@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}}, } @inbook{55646, abstract = {{Was bedeutet es, „für“ Robben, Wale oder bedrohte marine Ökosysteme zu sprechen? Diese Frage steht im Zentrum aktueller Debatten um die Rechte der Natur – und sie stellt zugleich eine besondere Herausforderung für die ästhetische Praxis im Anthropozän dar. Der Aufsatz untersucht, welchen spezifischen Beitrag Environmental Sound Art zu gegenwärtigen umweltpolitischen Debatten leisten kann, und nutzt dafür feministische und postkoloniale Theorieansätze als analytisches Werkzeug. Im Zentrum steht dabei die Frage nach der Repräsentationsdynamik zwischen Komponist*in und nichtmenschlichen Subjekten sowie das daraus resultierende Problem der Anwaltschaft. Am Beispiel von Jana Winderens Soundscape-Komposition "Spring Bloom in the Marginal Ice Zone" (2017) diskutiert der Aufsatz die Rolle der Komponistin als Anwältin für ein Ökosystem und dessen Bewohner*innen sowie die Grenzen und Möglichkeiten ästhetischer Positionen, nichtmenschlichen Entitäten ›eine Stimme zu verleihen‹. Der Text unterzieht dabei Gayatri Chakravorty Spivaks Überlegungen zur Repräsentation Subalterner einer Relektüre unter posthumanistischen Vorzeichen und entwickelt daraus abschließend das Konzept des ›subversiven Zuhörens‹, eine kritische Hörpraxis, die anthropozentrische Wahrnehmungsmuster hinterfragt und dem nachspürt, was durch sie unhörbar gemacht wird. }}, author = {{Spieker, Jonas}}, booktitle = {{Non*binär! Sound und Gender im Posthumanismus}}, editor = {{Bartsch, Cornelia and Schürmer, Anna and Spieker, Jonas}}, issn = {{978-3-487-17174-6}}, keywords = {{Environmental Sound Art, Ecological Sound Art, Blue Humanities, Posthumanism, Critical Posthumanism, Environmental Humanities, Soundscape Studies, Ecocriticism, Listening (Music), Ecomusicology, Sound Art, Environmental sounds, Advocacy and Activism, Gayatri Spivak}}, pages = {{113–126}}, publisher = {{Georg Olms Verlag}}, title = {{{Klagende Robben. Environmental Sound Art und das Problem der Anwaltschaft}}}, doi = {{https://doi.org/10.5771/9783487171746-113}}, volume = {{17}}, year = {{2025}}, } @article{53854, abstract = {{The phenomenon of stars and celebrities in media cultures – and especially in popular music cultures – seems to be omnipresent. At the same time, there is an astounding lack of analysis and research on these media personalities and personas, and international celebrity studies only recently a developing new field. Similarly, these kinds of observations are still very rare especially in German sociology as well as communication, media, culture and popular music studies. In this article, I therefore want to concentrate on the foundations of studying stars and celebrities within the attention economies by undertaking a theoretical transmedia-cultural framing of media personas and suggesting a typology. This ensuing typology of stars, anti-stars, and anti-star stars – especially within popular music cultures – demonstrates how stars and celebrities and their quantities and qualities of success and peer-group specific values coming form programs of (media and music) culture can serve as persona-seismographs of socio-cultural change between tradition and innovation}}, author = {{Jacke, Christoph}}, issn = {{ISSN 2205-5258}}, journal = {{Persona Studies}}, keywords = {{Stars, Celebrities, Popular Music, Transmedia Culture, Personas}}, number = {{1}}, pages = {{56--73}}, publisher = {{OJS/PKP}}, title = {{{Stars, Anti-Stars, Anti-Star-Stars. Transmedia Texts and Contexts of Popular Music and Media. Some Theoretical Assumptions.}}}, volume = {{10}}, year = {{2024}}, } @inbook{55197, author = {{Jacke, Christoph}}, booktitle = {{Hits & Storys. 20 Jahre rock'n'popmuseum.}}, isbn = {{978-3-96664-811-0}}, keywords = {{Zukunft, Popmusik, Medien, Technik, Genre, Wandel, Kulturen, Museum, Geschichte, Popular Music Studies}}, pages = {{294--295}}, publisher = {{Heel}}, title = {{{Zukunftspop - Popzukunft. Kurze Anmerkungen zu Konstanten der Popmusikkulturen.}}}, year = {{2024}}, } @misc{55850, abstract = {{This release covers the state of this prototype app at the end of the funding phase for the Paderborn University part of the Beethoven in the House project. It uses https://api.domestic-beethoven.eu/ld/BithCollection.jsonld as starting point for traversing the LOD graph, and reads data from the project pod available from https://bith.solidcommunity.net/public/bith.ttl (which has no content at the time of the release).}}, author = {{Kepper, Johannes}}, keywords = {{MEI, Edirom, Music Encoding Initiative, Linked Open Data, MELD}}, publisher = {{Zenodo}}, title = {{{DomesticBeethoven/bith-annotator: Release 2023-04}}}, doi = {{10.5281/ZENODO.7877741}}, year = {{2023}}, } @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}}, } @article{49891, abstract = {{This case study looks at a self-directed learning process of a professional classical-trained musician adopting a previously unknown digital-material musical device. In order to achieve the desired artistic result, the musician has to modify his music-related action in favour of the device’s calls for action, which are shown to him by a preset session. For this purpose, a specific interface relation must be established in the connection between the user and the device. The case study is contrasted with data from its framing research project. Findings include aspects as affirmation or degrees of unfamiliarity and their respective impacts on the subject’s action repertoires. A model of learning in the context of digital media or interfaces is introduced and discussed. It offers a specific potential for identifying particularities of how meaning and functionality of digital-material musical devices are embedded into everyday artistic contexts.}}, author = {{Neuhausen, Timo and Wernicke, Carsten and Ahlers, Michael}}, issn = {{1752-7066}}, journal = {{Journal of Music, Technology & Education}}, keywords = {{Music, Education, Music Technology}}, number = {{2}}, pages = {{287--304}}, publisher = {{Intellect}}, title = {{{Technology-centred learning processes as digital artistic development: On the reciprocal effects of conceptual models, metaphors and presets}}}, doi = {{10.1386/jmte_00027_1}}, volume = {{13}}, year = {{2021}}, } @inbook{57884, abstract = {{Although music apps are becoming increasingly popular, there has been little research on informal music practices with apps. This article presents findings of an ongoing study on learning processes and aesthetic experiences with informal appmusic practices. In particular, it discusses the aesthetic practices (Reckwitz, 2008b) of using specific places for making music. In our grounded theory study (Charmaz, 2014) we collected data using interviews, participant observation and videography. As exemplary cases, this article presents two analyses of the use of ‘inspiring places’ and ‘safe places’. The results suggest that perceiving the atmosphere is a fundamental prerequisite for both places. Additionally, the results shed light on aesthetic aspects of mobile music making. (DIPF/Orig.)}}, author = {{Eusterbrock, Linus and Godau, Marc and Haenisch, Matthias and Krebs, Matthias and Rolle, Christian}}, booktitle = {{Musikpädagogik im Spannungsfeld von Reflexion und Intervention}}, editor = {{Hasselhorn, Johannes and Kautny, Oliver and Platz, Friedrich}}, keywords = {{Education, Ästhetik, Schul- und Bildungswesen, Informal learning, Informelles Lernen, Musical education, Musikpädagogik, Anwendung, Ästhetische Erfahrung, Grounded Theory, Längsschnittuntersuchung, Learning process, Lernprozess, Longitudinal analysis, Longitudinal study, Mobiles Gerät, Music reading, Musizieren, Erziehung}}, pages = {{155–172}}, publisher = {{Waxmann}}, title = {{{Von ’inspirierenden Orten’ und ’Safe Places’. Die ästhetische Nutzung von Orten in der Appmusikpraxis}}}, volume = {{41}}, year = {{2021}}, } @inbook{57886, abstract = {{The research and development project Postdigital Popular Music Pedagogy (PPP) aims at the development of a music pedagogical program oriented towards informal learning in bands. Using the actor network theory, and thus investigating songwriting as a sociomaterial process, we present, exemplify, and discuss the results of the exploration of informal practices. The song as an actor network transforms through several spaces and phases. The starting point is the socio-technical constellation in which the events and the maturation of ideas as organisms are made probable. From there, an iteration of adaptation to musical-aesthetic standards and physical ability begins: The recording, internal publishing, and rehearsing phases, translate the idea from the workpiece to the object of dispatch into technical requirements. This is completed by the publication phase, in which the song idea is presented as a standardized product in several online and offline contexts. (DIPF/Orig.)}}, author = {{Godau, Marc and Haenisch, Matthias}}, booktitle = {{Praxen und Diskurse aus Sicht musikpädagogischer Forschung}}, editor = {{Weidner, Verena and Rolle, Christian}}, keywords = {{Praxeologie, Informal learning, Informelles Lernen, Komponieren, Learning, Lernen, Musical Composition, Musical education, Musician, Musiker, Musikpädagogik, Pop music, Popmusik, Popular Music, Prozess, Studie}}, pages = {{51–67}}, publisher = {{Waxmann}}, title = {{{How popular musicians learn in the postdigital age. Ergebnisse einer Studie zur Soziomaterialität des Songwritings von Bands in informellen Kontexten}}}, year = {{2019}}, } @inbook{57891, abstract = {{This article provides an insight into a qualitative research project concerning music educational practices with mobile music technologies. Based on social systems theory, this grounded-theory study observes how groups in two extracurricular music classes construct different technologies (e. g., iPads, mixers, ear phones) within the emergence of (reflexive) expectations as social structures. The results reveal five categories of technologies: technology as an instrument-toy-alternator that supports motivation, as a medium for knowledge and learning, as an adjusting device used for socio-aesthetic decision making, as a didactical tool for task-based situations, and as an isolator for inner differentiation by focusing aural perception. (DIPF/Orig.)