@techreport{65021, abstract = {{Several early music projects, such as the Stanford Josquin Project, have demonstrated the potential for attaining valuable new musicological insights using a corpus-based approach. However, the available musical corpora tend to be relatively small and exhibit considerable variation in encoding practices. Aspiring corpus researchers are confronted with a lack of suitable data, which needs to be addressed before they can embark on their proper research. The EarlyMuse Short Term Scientific Mission CORSICA has surveyed the current state of corpus creation and digital editing in early music. Based on this information, it has developed a vision for the future of corpus building in this field, which aims to speed up the production of digital encodings while respecting the autonomy of the encoders and acknowledging their efforts. This is important because much high-quality encoding is carried out outside the field of professional musicology, and engaging citizen scientists could help address the current shortage of research data. The CORSICA team‘s vision is informed not only by a study of the available data, standards and technologies, but also by Human-Computer Interaction, placing human goals and values before the creation of technology and work processes. The core of the vision is that successful corpus creation must be an inclusive endeavour in terms of both technology and human participation. The report concludes with an implementation plan outlining the initial steps required to realise the vision.}}, author = {{Wiering, Frans and Bergwall, Erik and van Berchum, Marnix and Goebl, Werner and Van Kranenburg, Peter and Lewis, David and Plaksin, Anna Viktoria Katrin and Rodríguez-García, Esperanza and Smith, David J. and Visscher, Mirjam and Weigl, David M.}}, keywords = {{citizen science, crowdsourcing, digital editions of music, early music, human computer interaction, music corpora, music encoding, musicology}}, title = {{{Making Corpus Creation in Early Music Rewarding and Effective: Finding the Optimum Between Standardisation and Autonomy}}}, doi = {{10.5281/zenodo.18413961}}, year = {{2026}}, } @misc{64981, author = {{Münzmay, Andreas}}, booktitle = {{Die Musikforschung}}, issn = {{0027-4801}}, number = {{1}}, pages = {{99--102}}, publisher = {{Sachsische Landesbibliothek, Staats- und Universitatsbibliothek Dresden}}, title = {{{ISABELLE WIMMER: Goethe auf der französischen Opernbühne. Zur künstlerischen Goethe-Rezeption im 19. Jahrhundert. Baden-Baden: Rombach Wissenschaft 2024. 587 S., Tab. (Reihe Musik und Literatur. Band 4.)}}}, doi = {{10.52412/mf.2026.h1.5145}}, volume = {{79}}, year = {{2026}}, } @inbook{59745, author = {{Tumat, Antje}}, booktitle = {{her:voice. Komponistinnenfestival 2024}}, editor = {{Fahrholz, Merle}}, pages = {{103--109}}, publisher = {{Hollitzer}}, title = {{{„The folk songs of America“ und „complex female characters on stage“: Musikgeschichtliche Wendepunkte in den Komponistinnenbiografien von Florence Price and Mizzy Mazzoli}}}, year = {{2025}}, } @misc{59884, abstract = {{This release contains two new major features and several smaller improvements: Extension of mei-friend's facilities for editorial mark-up through a re-worked annotation panel (now renamed to enrichment panel). Thanks to @annplaksin! See documentation at https://mei-friend.github.io/docs/advanced/markup/. Redevelopment of git integration for more stable and sustainable collaborative editing. For more information, please see CHANGELOG.md}}, author = {{Goebl, Werner and Weigl, David M. and Plaksin, Anna Viktoria Katrin}}, publisher = {{Zenodo}}, title = {{{mei-friend: An Interactive Web-based Editor for Digital Music Encodings (1.2.0)}}}, doi = {{10.5281/ZENODO.14679883}}, year = {{2025}}, } @article{59749, author = {{Balke, Stefan and Berndt, Axel and Müller, Meinard}}, issn = {{2514-3298}}, journal = {{Transactions of the International Society for Music Information Retrieval}}, number = {{1}}, pages = {{39--54}}, publisher = {{Ubiquity Press, Ltd.