgeschichte 20. Jh., Interpretationsanalyse, historische Aufführungspraxis, Musikpädagogik, Singbewegung, Paul Sacher (1906-1999)

 

Direct link to Lay Summary Last update: 18.09.2014

Responsible applicant and co-applicants

Employees

Publications

Publication
H.R. and the formation of an Early Music aesthetic in The Netherlands (1916-1921)
Jed Wentz (2016), H.R. and the formation of an Early Music aesthetic in The Netherlands (1916-1921), RIMAB, RIMAB.
Ina Lohr – Die Seele der Schola
Anne Smith (2016), Ina Lohr – Die Seele der Schola, RIMAB, RIMAB.
Ina Lohr: Aan de wortels van de oudemuziekbeweging
Jed Wentz (2014), Ina Lohr: Aan de wortels van de oudemuziekbeweging, in Tijdschrift Oude Muziek , 2014(4), 50-53.
Alte und Neue Musik im Miteinander: Die Zusammenarbeit von Paul Sacher und Ina Lohr
Anne Smith, Alte und Neue Musik im Miteinander: Die Zusammenarbeit von Paul Sacher und Ina Lohr, in Martina Wohltat (ed.), Schwabe, Basel.
Crossing Borders: Some Dutch and American Influences on the 1930s Swiss Chant Revival
Kelly Landerkin, Crossing Borders: Some Dutch and American Influences on the 1930s Swiss Chant Revival, in Basler Jahrbuch fuer historische Musikpraxis, 2015(39).
The Development of the Jugendmusikbewegung, its Musical Aesthetic and its Influence on the Performance Practice of Early Music
Anne Smith, The Development of the Jugendmusikbewegung, its Musical Aesthetic and its Influence on the Performance Practice of Early Music, in Basler Jahrbuch fuer Historische Musikpraxis, 2015(39).

Collaboration

Group / person Country
Types of collaboration
Amsterdam Conservatory Netherlands (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Paul Sacher Stiftung Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
- Exchange of personnel
Utrecht Early Music Festival Netherlands (Europe)
- in-depth/constructive exchanges on approaches, methods or results
- Exchange of personnel

Scientific events



Self-organised

Title Date Place
Ina Lohr in Context 12.05.2016 Basel, Switzerland
Ina Lohr Symposium: Transcending the Boundaries of Early Music 30.03.2016 Amsterdam, Netherlands

Knowledge transfer events



Self-organised

Title Date Place
Ina Lohr and the Swiss-Dutch Connection in Early Music 11.12.2014 Basel, Switzerland

Communication with the public

Communication Title Media Place Year
New media (web, blogs, podcasts, news feeds etc.) Ina Lohr RIMAB Italian-speaking Switzerland Western Switzerland International German-speaking Switzerland Rhaeto-Romanic Switzerland 2016
Talks/events/exhibitions Lehrveranstaltungen zu Ina Lohr (z.B. Genfer Psalter, Choralinterpretation, Reformation) German-speaking Switzerland 2014

Abstract

Ina Lohr was a founding member of the Schola Cantorum Basiliensis (SCB), the first institution devoted to the teaching and research of early music and today still foremost in the field. Her influence on historically-informed performance practice, however, has largely been overlooked. Nonetheless, she was not only the driving personality within the SCB in the first 30 years of its existence, she also served as the link between Basel and the Dutch early-music schools. Her musical ideals were representative for the period, their intent and potency still felt today. This project will not only examine her life and work, but also to illuminate it in the context of the Singbewegung and the music reform movements of the Catholic and Protestant churches, all phenomena of the late 19th century. Their underlying ideals of purity and simplicity underlie historically-informed performance practice in the twentieth century, particularly that of the 15th and 16th centuries. This is evidenced in Ina Lohr's writings in which she expresses her conviction of the importance of bringing music back to the people, away from the virtuosic displays of the professional musicians, where it could serve its true mission of fostering communal interests and - in the religious context - the praise of God.Due to the Singbewegung's association with the Nazi regime, it became impossible to discuss its basic musical assumptions following the Second World War, because they seemed “irrevocably tainted and terminally exhausted.” As it was seemingly impossible to divorce this repertory, “Haus- und Kirchenmusik,” from the overall ideology, Ina Lohr's influence at the SCB waned after the war. She began to be marginalized, largely forgotten outside the walls of the school.All this was certainly exacerbated by the fact that she was a single woman and Dutch, although she became a citizen of Basel in 1942. Her foreignness was underlined by what was perceived to be the tinge of exotic color in her skin (one of her grandmothers was Indonesian). While Paul Sacher was the man who represented the SCB to the world at large, Ina Lohr and her teaching was its core, its heart. This project has two goals:1.to investigate Ina Lohr's life and work. For this there are four main sources of information: her estate in the Paul Sacher Institute, her articles and compositions, interviews with people who know her, and archival documents in Switzerland and the Netherlands.2.to analyze this information in relation to the Singbewegung and the reform movement within the church in order to illustrate how she was a formative part of a larger cultural trend in the 20th century, which had a significant influence on the performance practice of 15th and 16th-century music, both in Switzerland as well as the Netherlands. Whereas the study is centered on Ina Lohr's life and work, it opens up broad perspectives involving international cooperation. Already presentations at international conferences have shown that this approach is extraordinarily stimulating, leading to a new understanding of our role in the Early Music movement, hence also serving as a reminder that our own practice can only be understood within the context of our own culture.
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