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Hudobné centrum

  • 1957 –

    1958 studied composition at the Academy of Performing Arts in Bratislava (with Prof. Alexander Moyzes)

  • 1958 – 1963

    musicology at the Faculty of Music, Comenius University in Bratislava

  • 1963 – 1966

    aspirant at the Institute of Musicology of the Slovak Academy of Sciences

  • 1966 – 1969

    Head of the Department of Theory and Aesthetics at the Institute of Musicology of the Slovak Academy of Sciences

  • 1966

    scientific rank CSc.

  • 1968

    PhDr.

  • 1969

    study stay at the Institute for Experimental Music Science in West Berlin

  • 1969 – 1973

    Alexander von Humboldt-Stiftung and Hindemith-Stiftung scholarship holder at the Staatliches Institut für Musikforschung (State Institute for Music Research) in Berlin

  • 1973 – 1977

    Associate Professor of Musical Aesthetics at the Justus Liebig University of Giessen (Justus Liebig Universität) in Giessen

  • 1976

    Habilitation in Musicology at the Justus Liebig University in Giessen

  • 1978

    Prof. at the Hochschule für Musik und darstellende Kunst in Frankfurt am Main (music theoretical subjects)

He focused on the fields of musical aesthetics, music psychology, music sociology and music semiotics.

He was an external editor of the journal Slovenská hudba (1967-1969), chairman of the editorial board of the journal Hudobný život (Musical Life), was engaged in reflection on new music, was the initiator and main organiser of the International Seminars for Contemporary Music in Smolenice in 1968 and 1969 (with Ladislav Kupkovič and Peter Kolman), and emigrated to Germany in 1969. After his emigration he worked as a lecturer at several universities in Germany, and for this reason he was considered a representative of German musicology (alongside figures such as T. Kneif, H. H. Eggebrecht and C. Dahlhaus).

Among his most important publications are the collected works Music and Understanding (1973, edited in collaboration with H. P. Relnecke), The Phenomenology of Musical Form (1979), and, most recently, The Meaning of Aesthetic Signs. Music and Speech (1984). Pioneering was, among others, Experiment as an Aesthetic Phenomenon (1963), which won an award in a national competition for the best student research paper.

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