@inproceedings{54925, abstract = {{The OPEN Edirom project is developing a digital edition of incidental music for Goethe’s play Faust, representing an innovative initiative within the realm of music philology and MEI/TEI edition. Embracing the "data first" principle, OPEN Edirom prioritizes making its content openly accessible, thereby enabling diverse potential uses for researchers and performers. Our aim involves presenting the scholarly text and music edition in its entirety, incorporating its various forms of data, i.e. music, texts, source images, metadata, and annotations, all displayed with Edirom software. The piece we edit in this project is Goethe’s renowned play Faust I, as adapted by Carl Seydelmann, along with the corresponding music composed by Peter Joseph von Lindpaintner for the Court Theatre in Stuttgart. The work premiered in 1832. This paper delves into the concept of music edition as open data publication and delineates its advantages over analog and hybrid editions in terms of reusability and alignment with the FAIR principles. It also addresses the challenges encountered in data preparation, both specific to incidental music and in general data processing. Furthermore, we propose solutions and recommendations for similar projects based on our insights.}}, author = {{Frömmel, Lena and Bachmann, Tobias and Plaksin, Anna Viktoria Katrin and Münzmay, Andreas}}, booktitle = {{Proceedings of the 11th International Conference on Digital Libraries for Musicology}}, publisher = {{ACM}}, title = {{{Open Edirom: From hybrid music edition to open data publication}}}, doi = {{10.1145/3660570.3660582}}, year = {{2024}}, } @inproceedings{58552, author = {{Berndt, Axel and Vollmer, F. and Münzmay, Andreas}}, booktitle = {{{Diskografentag: International Conference on Recorded Music}}}, title = {{{Multi-Modal Data Networks in Music: Thoughts on a Digital Performance Edition and its Potential for Ethnomusicology}}}, year = {{2024}}, } @inproceedings{58554, author = {{Berndt, Axel and Münzmay, Andreas}}, location = {{Frankfurt am Main}}, title = {{{Digitale Interpretationsedition und Filmmusikedition als multimodale Schwestern – Gemeinsame Herausforderungen und Lösungsansätze}}}, year = {{2024}}, } @misc{56269, abstract = {{Peter Joseph von Lindpaintner: Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl Seydelmann. Historical-Critical Digital Edition by Tobias Bachmann, Lena Frömmel and Andreas Münzmay. The dataset, consisting of TEI and MEI files, is the historical-critical digital edition. The data structure allows for visualization via EDIROM ONLINE. }}, author = {{Bachmann, Tobias and Frömmel, Lena and Münzmay, Andreas}}, publisher = {{RADAR4Culture}}, title = {{{ OPEN FAUST Preview (dataset)}}}, doi = {{10.22000/uupxmgkq94r0jpsk}}, year = {{2024}}, } @inproceedings{58551, author = {{Berndt, Axel and Münzmay, Andreas and Bömcke-Vollmer, Frithjof}}, booktitle = {{{DAGA 2024 – 50. Jahrestagung für Akustik}}}, title = {{{Multi-Modal Data Networks in Music: Thoughts on a Digital Performance Edition}}}, year = {{2024}}, } @inproceedings{58131, author = {{Tumat, Antje}}, editor = {{Höink, Dominik}}, pages = {{27--71}}, publisher = {{Textum}}, title = {{{Weltethos and wunderzaichen: Religion in the Music of the Western Avant-garde}}}, year = {{2024}}, } @inproceedings{50289, author = {{Bohl, Benjamin W. and Ried, Dennis}}, booktitle = {{Music Encoding Conference Proceedings 2022}}, editor = {{Weigl, David M.