@inbook{64178, author = {{Muller, Jil}}, booktitle = {{Automata, Cyborgs, and Mutants}}, editor = {{Muller, Jil}}, publisher = {{Palgrave Macmillan}}, title = {{{Introduction: Automata, Cyborgs, and Mutants: Eccentric Bodies from Humanism to Transhumanism}}}, doi = {{10.1007/978-3-031-93201-4_1}}, year = {{2026}}, } @inbook{64179, author = {{Muller, Jil}}, booktitle = {{Automata, Cyborgs, and Mutants}}, editor = {{Muller, Jil}}, publisher = {{Palgrave Macmillan}}, title = {{{Descartes on Clocks and Automata}}}, doi = {{10.1007/978-3-031-93201-4_5}}, year = {{2026}}, } @book{64177, editor = {{Muller, Jil}}, pages = {{368}}, publisher = {{Palgrave Macmillan}}, title = {{{Automata, Cyborgs, and Mutants }}}, doi = {{10.1007/978-3-031-93201-4}}, year = {{2026}}, } @inproceedings{58867, author = {{Ertel, Erhart and Lamb, Jochen and Münzmay, Andreas and Primavesi, Patrick and Probst, Nora and Rittershaus, David and Schäfer, Martin Jörg and Voß, Franziska}}, booktitle = {{Matters of Urgency – Herausforderungen der Gegenwart in Theater und Wissenschaft}}, editor = {{Kolesch, Doris and Lazadzig, Jan and Schrödl, Jenny and Seidler, Lisa-Frederike and Walch, Thore and Warstatt, Matthias}}, location = {{Berlin}}, publisher = {{Universities Publishing}}, title = {{{Digitalität in der Theaterwissenschaft. Forum der AG ARCHIV mit NFDI4Culture}}}, doi = {{10.14279/depositonce-22414}}, year = {{2025}}, } @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}}, } @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}}, } @book{61364, abstract = {{Women’s rights over their own bodies is one of the most pressing issues, esp. as women still seem to have fewer rights over their bodies than men. International authors from philosophy, literature, art, architecture, and gender studies address the topic from a variety of perspectives, reaching beyond classical feminism, and beyond the labels of "motherhood" and "sex." The contributions are grouped into five sections – Body Experiences, History, Technology and Arts, Feminism and Phenomenology, and Beauty. Papers address a multitude of areas, ranging from beauty practices and Ukrainian women refugees in the context of the Russia-Ukraine war, feminist phenomenology and socio-structural critique, female specific neuropathology, the discourse of the Victorian women’s menstruation to "motherhood" in gender studies and feminist new materialisms. The book provides not only a comprehensive overview over the current state of research, but will also inspire further discussions. A separate bibliography listing relevant titles for readers new to the topics and for advanced researchers rounds out the volume.}}, editor = {{Muller, Jil}}, isbn = {{9783111396125}}, pages = {{360}}, publisher = {{De Gruyter Brill}}, title = {{{Women and their Body}}}, doi = {{10.1515/9783111396934}}, year = {{2025}}, } @inbook{63711, author = {{Muller, Jil}}, booktitle = {{Women and Their Body}}, isbn = {{9783111396125}}, publisher = {{De Gruyter}}, title = {{{1 1Introduction Women and Their Body: Breaking the Silence}}}, doi = {{10.1515/9783111396934-002}}, 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}}, } @book{62056, abstract = {{Der Sammelband veröffentlicht die Beiträge des internationalen Symposiums zu Hans Werner Henze, das im Dezember 2022 in Detmold stattfand und aktuelle Beiträge zur Henze-Forschung mit unterschiedlichsten inhaltlichen Schwerpunkten wie Filmmusik, Gender Studies oder Musikanalyse versammelt. Nach zwei