Musikwissenschaftliches Seminar Detmold/Paderborn

Zusammenfassung Ausgehend von einer Darstellung der (an TEI angelehnten) Entwicklung von MEI werden die Forschungsperspektiven des Einsatzes dieses für wissenschaftliche Zwecke geschaffenen Formats und speziell das Potential seines umfangreichen Header-Bereichs beschrieben. Am Beispiel der Rolle von Faksimiles in Editionen wird deutlich, wie dieses Format zu einer neuen Zusammenarbeit von Wissenschaft und Bibliotheken beitragen kann.

We linked an analysis of vocal vibratos in early recordings with Edison's dismissive attitude towards singers' tremolos in the same recordings. We conclude that there are at least two different factors contributing to Edison's concept of tremolo, which include a) technical limitations and artefacts related to the recording process, and b) aesthetic judgements based on his taste for a good singing voice, but which are not necessarily related to the vibrato as such. In some cases, his comments on the tremolo even contradict the vibratos found in the recordings. Yet, Edison's concept of tremolo was as ambiguous as it was influential, for it was the tremolo on which Edison frequently based his decision to employ singers for commercial recordings. Since many of today's vocal artists still view early recordings as the gold standard of interpretation, we should consider the possibility that early recordings are by no means a representative sample of the artists of that time, but rather a selection due to the constraints of the technology at that time.

Zusammenfassung Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sog. digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re-Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate –Ankerfunktion haben. Der Essay geht zurück auf einen Vortrag bei der AIBM-Jahrestagung, Symposium der AG Musikabteilungen an wissenschaftlichen Bibliotheken, Detmold, 8. September 2016.

This article deals with the recent emergence on social media of a particular kind of audiovisual sources from the time of National Socialism, namely extracts from a performance of the 9th Symphony that took place in 1942 at the ‘Berlin Philharmonie’ on Hitler‘s birthday. The concert was conducted by Wilhelm Furtwängler. In the footage, Joseph Goebbels can be seen in the applauding audience, before he congratulates the conductor with a handshake at the end of the concert. The material was filmed for propaganda purposes and used in a German News Reel in April 1942. Excerpts from the concert have, in varying lengths and usually without any context, been uploaded to YouTube by different users. This article examines these excerpts, revealing different layers of media within the collaged material. It then illustrates how the original propaganda material was also incorporated into documentary films after the war as part of a strategy to rehabilitate Furtwängler from his involvement with National Socialism. In the second part of the article, an analysis of user comments shows how the relationship between National Socialism, Furtwängler and the symbolism of the symphony is evaluated differently, and how these evaluations may be aligned with four political ideologies – each of which manifests a different understanding of the relationship between society and music.

As is well known, Gustav Mahler made many revisions to his First and Second Symphony after the completion of the autographs on the occasion of performances. This study focuses on these two symphonies in order to clarify his revising processes and features of revisions by deep analysis and by analysing and comparing of the autographs, the copies and the published scores with Mahler’s own handwritten annotations. In addition, the circumstances of Hamburg State Opera (Hamburger Stadttheater) also come up for discussion. There, Mahler conducted a lot of operas and orchestral works during the time when he composed and revised the two symphonies. In this article I demonstrate that the revising processes of these symphonies show the similar features of instrumental changes. Furthermore Mahler’s activities as a conductor in Hamburg had a large influence on his composing and revising processes.

In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time, all serve as examples. The significance of metatexts and connections in terms of materiality are also discussed. Conceptional principles of such a Digital Beethoven Edition would include an inclusive approach allowing for multiple perspectives, which greatly expands both the number of sources on which an edition is based and the potential for insight, in contrast with traditional editions.

Abstract The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition.

This short contribution shows the relevance of audiovisual sources for the history of 20th century music. It traces the role played by the violinist Fritz Kreisler (1875–1962) in shaping the widespread cliché of the “Viennese sound” via an examination of audiovisual sources. The sources stored in different online archives or social media portals play a key role, but the traceability of a given agent is not guaranteed. For this reason, controlled vocabularies and a digital tool which enable the addition of new metadata to already existing sources should be developed in the near future. This would enable researchers to trace agents, such as institutions and artists, and to connect them with places, repertoires and cultural topoi.

In its second module, „Beethovens Werkstatt“ deals with five of Beethoven’s compositions which exist both in their original versions and as authentic arrangements (Piano Sonata op. 14/1 arranged for string quartet, Septett op. 20 and Trio op. 38, Opferlied op. 121b and Bundeslied op. 122 as piano reductions, Große Fuge op. 133 as arrangement for piano for four hands op. 134). To demonstrate Beethoven’s arrangement practices, the original version of each work is synoptically linked with its arrangement in a digital edition called „VideApp Arr“. Through digital tools for comparison the relationships between the two versions can be investigated from different perspectives. It becomes visible how the versions are related to each other both by „invariance“ (text elements with the same structure), by „variance“ (text elements with a similar structure) and, in special cases, also by „difference“ (text elements without corresponding parameters). Each view within the „VideApp Arr“ is generated from the underlying MEI data.

Musicology has long since been established as central part of the so-called Digital Humanities. For many areas of music culture as a whole, digitization is considered the central paradigm of our time. But what exactly does this mean, and is it not unusual for technical and cultural developments to be thrown through and into each other? In literary studies as well as in cultural and contemporary history, a critical discussion has already begun on the multiple narratives and projections about „(post)digitality“, which are particularly common in science itself. Against this background, the article pleads for taking digitality seriously as an object of investigation in historical musicology (and possibly also in the history of musicology) and for initiating a corresponding field of research. For example, what promises and debates about loss associated with digitality can be observed within music culture at different times and in different contexts, but also what sources could provide information about this. The introduction of the CD in the 1980s and the emergence of the EDM sub-genre Glitch in the mid-1990s serve as starting examples for such a critical-historical view of and on digitality.