}}, location = {{Dalhousie University, Nova Scotia, Canada}}, title = {{{»Play it again, Sam« – Levels of Complexity in Encoding Performance Personnel}}}, doi = {{10.17613/XN3G-VS35}}, year = {{2023}}, } @misc{51684, author = {{Ried, Dennis and Capelle, Irmlind and Minetti, Elena}}, publisher = {{Henze-Digital}}, title = {{{HenDi-ODD v2.0.0}}}, doi = {{10.5281/ZENODO.10391194}}, year = {{2023}}, } @misc{51680, author = {{Ried, Dennis}}, publisher = {{Henze-Digital}}, title = {{{HenDi-WebApp v1.0.0}}}, doi = {{10.5281/ZENODO.8304639}}, year = {{2023}}, } @misc{51683, author = {{Ried, Dennis and Capelle, Irmlind and Minetti, Elena}}, publisher = {{Henze-Digital}}, title = {{{HenDi-ODD v1.0.0}}}, doi = {{10.5281/ZENODO.8304804}}, year = {{2023}}, } @misc{51681, author = {{Ried, Dennis}}, publisher = {{Henze-Digital}}, title = {{{HenDi-WebApp v2.0.0}}}, doi = {{10.5281/ZENODO.10390049}}, year = {{2023}}, } @misc{51678, abstract = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}}, author = {{Capelle, Irmlind and Minetti, Elena and Ried, Dennis and Tumat, Antje}}, publisher = {{Henze-Digital}}, title = {{{HenDi-Data (data package) v2.0.0}}}, doi = {{10.5281/ZENODO.10391419}}, year = {{2023}}, } @misc{51679, abstract = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}}, author = {{Capelle, Irmlind and Minetti, Elena and Ried, Dennis and Tumat, Antje}}, publisher = {{Henze-Digital}}, title = {{{HenDi-Data (data package) v1.0.0}}}, doi = {{10.5281/ZENODO.8304688}}, year = {{2023}}, } @inproceedings{47487, author = {{Kepper, Johannes and Münzmay, Andreas}}, booktitle = {{DHd2023: Open Humanities, Open Culture}}, title = {{{Open Data in musikphilologischen Projekten: Herausforderungen, Strategien, Potenziale}}}, doi = {{10.5281/ZENODO.7715387}}, year = {{2023}}, } @misc{47318, author = {{Münzmay, Andreas and Berndt, Axel}}, publisher = {{Videomitschnitt, veröffentlicht im Youtube-Kanal “musikschafftwissen”}}, title = {{{Was ist eine Interpretationsedition?}}}, year = {{2023}}, } @inproceedings{46582, abstract = {{Metadata are a very broad and extremely differentiated subject and ranges from rudimentary catalog data to deeply indexed scientific catalogs (e.g., catalogs of works). In this paper, the concept of metadata in the context of MEI is first examined, before two examples are used to show that metadata are more than just rudimentary descriptions. These examples are also intended to illustrate the extent to which metadata are encoded in the field of music philology and thus represent an attempt to create a little more awareness for the work of the Metadata and Cataloging Interest Group of MEI. The examples deal on the one hand with the encoding of performance resources and on the other hand with watermarks. In both cases, the possibilities of metadata encoding with MEI version 4 are exhausted and it is discussed which steps are useful and necessary to create an even deeper, machine-readable structure so that these sub-fields of the MEI metadata can also be used for larger scientific purposes such as analyses.}}, author = {{Ried, Dennis and Gubsch, Clemens}}, editor = {{Münnich, Stefan and Rizo, David}}, location = {{University of Alicante}}, title = {{{METAdata and metaDATA}}}, doi = {{10.17613/50T9-Z881}}, year = {{2022}}, } @book{48045, editor = {{Münzmay, Andreas and Aquavella-RauchJ, Stefanie and Veit, Joachim}}, publisher = {{Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold}}, title = {{{Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation}}}, doi = {{10.25366/2020.87}}, volume = {{3}}, year = {{2020}}, } @inbook{47474, author = {{Münzmay, Andreas and Aquavella-Rauch, Stefanie and Veit, Joachim}}, booktitle = {{Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation}}, editor = {{Münzmay, Andreas and Acquavella-Rauch, Stefanie and Veit, Joachim}}, pages = {{XI--XV}}, publisher = {{Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold}}, title = {{{Brückenschläge zwischen Musikwissenschaft und Informatik – Vorbemerkung}}}, doi = {{10.25366/2020.88}}, volume = {{3}}, year = {{2020}}, } @article{47476, abstract = {{Digital data on tangible and intangible cultural assets is an essential part of daily life, communication and experience. It has a lasting influence on the perception of cultural identity as well as on the interactions between research, the cultural economy and society. Throughout the