@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}}, } @inbook{52391, author = {{Ricke, Anna}}, booktitle = {{Musik und das Unheimliche}}, editor = {{Hust, Christoph and Rentsch, Ivana and Stollberg, Arne}}, pages = {{241–256}}, title = {{{‚[M]uch too terrible for representation‘. Musik und Geräusch in Matthew Lewis’ Melodram The Captive (1803)}}}, year = {{2023}}, } @inbook{52392, author = {{Ricke, Anna}}, booktitle = {{Kulturelles Handeln | Macht | Mobil. Interdisziplinäre Studien zur gender- und musikbezogenen Mobilitätsforschung}}, editor = {{Bagge, Maren and Strohmann, Nicole K. }}, pages = {{75–83}}, title = {{{Flexibilitätsgeprägte Biographien als methodische Herausforderung – Das Beispiel der Musikerin Smaragda Eger-Berg}}}, volume = {{20}}, year = {{2023}}, } @inproceedings{57201, abstract = {{The mei-friend editor aims to address the challenges faced in the "last mile" of preparing MEI encodings, specifically the conversion and correction of the encodings through a user-friendly interface that allows users to manipulate the MEI encoding through an interactive rendering display. To complement these functions, various tools for enriching encodings with annotations and markup are currently under further development, allowing for the creation of high-quality digital resources and digital music editions. The goal is to increase the users’ abilities to manipulate the encoding based on selections within the visual rendering of the score. However, the complexity of adding support for editorial markup in MEI requires careful consideration of technical possibilities and project needs. This paper explores the needs of music editors based on user-centred approaches to understand the challenges of UI design and bridge the gap between user goals and technological systems. By considering the people, activities, contexts, and technologies involved in digital music editing, the aim is to develop a tool that enhances the creation of digital music editions while accommodating the complexities and requirements of the musicological research community. Interviews conducted with music editors as prospective users provided valuable insights into their work, informing the development process.}}, author = {{Plaksin, Anna Viktoria Katrin}}, booktitle = {{Proceedings of the 10th International Conference on Digital Libraries for Musicology}}, location = {{Milan}}, publisher = {{ACM}}, title = {{{Understanding the needs of music editors in a digital world. Adding support for editorial markup to the mei-friend editor}}}, doi = {{10.1145/3625135.3625149}}, year = {{2023}}, } @article{59883, author = {{Kijas, Anna and Calico, Joy H. and Schaub, Jake and Grimmer, Jessica and Plaksin, Anna Viktoria Katrin and Merchán Sánchez-Jara, Javier F. and González Gutiérrez, Sara}}, issn = {{0141-1896}}, journal = {{Journal of Musicological Research}}, number = {{2}}, pages = {{111--142}}, publisher = {{Informa UK Limited}}, title = {{{Roundtable: Pedagogical Approaches to Music Encoding}}}, doi = {{10.1080/01411896.2023.2231837}}, volume = {{42}}, 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}}, } @article{48994, author = {{Höink, Dominik}}, journal = {{Kirchenmusikalisches Jahrbuch}}, pages = {{21--30}}, title = {{{Komponierte Ambiguität. Ein anderer Blick auf polyphone Messen des 15. und 16. Jahrhunderts}}}, volume = {{107}}, year = {{2023}}, } @article{50441, author = {{Ludovico, Luca A. and Mattea, Alberto and Mauro, Davide Andrea}}, journal = {{Proceedings of the 19th Sound and Music Computing Conference, June 5-12th, 2022, Saint-Étienne (France)}}, title = {{{Preserving, Restoring, and Passing Down Video-Game Music from the Past: The Case of Directmusic}}}, doi = {{10.5281/ZENODO.6573638}}, year = {{2022}}, } @inproceedings{51803, author = {{Henny-Krahmer, Ulrike and Stadler, Peter}}, title = {{{Nachhaltige Softwareentwicklung - Von der Inhouse-Lösung zur Open Source-Community am Beispiel von MerMEId}}}, doi = {{10.5281/ZENODO.6328022}}, year = {{2022}}, } @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}}, } @inproceedings{52326, abstract = {{Helmut Lachenmann and Karlheinz Stockhausen are often regarded as representatives of a negative attitude towards traditions of canonised European art music. In their compositional self-image they strive for renewal and innovative artistic work beyond established models. However, an examination of ego-documents and compositions reveals contradictions within this claim. The essay therefore examines both composers’ concepts of and their self-location within tradition. The aim is to show how a decided departure from historical structural principles as well as latent lines of tradition are effective in two works. Because of the special historical significance of the genre, two string quartets have been selected.