Aufsätzen zu neuen Henze-Briefausgaben (Irmlind Capelle / Elena Minetti / Dennis Ried / Antje Tumat einerseits und Andreas Hérm Baumgartner / Wolfgang Rathert andererseits) und einem ersten Überblick über Henzes Privatbibliothek als Sondersammlung (Antje Tumat) diskutiert Adrian Kuhl Die Zusammenarbeit Tatjana Gsovskys und Hans Werner Henzes beim Ballett Der Idiot. Zafer Özgen beschäftigt sich anschließend mit Kompositionsstrategien in Henzes frühen Opern, Federica Marsico betrachtet die Figur des Orpheus bei Henze aus Gender-Perspektive und Benedikt Leßmann widmet sich Henzes Filmmusik. Den Abschluss bildet ein Roundtable mit Zeitzeugen, bei dem ehemalige Kolleginnen und Kollegen, Freunde und andere mit Henze verbundene Personen aus ihrer Zusammenarbeit mit Henze berichten. Teilnehmende waren Henzes langjähriger Freund und enger Mitarbeiter in Montepulciano Gastón Fournier-Facio (Rom) und der Regisseur, Geschäftsführer der Henze-Stiftung und letzte Lebensbegleiter Henzes Michael Kerstan (Nürnberg), Simon Obert von der Paul Sacher Stiftung (Basel), dem Aufbewahrungsort der Sammlung Hans Werner Henze, sowie Peter Petersen (Hamburg) als Stellvertreter der frühen musikwissenschaftlichen Henze-Forschung.}}, editor = {{Tumat, Antje and Minetti, Elena and Ried, Dennis and Capelle, Irmlind}}, pages = {{206}}, title = {{{Musik, Netzwerke, Selbstzeugnisse. Aktuelle Forschung zu Hans Werner Henze}}}, doi = {{10.25366/2025.156}}, year = {{2025}}, } @inproceedings{51840, author = {{Ried, Dennis}}, location = {{Passau}}, publisher = {{LibreCat University}}, title = {{{Synergieeffekte zwischen Henze-Digital und der Carl Maria von Weber-Gesamtausgabe durch die bilaterale Weiterentwicklung der WeGA-WebApp}}}, doi = {{10.5281/ZENODO.10698272}}, year = {{2024}}, } @article{51686, author = {{Ried, Dennis}}, journal = {{Die Tonkunst}}, number = {{1}}, pages = {{50 -- 58}}, title = {{{Die Werkdatensätze von Henze-Digital als Ansätze für ein digitales Werkverzeichnis}}}, volume = {{18}}, year = {{2024}}, } @misc{51685, author = {{Ried, Dennis and Capelle, Irmlind and Minetti, Elena}}, publisher = {{Henze-Digital}}, title = {{{HenDi-ODD v3.0.0}}}, doi = {{10.5281/ZENODO.10666406}}, year = {{2024}}, } @misc{51682, author = {{Ried, Dennis}}, publisher = {{Henze-Digital}}, title = {{{HenDi-WebApp v3.0.0}}}, doi = {{10.5281/ZENODO.10666436}}, year = {{2024}}, } @misc{51805, abstract = {{WeGA-WebApp release 4.9.0 Main features replace external Beacon service #451 update csLink to version v2 #450 Changelog A detailed changelog can be found at https://github.com/Edirom/WeGA-WebApp/wiki/Changelog Full Changelog: v4.8.1...v4.9.0 License This work is available under dual license: BSD 2-Clause and Creative Commons Attribution 4.0 International License (CC BY 4.0)  }}, author = {{Stadler, Peter and Schmidt, Jakob and Zheng, Xianghua and Ried, Dennis and Richts, Kristina and Schreiter, Solveig and Jakob, Charlene}}, publisher = {{LibreCat University}}, title = {{{WeGA-WebApp release 4.9.0}}}, doi = {{10.5281/ZENODO.10666485}}, year = {{2024}}, } @misc{52513, author = {{Stadler, Peter and Neubert, Anna Maria and Schreiter, Soveig and Obert, Salome and Ried, Dennis}}, publisher = {{LibreCat University}}, title = {{{Edirom/WeGA-ODD: v4.9.0}}}, doi = {{10.5281/ZENODO.10604058}}, year = {{2024}}, } @misc{52512, author = {{Stadler, Peter}}, publisher = {{LibreCat University}}, title = {{{WeGA data package v4.9.0}}}, doi = {{10.5281/ZENODO.10620019}}, year = {{2024}}, }