}}, title = {{{ChoraleBricks: A Modular Multitrack Dataset for Wind Music Research}}}, doi = {{10.5334/tismir.252}}, volume = {{8}}, year = {{2025}}, } @inproceedings{58555, author = {{Berndt, Axel}}, booktitle = {{{Forum of the Cultural Research Data Academy: “Music – Media – Cultural Heritage: Intersections between data, research and infrastructure”}}}, title = {{{Deconstruction – Recombination – Order: Ein kurzer Werkstattbericht}}}, year = {{2025}}, } @inbook{60034, abstract = {{A preference for music theatre works is characteristic of Hans Werner Henze's oeuvre, as is his close collaboration with famous 20th-century authors, who wrote the libretti for his music theatre works. This paper explores the artistic collaborations of Hans Werner Henze and Ingeborg Bachmann on the one hand and Henze, Chester Kallman and W.H. Auden on the other in the context of their joint operatic work, surviving correspondence and poetological essays. This is set against the backdrop of how personal relationships can influence collaboration in the performing arts. In both cases, the letters and biographical writings of the aforementioned working groups, read from a gender perspective and with regard to creativity, forms of relationship and artistic collaboration, point to a tension between potential and desired personal relationships, the confrontation with marriage as a conventional social framework and artistic collaboration as a long-term connection.}}, author = {{Tumat, Antje}}, booktitle = {{(Wahl-)Verwandtschaften.Gemeinschaftliches kulturelles Handeln}}, editor = {{Bagge, Maren and Fornoff-Petrowski, CHristine and Ricke, Anna and Rode-Breymann, Susanne}}, pages = {{209--224}}, publisher = {{Böhlau}}, title = {{{Künstlerische Zusammenarbeit zwischen Ehekonvention und Sublimation. Hans Werner Henzes Bühnenschaffen mit Ingeborg Bachmann, W.H. Auden und Chester Kallman}}}, volume = {{21}}, year = {{2025}}, } @inproceedings{59783, author = {{Mauro, D. A. and Ludovico, L. A. and Aydin, H. H. and Berndt, Axel and Grothe, T.}}, booktitle = {{AM.ICAD: Audio Mostly & ICAD Joint Conf.}}, publisher = {{ACM}}, title = {{{Detmold musical Instrument Timbre Explorer (DmITE): Interactive visualization of musical instruments radiation pattern using IEEE 1599}}}, year = {{2025}}, } @inproceedings{59748, author = {{Grothe, T. and Aydin, H. B. and Mauro, D. A. and Ludovico, L. A. and Berndt, Axel}}, booktitle = {{DAS/DAGA 2025 – 51st Annual Meeting on Acoustics}}, title = {{{Detmold interactive Musical Instrument Timbre Explorer (DmITE) - a web application for experimental learning in musical acoustics}}}, year = {{2025}}, } @inproceedings{59782, author = {{Kallionpää, M. and Berndt, Axel and Mauro, D. A. and Dziwis, D.}}, booktitle = {{AM.ICAD: Audio Mostly & ICAD Joint Conf.}}, publisher = {{ACM}}, title = {{{Non/Repeat: Three Case Studies of Non-linear Live-Music Practices}}}, year = {{2025}}, } @inproceedings{59750, author = {{Mauro, D. A. and Berndt, Axel}}, booktitle = {{22nd Sound and Music Computing Conf. (SMC 2025), Auditory Landscapes}}, title = {{{Automatic Rendering of Ramati’s Ludus Musicalis Scores}}}, year = {{2025}}, } @article{58917, abstract = {{Auslandsaufenthalte von Studierenden sind im Fach Musikwissenschaft an der Universität Paderborn eher eine Ausnahme. Das hat unterschiedliche Gründe, unter anderem die nicht vorhandene curriculare Verankerung. Dabei belegen diverse Untersuchungen, dass solche Aufenthalte den interkulturellen Kompetenzerwerb und damit Fähigkeiten fördern, die unabhängig vom Fach in einer globalisierten Welt immer größere Relevanz im Berufsleben einnehmen. Im Projekt wurde ein hybrides internationales Kooperationsseminar entwickelt und durchgeführt sowie in Bezug auf den Erwerb dieser wichtigen Schlüsselqualifikation evaluiert. Die Auswertung der unter anderem durch Fragebögen erhobenen Entwicklung konnte deutlich die positiven Auswirkungen eines hybriden Kooperationsseminars auf interkulturelle Kompetenzen, die Auseinandersetzung mit verschiedensten Aspekten einer anderen Kultur, darunter Geschichte, Politik, (Post-)Kolonialismus und den eigenen Privilegien aufzeigen. Zudem lassen sich aus der Evaluation weitere Ideen für rein digitale Formate ableiten. }}, author = {{Adler, Luise}}, journal = {{Paderborner