The historical editing of Mozart’s keyboard sonatas: History, Context and Practice

This thesis investigates the editing and publishing of music from the late-eighteenth century until present day, with particular reference to W. A. Mozart’s sonatas for solo keyboard. The Introduction provides a concise description of the topic and, through a literature review, illustrates the purpose of this thesis and its place within relevant research. Chapter One consists of a historiographical study of terms which are vital to the further investigation of editing and interpretation, such as ‘work’, ‘text’, ‘intention’ and ‘Werktreue’, also addressing relevant issues of musical ontology and eventually establishing a working definition for this study. A description of the late eighteenth-century context within which Mozart’s Keyboard Sonatas were composed and published is provided in Chapter Two, exploring the musical culture, the place of keyboard music within contemporaneous repertory and the printing and publishing practices of that time. Chapter Three investigates Mozart’s relationship with publishers and the extent of his involvement in the publishing process, going on to examine the relationship between his autograph manuscripts and the first editions of the sonatas in the eighteenth-century Case Study. The nineteenth-century context within which Mozart’s works were reproduced is analyzed in Chapter Four, through a discussion of the rise of musical literacy and of the evolution of printing and publishing in Europe, and especially in Germany. Chapter Five investigates the formation of editorial practices in the nineteenth century, underlining their theoretical framework and desired outcomes. Posthumous historical editions of Mozart’s Keyboard Sonatas are presented in Chapter Six and are juxtaposed with the primary sources in its nineteenth-century Case Study. Chapter Seven sets the twentieth century scene, featuring the evolution of musicology and technology, as well as the growth of the urtext ideal and its relevance to the rise of Urtext Editions during the second half of the century. Modern Mozart scholarship and its impact on editions is the subject of Chapter Eight, which features a Case Study comparison of selected twentieth-century historical editions with their nineteenth-century counterparts and the primary sources. Chapter Nine addresses the digital transformation of music publishing during the first decade of the twenty-first century, featuring comparisons of a twenty-first century edition with preceding editions in the Case Study, while the Epilogue that follows, elaborates on the future perspectives of editing and publishing

The historical editing of Mozart’s keyboard sonatas: history, context and practice

This thesis investigates the editing and publishing of music from the late-eighteenth century until present day, with particular reference to W. A. Mozart’s sonatas for solo keyboard. The Introduction provides a concise description of the topic and, through a literature review, illustrates the purpose of this thesis and its place within relevant research. Chapter One consists of a historiographical study of terms which are vital to the further investigation of editing and interpretation, such as ‘work’, ‘text’, ‘intention’ and ‘Werktreue’, also addressing relevant issues of musical ontology and eventually establishing a working definition for this study. A description of the late eighteenth-century context within which Mozart’s Keyboard Sonatas were composed and published is provided in Chapter Two, exploring the musical culture, the place of keyboard music within contemporaneous repertory and the printing and publishing practices of that time. Chapter Three investigates Mozart’s relationship with publishers and the extent of his involvement in the publishing process, going on to examine the relationship between his autograph manuscripts and the first editions of the sonatas in the eighteenth-century Case Study. The nineteenth-century context within which Mozart’s works were reproduced is analyzed in Chapter Four, through a discussion of the rise of musical literacy and of the evolution of printing and publishing in Europe, and especially in Germany. Chapter Five investigates the formation of editorial practices in the nineteenth century, underlining their theoretical framework and desired outcomes. Posthumous historical editions of Mozart’s Keyboard Sonatas are presented in Chapter Six and are juxtaposed with the primary sources in its nineteenth-century Case Study. Chapter Seven sets the twentieth century scene, featuring the evolution of musicology and technology, as well as the growth of the urtext ideal and its relevance to the rise of Urtext Editions during the second half of the century. Modern Mozart scholarship and its impact on editions is the subject of Chapter Eight, which features a Case Study comparison of selected twentieth-century historical editions with their nineteenth-century counterparts and the primary sources. Chapter Nine addresses the digital transformation of music publishing during the first decade of the twenty-first century, featuring comparisons of a twenty-first century edition with preceding editions in the Case Study, while the Epilogue that follows, elaborates on the future perspectives of editing and publishing.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Music in motion: considerations on and new approaches to editing medieval and renaissance music

In the study and performance of early musical repertories, few elements have been so discussed and have evolved so much as the interpretative and representational aspects of transcribing music. Editorial decisions play a significant part in shaping modern receptions of historical music. This dissertation is opens up with a discussion of the history, theory and issues surrounding the practice of editing musical texts. It goes on to explore approaches in parallel disciplines and those adopted within contemporary musicology, before discussing the directions that editing might take as a discipline. With the advent of new technology that has irreversibly changed our global conception of how information can be handled and processed, a critical evaluation taking into account the history, theory and practice of editing music seems timely. With my own experiences as an active editor who has been forced to confront some difficult questions, I hope to bring in some of my own insights and offer new ways of viewing editing as an aid to musicology

Listening to the domestic music machine

Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können.Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research

Corpora ethnographica online: Strategien der Digitalisierung kultureller Archive und ihrer Präsentation im Internet

Die Digitalisierung und Publikation wissenschaftlicher Sammlungen im Internet steckt noch in den Kinderschuhen. