@misc{55835, abstract = {{This dataset contains selective MEI encodings of a number of arrangements of Beethoven’s Opp. 91, 92, and 93. These encodings were prepared in the context of the Beethoven in the House project, jointly funded by AHRC and DFG from 2020 to 2023. It is a slight update on v1.0.0 in better organizing the release assets.}}, author = {{Rosendahl, Lisa}}, keywords = {{BitH, Dataset, Domestic Music Arrangements, Ludwig van Beethoven, MEI, Music Encoding Initiative}}, publisher = {{Zenodo}}, title = {{{Beethoven in the House: Selective Encodings of Arrangements of Beethoven’s opp. 91, 92, and 93.}}}, doi = {{10.5281/ZENODO.7875059}}, year = {{2023}}, } @inproceedings{55833, abstract = {{We present a new multi-layered, conceptual model for associating musical source materials to musicological arguments. We describe our proposal for operationalizing these concepts through a framework for musical annotation which we have implemented using RDF. Briefly stated, this model shows how portions of digitized data in various files and formats can be identified, selected, labelled, and compared.}}, author = {{Shibata, Elisabete and Lewis, David and Saccomano, Mark and Kepper, Johannes and Page, Kevin}}, booktitle = {{Proceedings of the Music Encoding Conference 2022}}, editor = {{Weigl, David and Bain, Jennifer and Ang, Ailynn}}, keywords = {{BitH, Linked Data}}, pages = {{145–150}}, title = {{{A New Conceptual Model for Musical Sources and Musicological Studies}}}, doi = {{https://doi.org/10.17613/8p2c-1q77}}, year = {{2023}}, } @inproceedings{55832, abstract = {{Digital musicology research often proceeds by extending and enriching its evidence base as it progresses, rather than starting with a complete corpus of data and metadata, as a consequence of an emergent research need. In this paper, we consider a research workflow which assumes an incremental approach to data gathering and annotation. We describe tooling which implements parts of this workflow, developed to support the study of nineteenth-century music arrangements, and evaluate the applicability of our approach through interviews with musicologists and music editors who have used the tools. We conclude by considering extensions of this approach and the wider implications for digital musicology and music information retrieval.}}, author = {{Lewis, David and Shibata, Elisabete and Hankinson, Andrew and Kepper, Johannes and Page, Kevin R. and Rosendahl, Lisa and Saccomano, Mark and Siegert, Christine}}, keywords = {{BitH, Linked Data}}, title = {{{Supporting Musicological Investigations With Information Retrieval Tools: An Iterative Approach to Data Collection}}}, doi = {{10.5281/ZENODO.10265407}}, year = {{2023}}, } @inbook{46475, abstract = {{Dieser Beitrag bietet verschiedene professionelle Perspektiven auf den popmusikalischen Kommunikationsprozesses innerhalb postdigitaler Popmusikjournalismuskulturen. Neben einer wissenschaftlichen Rahmung, Übersicht und Strukturierung des Untersuchungsfelds und des Forschungsstands versammelt der Beitrag multiperspektivische Thesen, die journalistische Praktiken und ihre Reflexionen von Produktion über Distribution und Rezeption/Nutzung bis zur Weiterverarbeitung inklusive Archivierung/Institutionalisierung/Musealisierung aufgreifen und herausstellen. Die aufgestellten Thesen gelten als Aufschlag für die zukünftige Analyse des so fundamentalen und doch auch immer wieder übersehenen Berufsfeldes und seiner Rezeption zwischen Faszination und Exploitation.}}, author = {{Godlewsky, Tanja and Jacke, Christoph and Roenneke, Stefanie and Venker, Thomas}}, booktitle = {{Musik und Internet. Aktuelle Phänomene populärer Kulturen}}, editor = {{Moormann, Peter and Ruth, Nicolas}}, isbn = {{9783658391447}}, issn = {{2626-6199}}, publisher = {{Springer Fachmedien Wiesbaden}}, title = {{{Pop(musik)journalismen zwischen Printmagazin-Krise und postdigitaler Realität – Forschungsüberblick und multiperspektivische Thesen}}}, doi = {{10.1007/978-3-658-39145-4_11}}, year = {{2023}}, } @article{53628, author = {{Weidner, Verena and Hermann, Katharina and Godau, Marc}}, journal = {{BMU Magazin}}, pages = {{8--13}}, title = {{{Write Your Song. Songwriting im Musikunterricht – ein Kartenspiel als Planungstool}}}, volume = {{16}}, year = {{2023}}, } @misc{49206, author = {{Flath, Beate}}, booktitle = {{mediendiskurs 17}}, title = {{{Ästhetik digitaler Medien. Aktuelle Perspektiven }}}, volume = {{106}}, year = {{2023}}, } @inbook{49807, author = {{Haenisch, Matthias and Godau, Marc and Barreiro, Julia and Maxelon, Dominik and Neuhausen, Timo}}, booktitle = {{44. Jahresband des Arbeitskreises Musikpädagogische Forschung / 44th Yearbook of the German Association for Research in Music Education}}, editor = {{Göllner, Matthias and Honnens, Johann and Krupp, Valerie and Oravec, Lina and Schmid, Silke}}, isbn = {{9783830947646}}, pages = {{305--322}}, publisher = {{Waxmann Verlag GmbH}}, title = {{{Die Plattformisierung des Songwritings. Musik erfinden unter Bedingungen des short video turn am Beispiel von TikTok}}}, doi = {{10.31244/9783830997641.18}}, volume = {{44}}, year = {{2023}}, } @misc{60540, author = {{Kraft, Kerstin and Haller, Melanie}}, pages = {{11}}, publisher = {{Netzwerk Mode Textil }}, title = {{{Couture von Frauen für Frauen}}}, volume = {{S. 29-40}}, year = {{2023}}, } @article{48440, abstract = {{Virtual fashion, meaning clothes that exist not as physical textile objects but rather as files is gaining popularity. The Fabricant, a digital-only fashion label from Amsterdam is particularly famous for its creations. Within the fashion industry, virtual fashion is taken as a pioneering innovation that can solve problems such as lacking sustainability and unrealistic bodily ideals precisely because it is understood as immaterial. In contrast, this paper argues that virtual fashion is in fact a material phenomenon. For example, to be perceptible to humans in the first place, virtual fashion depends upon various technologies and devices. These devices are themselves subject to specific non-sustainable production processes. Virtual fashion can further be understood as material insofar that it is almost indistinguishable from other mediatized representations of physical fashion. Lastly, just like its physical counterpart, virtual fashion is bound to human bodies and largely adheres to existing bodily ideals.}}, author = {{Brachtendorf, Charlotte and Behrmann, Helga and Brachem, Judith}}, journal = {{Jahrbuch Netzwerk Mode Textil}}, pages = {{95--103}}, title = {{{Materialitäten virtueller Mode: das Fallbeispiel The Fabricant}}}, doi = {{https://doi.org/10.53193/221421485G}}, volume = {{2022}}, year = {{2023}}, } @misc{48728, author = {{Brachtendorf, Charlotte}}, title = {{{Auf Tuchfühlung mit dem Tod.}}}, year = {{2023}}, } @article{48262, author = {{Jacke, Christoph and Flath, Beate}}, journal = {{Kulturpolitische Mitteilungen}}, number = {{Nr. III/2023}}, pages = {{84--85}}, title = {{{Popmusik- und Medienkulturen verstehen, erforschen und reflektieren. Studiengang "Populäre Musik und Medien" und Gründung des Forschungszentrums "C:POP".}}}, volume = {{182}}, year = {{2023}}, } @article{34883, author = {{Diester, Michel}}, journal = {{Rabbit Eye - Zeitschrift für Filmforschung, 013}}, number = {{013}}, title = {{{Oddly satisfying und die Genugtuung der Anschaulichkeit}}}, year = {{2022}}, } @article{48458, author = {{Jacke, Christoph}}, journal = {{Kaput. Magazin für Insolvenz & Pop.}}, title = {{{Schorsch Kamerun: „Extra Vages machen wir aus tiefer Überzeugung“.}}}, year = {{2022}}, } @inbook{48459, author = {{Jacke, Christoph and Reynolds, Simon}}, booktitle = {{Jugend, Musik und Film.}}, editor = {{Dreckmann, Kathrin and Heinze, Carsten and Hoffmann, Dagmar and Matejovski, Dirk}}, pages = {{581--612}}, publisher = {{dup}}, title = {{{Forward & Rewind: Retromania in Music Documentary.}}}, year = {{2022}}, } @article{48429, author = {{Brachtendorf, Charlotte}}, issn = {{2050-0734}}, journal = {{Fashion, Style & Popular Culture 9}}, pages = {{483--499}}, title = {{{Lil Miquela in the Folds of Fashion: (Ad-)Dressing Virtual Influencers}}}, doi = {{10.1386/fspc_00157_1}}, volume = {{4}}, year = {{2022}}, } @inbook{51060, author = {{Klingmann, Heinrich}}, booktitle = {{Druckwellen. Eskalationskulturen und Kultureskalationen in Pop, Gesellschaft und Politik.}}, editor = {{Flath, Beate and Heinrich, Ina and Jacke, Christoph and Klingmann, Heinrich and Momen Pour Tafreshi, Maryam}}, pages = {{65 -- 82}}, publisher = {{transcript}}, title = {{{POPulismus, POPkultur und Pop-Didaktik.}}}, year = {{2022}}, } @article{41282, author = {{Flath, Beate and Momen Pour Tafreshi , Maryam }}, journal = {{Transformational POP: Transitions, Breaks, and Crises in Popular Music (Studies) (Vibes - The IASPM D-A-CH Series 2)}}, pages = {{19--32}}, title = {{{Zwischen teilhaben und Teil sein. Ein Gespräch über kulturelle Teilhabe im Kontext transdisziplinärer Forschung}}}, volume = {{2}}, year = {{2022}}, } @book{40253, abstract = {{Popevents in ihren unterschiedlichsten Ausprägungen stehen in vielfältigen Wechselbeziehungen mit ihrem jeweiligen Umfeld. Insbesondere Strukturen, Prozesse, Mechanismen und Dynamiken des Managements sowie der Politiken dieser besonderen Eventkulturen - ebenso wie die darin eingeschriebenen Normen, Normierungen, Werte und Wertbildungsprozesse - prägen das Beziehungsgefüge, in dem sich »PopEventKulturen« konstituieren. Die Beiträger*innen des Bandes thematisieren transdisziplinär Gravitationsfelder dieser spezifischen Kulturen und analysieren u.a. Wertschöpfungsnetzwerke, Ausbildungswege und Rollenbilder, kulturpolitische Selbstverständnisse und demokratiepolitische Herausforderungen.}}, editor = {{Flath, Beate and Jacke, Christoph}}, isbn = {{9783837653243}}, issn = {{2702-4342}}, pages = {{214}}, publisher = {{transcript Verlag}}, title = {{{PopEventKulturen an den Schnittstellen von Management und Politik}}}, doi = {{10.14361/9783839453247}}, year = {{2022}}, } @inbook{40241, author = {{Flath, Beate and Jacke, Christoph}}, booktitle = {{Transdisziplinäre Popkulturstudien}}, issn = {{2702-4342}}, pages = {{9--17}}, publisher = {{transcript Verlag}}, title = {{{PopEventKulturen an den Schnittstellen von Management und Politik}}}, doi = {{10.14361/9783839453247-001}}, volume = {{2}}, year = {{2022}}, } @book{37244, abstract = {{Transformations of various kinds have always shaped societies and especially its cultures and research – triggered, for example, by wars, revolutions, shifts in social orders, pandemics, etc. They have led to uncertainty and social upheaval, but also to innovation and change. As pop music cultures, in their entire breadth, can be described as seismographs of social, political, economic, ecological, media, artistic, and technological transformations, in and through them, fields of tensions, disruptions, and lines of conflict become not only visible, audible, and perceptible, but also communicable and thus, negotiable. Volume No. 2 of ~Vibes – The IASPM D-A-CH Series, which is based on the 4th Biennial IASPM D-A-CH conference at Paderborn University/online, takes a closer look at the transformative moments of pop music cultures by theorizing, empiricizing, historicizing, and, finally, politicizing them.}}, editor = {{Flath, Beate and Jacke, Christoph and Troike, Manuel}}, issn = {{2748-6389}}, pages = {{307}}, publisher = {{International Association for the Study of Popular Music Deutschland-Austria-Confoederation Helvetica}}, title = {{{Transformational POP: Transitions, Breaks, and Crises in Popular Music (Studies)}}}, volume = {{2}}, year = {{2022}}, }