Beiträge 2024. die hochschullehre - Themenheft 2025}}, keywords = {{interkulturelle Kompetenz, interkulturelle Sensitivität, Musikwissenschaft, digitale Lehre, hybride Lehre, intercultural competence, intercultural sensitivity, musicology, digital education, hybrid education}}, number = {{17}}, pages = {{218 -- 231}}, publisher = {{Nerea Vöing, Diana Bücker}}, title = {{{Interkulturelle Kompetenzen in der Musikwissenschaft. Potenziale hybrider Kooperationsseminare}}}, doi = {{10.3278/HSL2459W}}, volume = {{11}}, year = {{2025}}, } @book{58962, abstract = {{Der Band versammelt Beiträge zum vielgestaltigen Verhältnis von 'Musik' und 'Arbeit'. Zum einen wird Musik als Arbeit betrachtet, wobei Phänomene musikalischer Berufstätigkeit seit dem Mittelalter ebenso in den Blick geraten wie aktuelle Themen, etwa die Situation der Kreativwirtschaft im Kontext pandemischer Krisen. Zum anderen widmen sich die Fallstudien 'Arbeit' als Gegenstand oder Thema in Musik, so beispielsweise der musikalischen Nachahmung von Arbeitsprozessen und -geräuschen oder der musiktheatralen Darstellung der Arbeitswelt. Der Band versteht sich als eine Anregung für eine musikwissenschaftliche Auseinandersetzung mit dem Thema, aber auch für einen soziologischen Anschluss an musikbezogene Forschung.}}, editor = {{Höink, Dominik and Feldhordt, Philip}}, isbn = {{978-3-487-17104-3}}, publisher = {{Georg Olms Verlag}}, title = {{{Musik und Arbeit}}}, volume = {{25}}, year = {{2025}}, } @inbook{58963, author = {{Höink, Dominik and Feldhordt, Philip}}, booktitle = {{Musik und Arbeit}}, editor = {{Feldhordt, Philip and Höink, Dominik }}, pages = {{9--40}}, title = {{{Musik und Arbeit - Arbeit in der Musik. Einführende Überlegungen}}}, volume = {{25}}, year = {{2025}}, } @inbook{58964, author = {{Höink, Dominik}}, booktitle = {{Musik und Arbeit}}, editor = {{Feldhordt, Philip and Höink, Dominik}}, pages = {{165--187}}, title = {{{"Bergwerk muß blühen" - Arbeit als Oratoriensujet in der NS-Zeit}}}, volume = {{25}}, year = {{2025}}, } @inproceedings{60759, author = {{Berndt, Axel and Falkemeier, G. and Kutter, A. and Plaksin, Anna Viktoria Katrin and Etezazi, S. and Dziwis, D.}}, booktitle = {{{Mensch und Computer: Workshop für Innovative Computerbasierte Musikinterfaces}}}, publisher = {{Gesellschaft für Informatik}}, title = {{{KreativInstitut.OWL: An Interdisciplinary Institute for Transfer Between Science, Cultural and Creative Industries}}}, year = {{2025}}, } @inbook{59903, abstract = {{This article explores the challenges and opportunities of documenting and cataloguing 19th-century music sources in Germany, using the 1832 Stuttgart production of Goethe’s Faust with music by Peter Joseph von Lindpaintner as a case study. The main focus lies on the potential interplay between (digital) critical music editions and RISM as complementary approaches to source documentation. While RISM has traditionally concentrated on pre-1800 sources, the vast and complex landscape of 19th-century music-theatrical materials—especially handwritten performance materials, but also printed sources—calls for new collaborative strategies. Drawing on the Faust edition within the OPEN Edirom project, which publishes data in open, structured formats (TEI and MEI) and makes them accessible via the RADAR4Culture repository and the Culture Knowledge Graph, the article argues for closer integration between editorial projects and RISM through stable identifiers and Linked Open Data principles. Editorial descriptions do not compete with RISM records but meaningfully extend them, and vice versa. The case study illustrates how editorial source descriptions and full-text editions could enhance the informational scope and augment the reach of RISM, and how RISM could serve as a basis for more granular, interconnected, and FAIR-compliant musicological research infrastructures. The article proposes RISM as a central access point for distributed research data and outlines the simple yet effective steps researchers can take to enhance discoverability and interoperability: namely, by using (or if necessary, creating) RISM IDs and by publishing data with persistent Digital Object Identifiers (DOIs).