{"version":"1.0","provider_name":"mdwPress","provider_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en","author_name":"Max Bergmann","author_url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/author\/bergmann-max\/","title":"Lena Dra\u017ei\u0107: Die Politik des kritischen Komponierens","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"pob1XkDaVl\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/books-politik-des-kritischen-komponierens\/\">Die Politik des Kritischen Komponierens. Diskursive Verflechtungen um Helmut Lachenmann<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/books-politik-des-kritischen-komponierens\/embed\/#?secret=pob1XkDaVl\" width=\"600\" height=\"338\" title=\"&#8220;Die Politik des Kritischen Komponierens. Diskursive Verflechtungen um Helmut Lachenmann&#8221; &#8212; mdwPress\" data-secret=\"pob1XkDaVl\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.mdw.ac.at\/mdwpress\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2024\/02\/Drazic-Cover-final-U1-R.png","thumbnail_width":1167,"thumbnail_height":1774,"description":"Am Beispiel von Helmut Lachenmann \u2013 einem der prominentesten Komponisten der Gegenwart \u2013 macht Lena Dra\u017ei\u0107 Texte \u00fcber Neue Musik zur Grundlage einer Diskursanalyse, die deren politischen Versprechungen auf den Grund geht."}