@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}}, } @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{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}}, } @techreport{56716, abstract = {{Abschlussbericht  Vom 13. bis 17. Mai 2024 fand in der Villa Vigoni ein internationales Kolloquium mit dem Titel Auf dem Weg zu einer vergleichenden Erforschung kompositorischer Schaffensprozesse: Gemeinsame Terminologie und (digitale) philologische Modelle statt: 21 Expert*innen aus verschiedenen musikhistorischen Fachgebieten (Komponisten; Regionen) wurden im Rahmen eines neuen Dialogformats zusammengebracht, um die Möglichkeiten einer gemeinsamen Terminologie für musikalische Schaffensprozesse zu erörtern.  Die Diskussionen, die in italienischer und deutscher und englischer Sprache geführt wurden, bekräftigten die Notwendigkeit, den eingeschlagenen Weg fortzusetzen und legten den Grundstein sowohl für den Aufbau eines internationalen Netzwerks von Wissenschaftlern als auch für eine synergetische Zusammenarbeit zwischen verschiedenen Forschungsinstituten}}, author = {{Münzmay, Andreas and Novara, Elisa and Rovelli, Federica }}, title = {{{Abschlussbericht: Auf dem Weg zu einer vergleichenden Erforschung kompositorischer Schaffensprozesse: Gemeinsame Terminologie und (digitale) philologische Modelle}}}, doi = {{10.5281/ZENODO.13946152}}, year = {{2024}}, } @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}}, } @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{58552, author = {{Berndt, Axel and Vollmer, F. 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{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{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}}, } @misc{47318, author = {{Münzmay, Andreas and Berndt, Axel}}, publisher = {{Videomitschnitt, veröffentlicht im Youtube-Kanal “musikschafftwissen”}}, title = {{{Was ist eine Interpretationsedition?}}}, year = {{2023}}, } @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}}, } @book{48045, editor = {{Münzmay, Andreas and Aquavella-RauchJ, Stefanie and Veit, Joachim}}, publisher = {{Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold}}, title = {{{Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation}}}, doi = {{10.25366/2020.87}}, volume = {{3}}, year = {{2020}}, } @inbook{47474, author = {{Münzmay, Andreas and Aquavella-Rauch, Stefanie and Veit, Joachim}}, booktitle = {{Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation}}, editor = {{Münzmay, Andreas and Acquavella-Rauch, Stefanie and Veit, Joachim}}, pages = {{XI--XV}}, publisher = {{Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold}}, title = {{{Brückenschläge zwischen Musikwissenschaft und Informatik – Vorbemerkung}}}, doi = {{10.25366/2020.88}}, volume = {{3}}, year = {{2020}}, } @article{47476, abstract = {{Digital data on tangible and intangible cultural assets is an essential part of daily life, communication and experience. It has a lasting influence on the perception of cultural identity as well as on the interactions between research, the cultural economy and society. Throughout the last three decades, many cultural heritage institutions have contributed a wealth of digital representations of cultural assets (2D digital reproductions of paintings, sheet music, 3D digital models of sculptures, monuments, rooms, buildings), audio-visual data (music, film, stage performances), and procedural research data such as encoding and annotation formats. The long-term preservation and FAIR availability of research data from the cultural heritage domain is fundamentally important, not only for future academic success in the humanities but also for the cultural identity of individuals and society as a whole. Up to now, no coordinated effort for professional research data management on a national level exists in Germany. NFDI4Culture aims to fill this gap and create a user-centered, research-driven infrastructure that will cover a broad range of research domains from musicology, art history and architecture to performance, theatre, film, and media studies. The research landscape addressed by the consortium is characterized by strong institutional differentiation. Research units in the consortium's community of interest comprise university institutes, art colleges, academies, galleries, libraries, archives and museums. This diverse landscape is also characterized by an abundance