}}, author = {{Godau, Marc}}, booktitle = {{Musikpädagogik und Kulturwissenschaft}}, editor = {{Cvetko, Alexander J. and Rolle, Christian}}, keywords = {{Musical education, Musikpädagogik, Musikunterricht, Deployment of media, Medien, Medieneinsatz, Mobile Computing, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Use of media}}, pages = {{237–249}}, publisher = {{Waxmann}}, title = {{{Apps in der musikpädagogischen Praxis. Eine explorative Studie zur kommunikativen Konstruktion von mobilen Technologien im schulischen Nachmittagsbereich}}}, volume = {{38}}, year = {{2018}}, } @inbook{57889, abstract = {{During the past decade, there has been an increase of pedagogical research under conditions of posthuman theories, such as the Actor Network Theory or post-phenomenology. Yet, there has not been much research on the materiality of music pedagogical practices. This article introduces an ongoing grounded-theory study on the role of things (e.g., music instruments, black board, or digital devices) within the music classroom. Results from the analysis of group discussions and interviews with student teachers show tensions between personal preferences, school conventions, and material conventions within the process of introducing things into the classroom. (DIPF/Orig.)}}, author = {{Godau, Marc}}, booktitle = {{Soziale Aspekte des Musiklernens}}, editor = {{Clausen, Bernd and Dreßler, Susanne}}, keywords = {{Interview, Lehrer, Musical education, Musikpädagogik, Musikunterricht, Teacher, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Object, Objekt, Ding, Handlung, Practice, Praxis, Probationary teacher training, Referendariat}}, pages = {{43–55}}, publisher = {{Waxmann}}, title = {{{Wie kommen die Dinge in den Musikunterricht? Zur Materialität musikpädagogischer Praxis am Beispiel divergierender Orientierungen im Kontext unterrichtsbezogenen Handelns angehender Lehrkräfte}}}, year = {{2018}}, } @inbook{57890, abstract = {{Within recent years, research on music learning in groups has increased. But the distinction between collaboration and cooperation is mostly unclear. This article aims to distinguish both concepts by presenting a study on popular music learning in groups (Godau, 2017) based on elements of the learning approach in Musical Futures (Green, 2008). As a result, the two concepts are seen as complementary. They form the poles of a continuum of collective learning: Collaboration characterizes the collective action toward the common goal. By contrast, cooperation occurs when group members act separately toward achieving the common goal. (DIPF/Orig.)}}, author = {{Godau, Marc}}, booktitle = {{Soziale Aspekte des Musiklernens}}, editor = {{Clausen, Bernd and Dreßler, Susanne}}, keywords = {{Kollaboration, Musik, Learning, Lernen, Musical education, Musikpädagogik, Pop music, Popmusik, Popular Music, Studie, Musikunterricht, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Constructivism, Cooperation, Cooperative learning, Gruppe, Klassenmusizieren, Konstruktivismus, Kooperation, Kooperatives Lernen, Learning psychology, Lernpsychologie, Psychology of learning}}, pages = {{131–144}}, publisher = {{Waxmann}}, title = {{{Kollaboration und Kooperation beim Klassenmusizieren mit Populärer Musik. Musikmachen in der Schule im Spannungsfeld von Lernen mit der Gruppe und für die Gruppe}}}, year = {{2018}}, } @article{43127, abstract = {{Einen exzeptionellen Sonderfall eines Inquisitionsverfahrens im Rom des 19. Jahrhunderts stellt die Verhandlung von Giuseppe Verdis "Don Carlo" dar. Auf der Grundlage der Akten aus dem Archiv der Glaubenskongregation wird das Verfahren nachgezeichnet und in einem editorischen Anhang das Gutachten dargeboten. Ersichtlich wird an diesem Verfahren eine Facette des kirchlichen Umgangs mit liberalen Ideen zur Zeit Pius IX.}}, author = {{Höink, Dominik}}, issn = {{0027-4801}}, journal = {{Die Musikforschung}}, keywords = {{Music}}, number = {{4}}, pages = {{362--377}}, publisher = {{Sachsische Landesbibliothek, Staats- und Universitatsbibliothek Dresden}}, title = {{{Zensurverfahren gegen Giuseppe Verdis "Don Carlo" vor der Römischen Inquisition}}}, doi = {{10.52412/mf.2007.h4.552}}, volume = {{60}}, year = {{2007}}, }