}}, author = {{Adler, Luise}}, booktitle = {{Vlado S. Milošević: Tradition as Inspiration. Thematic proceedings from the 2021 scientific conference}}, editor = {{Grujić, Gordana and Pavlović, Saša}}, isbn = {{978-99938-27-37-5}}, location = {{Online}}, pages = {{317 -- 329}}, title = {{{Helmut Lachenmann and Karlheinz Stockhausen: String quartets between avant-garde and tradition}}}, year = {{2022}}, } @inproceedings{55839, author = {{Cox, Susanne and Kepper, Johannes}}, booktitle = {{Music Encoding Conference Proceedings 2021}}, editor = {{Münnich, Stefan and Rizo, David}}, pages = {{85–95}}, publisher = {{Humanities Commons}}, title = {{{Encoding Genetic Processes II}}}, doi = {{https://doi.org/10.17613/q6y4-9139}}, year = {{2022}}, } @inproceedings{59882, author = {{Plaksin, Anna Viktoria Katrin and Lewis, David}}, booktitle = {{9th International Conference on Digital Libraries for Musicology}}, publisher = {{ACM}}, title = {{{MeRIT: An interactive annotation tool for mensural rhythms}}}, doi = {{10.1145/3543882.3543888}}, year = {{2022}}, } @book{36424, abstract = {{Das Oratorium kann als wichtige Gattung für die Analyse des Zusammenspiels von Religion und Politik im Medium der Musik gelten. Die Studie wendet sich dem Verhältnis dieser religiösen Musikform zum deutschen Nationalismus vom Beginn des Ersten bis zum Ende des Zweiten Weltkriegs zu. Im Fokus stehen verschiedene Weisen der Instrumentalisierung von Musik, etwa zur ‚Heldenehrung‘, zur Bildung einer ‚vorgestellten Gemeinschaft‘ oder zur Gewinnung der Arbeiterschaft. Bei der Analyse der Politisierung des Oratoriums sind vier Beobachtungsperspektiven leitend: Konfession, Säkularisierung, Erinnerungskultur und Vergemeinschaftung. Entsprechend liegt der Schwerpunkt der Studie auf der Analyse der sozialgeschichtlichen Funktion der Gattung. Daneben jedoch werden – in Form von Fallstudien zu bisher unerforschten Werken – auch musikalische Detailanalysen durchgeführt, die das in der jeweiligen Komposition realisierte Verhältnis von religiösen und nationalistischen Elementen offenlegen. }}, author = {{Höink, Dominik}}, isbn = {{978-3-8309-3984-9}}, pages = {{590}}, publisher = {{Waxmann Verlag}}, title = {{{Oratorium und Nation (1914–1945) }}}, volume = {{8}}, year = {{2022}}, } @inbook{48939, abstract = {{The conventional wisdom is that Favart's 'Soliman second' is, as Larry Wolff puts it, about an "explicitly French triumph over Ottoman despotism". This may be true to a certain extent - but it misses the point. As impressive as the depiction of the 'Oriental' may have been, it is not itself the core message of this comédie, but rather only one of the means to an end, which consists of once again accompanying and authenticating Justine Favart's novel, very modern approach to realistic character representation in the best possible way. This study demonstrates this by means of a combined analysis of the theatrical levels of text, image and music. Instead of orientalism in the sense of constructing images of the exotic 'other', the textual, pictorial and musical strategies employed in this play specifically conceived for Justine Favart apply to the production of theatrical 'authenticity' and 'natural' character representation in general. The fact that the stage persona thus brought to bear, i.e. the main character Roxelane, who responds to many models from Racine to Montesquieu, is a militantly enlightened and feminist one whose 'natural' persuasiveness and force no one can ultimately resist, so that Justine Favart's Roxelane triumphantly asserts herself all along the line and establishes nothing less than a new social, gender and state order, makes the matter all the more interesting.}}, author = {{Münzmay, Andreas}}, booktitle = {{Musikwissenschaft der Vielfalt. FS Rebecca Grotjahn zum 60. Geb.}}, editor = {{Iffland, Joachim and Imm, Johanna and Jaeschke, Nina and Schauberger, Sarah}}, isbn = {{ 978-3-96233-276-1}}, pages = {{267--287}}, publisher = {{Allitera}}, title = {{{Justine Favarts Rox(el)ane: Eine Relektüre von Soliman second (1761) in Text, Bild, Musik jenseits des Orientalismusparadigmas}}}, year = {{2021}}, } @article{52102, author = {{Ried, Dennis}}, journal = {{Mitteilungen der IMRG}}, number = {{39}}, pages = {{36}}, publisher = {{Internationale Max-Reger-Gesellschaft}}, title = {{{Weltweite Verfügbarkeit und digitale Langzeitarchivierung}}}, year = {{2021}}, } @techreport{52101, author = {{Freund, Julia and Muennich, Stefan and Ried, Dennis and Ziegler, Michelle}}, publisher = {{musiconn.blog}}, title = {{{Musikalische Schrift und Digitalität. Ein Werkstattbericht}}}, year = {{2021}}, } @book{52100, editor = {{Ried, Dennis and König, Stefan}}, isbn = {{978-3-89948-404-5}}, publisher = {{Carus-Verlag}}, title = {{{Lieder II}}}, volume = {{II/2}}, year = {{2021}}, } @inbook{52098, author = {{Ried, Dennis}}, booktitle = {{Ritter, Tod und Teufel. Hermann Reutter und das Lied}}, editor = {{Wiegandt, Matthias}}, pages = {{155–176}}, title = {{{Der Liebe will ich singen. Hermann Reutters Begegnung mit dem Mittelalter}}}, year = {{2021}}, } @book{52103, editor = {{Grafschmidt, Christopher}}, isbn = {{978-3-89948-418-2}}, publisher = {{Carus-Verlag}}, title = {{{Werke für gemischten Chor a cappella II}}}, volume = {{II/9}}, year = {{2021}}, }