last three decades, many cultural heritage institutions have contributed a wealth of digital representations of cultural assets (2D digital reproductions of paintings, sheet music, 3D digital models of sculptures, monuments, rooms, buildings), audio-visual data (music, film, stage performances), and procedural research data such as encoding and annotation formats. The long-term preservation and FAIR availability of research data from the cultural heritage domain is fundamentally important, not only for future academic success in the humanities but also for the cultural identity of individuals and society as a whole. Up to now, no coordinated effort for professional research data management on a national level exists in Germany. NFDI4Culture aims to fill this gap and create a user-centered, research-driven infrastructure that will cover a broad range of research domains from musicology, art history and architecture to performance, theatre, film, and media studies. The research landscape addressed by the consortium is characterized by strong institutional differentiation. Research units in the consortium's community of interest comprise university institutes, art colleges, academies, galleries, libraries, archives and museums. This diverse landscape is also characterized by an abundance of research objects, methodologies and a great potential for data-driven research. In a unique effort carried out by the applicant and co-applicants of this proposal and ten academic societies, this community is interconnected for the first time through a federated approach that is ideally suited to the needs of the participating researchers. To promote collaboration within the NFDI, to share knowledge and technology and to provide extensive support for its users have been the guiding principles of the consortium from the beginning and will be at the heart of all workflows and decision-making processes. Thanks to these principles, NFDI4Culture has gathered strong support ranging from individual researchers to high-level cultural heritage organizations such as the UNESCO, the International Council of Museums, the Open Knowledge Foundation and Wikimedia. On this basis, NFDI4Culture will take innovative measures that promote a cultural change towards a more reflective and sustainable handling of research data and at the same time boost qualification and professionalization in data-driven research in the domain of cultural heritage. This will create a long-lasting impact on science, cultural economy and society as a whole.}}, author = {{Altenhöner, Reinhard and Blümel, Ina and Boehm, Franziska and Bove, Jens and Bicher, Katrin and Bracht, Christian and Brand, Ortrun and Dieckmann, Lisa and Effinger, Maria and Hagener, Malte and Hammes, Andrea and Heller, Lambert and Kailus, Angela and Kohle, Hubertus and Ludwig, Jens and Münzmay, Andreas and Pittroff, Sarah and Razum, Matthias and Röwenstrunk, Daniel and Sack, Harald and Simon, Holger and Schmidt, Dörte and Schrade, Torsten and Walzel, Annika-Valeska and Wiermann, Barbara}}, issn = {{2367-7163}}, journal = {{Research Ideas and Outcomes}}, keywords = {{Research Data Management}}, publisher = {{Pensoft Publishers}}, title = {{{NFDI4Culture - Consortium for research data on material and immaterial cultural heritage}}}, doi = {{10.3897/rio.6.e57036}}, volume = {{6}}, year = {{2020}}, } @article{47478, 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.}}, author = {{Münzmay, Andreas and Siegert, Christine}}, issn = {{0931-3079}}, journal = {{Editio: Internationales Jahrbuch für Editionswissenschaft}}, keywords = {{Musikedition, Interpretatsionsforschung, Clifford Curzon}}, number = {{1}}, pages = {{10--30}}, publisher = {{Walter de Gruyter GmbH}}, title = {{{Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang. Ein Beitrag zur Theorie der Edition von Klangdokumenten}}}, doi = {{10.1515/editio-2019-0002}}, volume = {{33}}, year = {{2019}}, }