of research objects, methodologies and a great potential for data-driven research. In a unique effort carried out by the applicant and co-applicants of this proposal and ten academic societies, this community is interconnected for the first time through a federated approach that is ideally suited to the needs of the participating researchers. To promote collaboration within the NFDI, to share knowledge and technology and to provide extensive support for its users have been the guiding principles of the consortium from the beginning and will be at the heart of all workflows and decision-making processes. Thanks to these principles, NFDI4Culture has gathered strong support ranging from individual researchers to high-level cultural heritage organizations such as the UNESCO, the International Council of Museums, the Open Knowledge Foundation and Wikimedia. On this basis, NFDI4Culture will take innovative measures that promote a cultural change towards a more reflective and sustainable handling of research data and at the same time boost qualification and professionalization in data-driven research in the domain of cultural heritage. This will create a long-lasting impact on science, cultural economy and society as a whole.}}, author = {{Altenhöner, Reinhard and Blümel, Ina and Boehm, Franziska and Bove, Jens and Bicher, Katrin and Bracht, Christian and Brand, Ortrun and Dieckmann, Lisa and Effinger, Maria and Hagener, Malte and Hammes, Andrea and Heller, Lambert and Kailus, Angela and Kohle, Hubertus and Ludwig, Jens and Münzmay, Andreas and Pittroff, Sarah and Razum, Matthias and Röwenstrunk, Daniel and Sack, Harald and Simon, Holger and Schmidt, Dörte and Schrade, Torsten and Walzel, Annika-Valeska and Wiermann, Barbara}}, issn = {{2367-7163}}, journal = {{Research Ideas and Outcomes}}, keywords = {{Research Data Management}}, publisher = {{Pensoft Publishers}}, title = {{{NFDI4Culture - Consortium for research data on material and immaterial cultural heritage}}}, doi = {{10.3897/rio.6.e57036}}, volume = {{6}}, year = {{2020}}, } @inbook{49920, author = {{Ehland, Christoph and Münzmay, Andreas and Schmitz, Sabine and Süßmann, Johannes and van Laak, Lothar}}, booktitle = {{Peter Paul Rubens und der Barock im Norden}}, editor = {{Stiegemann, Christoph}}, pages = {{198 -- 215}}, publisher = {{Imhof}}, title = {{{Barock im Norden: Kulturtransfer und Transferkultur}}}, year = {{2020}}, } @inbook{49922, abstract = {{Das Libretto der allegorischen Festoper 'Bathmendi' (Die Glückseligkeit), mit der 1798 das neue Dessauer Hoftheater eröffnet wurde, stammte von dem Dessauer Hofmeister und Jugendfreund Goethes Ernst Wolfgang Behrisch, die Musik von dem neuen Intendanten Karl August Freiherr von Lichtenstein, die aufsehenerregenden Bühnenbilder von dem aus Mannheim engagierten Bühnenmaler Giulio Quaglio. Das Aufführungsdatum in der kältesten Jahreszeit war durch den Geburtstag des Erbprinzen am 27. Dezember 1798, an dessen Vorabend die Aufführung stattfinden sollte, vorgegeben. Nicht nur dieses Detail verweist auf die stark höfisch-repräsentative Ausrichtung der Opernaufführung. Auch das Sujet wird in dem Beitrag von Andreas Münzmay als ein ein typisch feudalistisches gedeutet, durch das dem Bürger klar gemacht werden sollte, "keine falschen Aufstiegsambitionen zu entwickeln", und das von einer "Verbürgerlichung höfischer Elementen", wie sie der Kulturförderung des Fürsten Franz allenthalben attestiert worden ist, weit entfernt gewesen sei. Mit Paul Beckus sieht Münzmay hier eher eine "Tendenz des anhalt-dessauischen Hofes zur Partizipation an der allgemeinen, auf die Vergrößerung des Hofstaates gerichteten Entwicklung im Alten Reich". Die genuin-höfische, staatstragende Funktion der Dessauer Festoper scheint Lichtenstein in späteren Neufassungen für Leipzig und Wien, wo er ab Ende 1800 als Kapellmeister und künstlerishcer Leiter der Hofoper wirkte, eher abgeschwächt zu haben. (Wolfgang Hirschmann und Adrian La Salvia im Vorwort zu dem Band.)}}, author = {{Münzmay, Andreas}}, booktitle = {{ Musik im Dessau-Wörlitzer Gartenreich}}, editor = {{Hirschmann, Wolfgang and La Salvia, Adrian}}, pages = {{163 -- 175}}, publisher = {{Mitteldeutscher Verlag}}, title = {{{Auf der Suche nach dem Glück. Zu Karl August von Lichtensteins moralischer Dessauer Festoper Bathmendi (1798/99) und ihrer Neuperspektivierung in der Folgezeit}}}, year = {{2019}}, }