@inbook{56223,
  author       = {{Münzmay, Andreas}},
  booktitle    = {{Auber et Scribe, un patrimoine lyrique vivant. Le Concert à la cour (1824). Actéon (1836)}},
  editor       = {{Yon, Jean-Cloude and Reynaud, Cécile }},
  isbn         = {{9791037039446}},
  pages        = {{101--110}},
  publisher    = {{Hermann Editeurs}},
  title        = {{{Concert à Stuttgart? Réflexions sur le rapport entre l’opéra comique de Scribe et d’Auber et la cour de Wurtemberg}}},
  year         = {{2024}},
}

@misc{57562,
  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       = {{Minetti, Elena and Capelle, Irmlind and Ried, Dennis and Tumat, Antje}},
  publisher    = {{Zenodo}},
  title        = {{{HenDi-Data (data package) v6.1.0}}},
  doi          = {{10.5281/ZENODO.14227711}},
  year         = {{2024}},
}

@misc{57564,
  author       = {{Ried, Dennis and Capelle, Irmlind and Minetti, Elena}},
  publisher    = {{LibreCat University}},
  title        = {{{HenDi-ODD v6.1.0}}},
  doi          = {{10.5281/ZENODO.14227688}},
  year         = {{2024}},
}

@misc{57566,
  author       = {{Ried, Dennis}},
  publisher    = {{LibreCat University}},
  title        = {{{HenDi-WebApp v6.1.0}}},
  doi          = {{10.5281/ZENODO.14227708}},
  year         = {{2024}},
}

@article{57579,
  abstract     = {{Richard Wagner is considered a prominent critic of incidental music, as he called for the abolition of randomly inserted music between acts in plays. However, he greatly appreciated music composed especially for a play, such as Beethoven's music for Goethe's Egmont. In the early 1830s, he himself wrote several pieces of music for plays that have not been fully preserved. The text analyses Wagner's theatre music aesthetics in the context of contemporary aesthetics and theatre practice and provides a general overview of the music that has been handed down. His surviving theatre overtures show a high level of musical sophistication in the early engagement with symphonic music, as well as an effort to shape instrumental music according to dramatic content. They point to role models such as Beethoven and Mendelssohn. A more practical theatrical view of Wagner's theatrical music could open up new perspectives for his theatrical music and insights into the theatrical practice of the time.}},
  author       = {{Tumat, Antje}},
  isbn         = {{978-3-8260-8902-2}},
  journal      = {{Wagner-Spektrum}},
  pages        = {{71--83}},
  publisher    = {{Königshausen und Neumann}},
  title        = {{{Wagners frühe Schauspielmusiken – Ästhetik und Theaterpraxis}}},
  volume       = {{2}},
  year         = {{2024}},
}

@article{56307,
  author       = {{Tumat, Antje}},
  journal      = {{Takte. Das Bärenreiter-Magazin}},
  pages        = {{14--15}},
  title        = {{{Kunst kommt von Verantworten. Zum 100. Geburtstag Giselher Klebes}}},
  volume       = {{2}},
  year         = {{2024}},
}

@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{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{54247,
  author       = {{Berndt, Axel and Mauro, Davide Andrea}},
  booktitle    = {{Proceedings of the Sound and Music Computing Conference (SMC) 2024}},
  publisher    = {{Sound and Music Computing Network / Universidade do Porto}},
  title        = {{{Arpeggiatorum: An audio controllable MIDI arpeggiator}}},
  year         = {{2024}},
}

@inproceedings{58552,
  author       = {{Berndt, Axel and Bömcke-Vollmer, Frithjof 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{58553,
  author       = {{Berndt, Axel and Waloschek, S.}},
  booktitle    = {{{Edirom Summer School 2024}}},
  title        = {{{FlowScore: MEI Streaming to Digital Music Stands}}},
  year         = {{2024}},
}

@inproceedings{50440,
  author       = {{Baratè, Adriano and Haus, Goffredo and Ludovico, Luca A. and Mauro, Davide Andrea}},
  booktitle    = {{2023 4th International Symposium on the Internet of Sounds}},
  publisher    = {{IEEE}},
  title        = {{{Towards the Future of Multi-Layer Music Encoding: The IEEE 1599 v2.0 Draft}}},
  doi          = {{10.1109/ieeeconf59510.2023.10335429}},
  year         = {{2023}},
}

@inproceedings{50439,
  author       = {{Baratè, Adriano and Haus, Goffredo and Ludovico, Luca A. and Mauro, Davide Andrea}},
  booktitle    = {{2023 4th International Symposium on the Internet of Sounds}},
  publisher    = {{IEEE}},
  title        = {{{Towards the Future of Multi-Layer Music Encoding: The IEEE 1599 v2.0 Draft}}},
  doi          = {{10.1109/ieeeconf59510.2023.10335429}},
  year         = {{2023}},
}

@misc{51804,
  author       = {{Stadler, Peter and Anna Maria, Neubert and Schreiter, Solveig and Obert, Salome and Ried, Dennis}},
  publisher    = {{LibreCat University}},
  title        = {{{Edirom/WeGA-ODD: WeGA ODD files release 4.7.0}}},
  doi          = {{10.5281/ZENODO.7652568}},
  year         = {{2023}},
}

@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}},
}

@article{51687,
  author       = {{Ried, Dennis}},
  journal      = {{Blick in die Geschichte. Karlsruher stadthistorische Beiträge}},
  number       = {{140}},
  pages        = {{1}},
  publisher    = {{Stadt Karlsruhe}},
  title        = {{{Ludwig Baumann}}},
  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}},
}