This paper considers the ascertainability of the trained singing voice for media theories. It is proposed that the term “sound,” as it is commonly employed in the area of popular music, be applicable here as well. A singing voice is not a medium sui generis, but is dependent on a singer’s training, aesthetic inclination, and physical condition. Consequently, a voice can be understood as being the “work” of a singer, which, regarding its media-related representation, relies upon “sound technologies.” The term “sound” is therefore equally suitable as a descriptive model for the singing voice in historical musicology.

Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sogenannte digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re- Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert daher einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate Ankerfunktion haben.

Das Projekt „Beethovens Werkstatt“ kombiniert zwei neue, wechselseitig aufeinander bezogene Forschungsansätze – die Genetische Textkritik und die Digitale Musikedition – mit dem Ziel, die Dynamik hochkomplexer kompositorischer Prozesse im Werk Beethovens zu erforschen und in exemplarischen digitalen Editionen zu dokumentieren. Im Rahmen des Forschungsprojekts sollen erstmals umfassende theoretische Konzepte der genetischen Textkritik in Bezug auf Musikwerke erarbeitet werden. Dazu sollen nach Möglichkeit die kompositorischen Schreibprozesse sowohl innerhalb einzelner Arbeitsmanuskripte als auch in der Abfolge aufeinander beziehbarer Werkstatthandschriften rekonstruiert werden, um so Aufschluss über Beethovens kompositorisches Denken, Handeln und Entscheiden zu erlangen. Die Ausgangshypothese ist dabei, dass komponierendes Schreiben und Denken identisch sind. Forschungsergebnisse und die ihnen zugrunde liegenden Quellendokumente sollen digital präsentiert werden.

Zusammenfassung Die Langzeitverfügbarkeit von Forschungsergebnissen und der dafür häufig notwendige langfristige Erhalt der Lauffähigkeit von Software ist eine gemeinschaftliche Herausforderung für Forschung, Softwareentwicklung und Gedächtnisinstitutionen. Es stehen verschiedene Maßnahmen wie Standardisierung, Emulation oder auch die Weiterentwicklung durch Open-Source-Communities zur Verfügung, die in unterschiedlichen Kontexten für unterschiedliche Arten von Software zum Einsatz kommen können.

In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.

Im September 2014 startete am musikwissenschaftlichen Seminar Detmold/Paderborn das von der DFG geförderte Forschungsprojekt „Entwicklung eines MEI- und TEI-basierten Modells kontextueller Tiefenerschließung von Musikalienbeständen am Beispiel des Detmolder Hoftheaters im 19. Jahrhundert (1825–1875)“. Ziel ist es, zunächst einen Teilbestand der Sammlung von Aufführungsmaterialien der Lippischen Landesbibliothek Detmold (D-DT, Mus-n 40 bis Mus-n 120) im Rahmen einer „kontextuellen Tiefenerschließung“ zu erfassen. Dazu sollen im Datenformat TEI/MEI nicht nur formale, sondern auch inhaltliche Metadaten aufgenommen werden, die sich zu einem späteren Zeitpunkt eventuell noch um musikalische Daten (also eine XML-basierte Erfassung des Notentextes) ergänzen ließen. Die Metadaten sollen sodann mit Normdaten angereichert werden, außerdem soll ein Modell entstehen, das es erlaubt, eine um wissenschaftliche Erkenntnisse ergänzte Tiefenerschließung der Dokumente vorzunehmen.

Musicology and computer science do not only come together in areas such as the use, analysis and performance of digitized data, but also meet in unexpected places such as in context of critical media studies and inquiries about the material and aesthetic conditions of digitality. Such „exploratory interactions“ with computers and their aesthetics might resonate well with musicology. This mini-contribution firstly presents a historical situation in which for a short period in the 20th century the machinic music of digitality became audible. It then formulates, just as briefly and sketchily, the socio-critical potential of music-oriented approaches, especially rhythm analysis, still to be tested, when it comes to grasp and understand digitality in as many facets as possible (socio-technological, aesthetic, historical and epistemic). Thereby, a fourth partner might be of importance: pedagogy.

Dies ist die Datenpublikation (Ausgangsdateien, Abbildungen, Materialien zur Nachnutzung) für die NFDI4Culture Handreichung „Kulturwissenschaftliche Forschungsdaten – Eine Einführung“. Die Online-Handreichung ist verfügbar unter https://nfdi4culture.de/id/E3508.

This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.

Files for documenting the Digital Edition of the Carl-Maria-von-Weber-Gesamtausgabe in the ODD format. License This work is available under dual license: BSD 2-Clause and Creative Commons Attribution 4.0 International License (CC BY 4.0) What's Changed update schema to include hexadecimal letter ID's by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/75 add 'lexicon' as allowed @type by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/79 Update tei source to v4.10.2 by @peterstadler in https://github.com/Edirom/WeGA-ODD/pull/80 add documentation for physical extent in tei:p with @n="extent" inside of tei:physDesc by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/72 add guidelines for bibliographic entries by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/81 update biblio guidelines by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/83 add specs for highlighting thematicCommentaries by @SteffenAstheimer in https://github.com/Edirom/WeGA-ODD/pull/86 New Contributors @SteffenAstheimer made their first contribution in https://github.com/Edirom/WeGA-ODD/pull/70 Full Changelog: https://github.com/Edirom/WeGA-ODD/compare/v4.12.0...v4.13.0