}}, author = {{Frömmel, Lena and Münzmay, Andreas}}, booktitle = {{Musikquellen des 19. Jahrhunderts in Deutschland. Herausforderungen und Chancen}}, editor = {{Schwindt, Nicole}}, pages = {{153--178}}, publisher = {{musiconn.publish}}, title = {{{Vernetzte Musikquellen des 19. Jahrhunderts. Überlegungen zum Zusammenspiel wissenschaftlicher Editionen mit RISM am Beispiel des Stuttgarter Faust 1832}}}, doi = {{10.25366/2025.45}}, year = {{2025}}, } @book{59079, abstract = {{The present OPEN Edirom digital edition of Goethe’s Faust presents the literary and musical text of the work as it was possibly performed at its premiere (Friday, March 2, 1832) and consecutive performances under the direction and participation of Carl Seydelmann (directing the production and playing the role of Mephistopheles) and Peter Joseph von Lindpainter in the Stuttgart Hoftheater in 1832 (March 11, May 28, October 12) and 1833 (May 14, December 27), in accordance with the surviving sources, i.e., the original theatre material preserved in the Württemberg State Library in Stuttgart (D-Sl). This material constitutes a nearly complete autograph source package consisting of text adaptation (an autograph by Seydelmann incorporated into a copy of the print edition published by Cotta in Tübingen in 1830) and corresponding music (two volumes with autograph scores by Lindpaintner).}}, editor = {{Münzmay, Andreas and Frömmel, Lena and Bachmann, Tobias and Tumat, Antje}}, publisher = {{ZenMEM}}, title = {{{Peter Joseph von Lindpaintner, Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl Seydelmann (1832)}}}, year = {{2025}}, } @unpublished{61999, author = {{Münzmay, Andreas}}, pages = {{24}}, title = {{{Beethovens Eigenbearbeitungen und digitale Heuristik. Erkundungen mit den synoptischen Doppeleditionen und Analysewerkzeugen des Projekts Beethovens Werkstatt}}}, year = {{2025}}, } @inbook{62127, abstract = {{Henzes Privatbibliothek aus seinem Besitz in La Leprara bei Marino südlich von Rom, in dem er fast fünfzig Jahre seines Lebens verbracht und viele seiner großen Werke geschrieben hat, wurde nach dem Verkauf des Anwesens der Bibliothek des Musikwissenschaftlichen Seminars der Universität Paderborn/Hochschule für Musik Detmold per Schenkung als Sondersammlung übergeben. Die Privatbibliothek ist nunmehr vollständig inventarisiert und somit der Öffentlichkeit zugänglich gemacht. Der Text beschreibt in einer ersten Bestandsaufnahme den Charakter und die Schwerpunkte dieser Sammlung und stellt erste Forschungsfragen an den Bestand: Er fragt etwa nach den Erkenntnissen, die sich aus den über 600 handschriftlichen Widmungen in Büchern und über 150 Widmungen in Noten im Hinblick auf Henzes persönliches Netzwerk und seine Biografie ergeben und wertet einige Widmungskonvolute aus. Abstract (EN) Henze's personal library, which belonged to him in La Leprara near Marino south of Rome, where he spent almost fifty years of his life and wrote many of his important works, was donated to the library of the Musicology Seminar of the University of Paderborn/Detmold University of Music as a collection after the sale of the estate. The private library has now been completely catalogued and is thus accessible to the public. The text provides an initial overview of the character and focus of this collection and poses research questions about the holdings: For example, it asks what insights can be gained from the more than 600 handwritten dedications in books and over 150 dedications in sheet music with regard to Henze's personal network and his biography, and evaluates some of the collections of dedications.}}, author = {{Tumat, Antje}}, booktitle = {{Musik, Netzwerke, Selbstzeugnisse. Aktuelle Forschung zu Hans Werner Henze}}, editor = {{Tumat, Antje and Minetti, Elena and Ried, Dennis and Capelle, Irmlind}}, keywords = {{Hans Werner Henze, Privatbibliothek, Neue Musik}}, pages = {{23--40}}, publisher = {{musiconn.publish}}, title = {{{„Ein Komponistenleben des 20. Jahrhunderts“. Erste Bestandsaufnahme und Forschungsfragen zu Hans Werner Henzes Privatbibliothek als Sondersammlung}}}, doi = {{10.25366/2025.158}}, year = {{2025}}, }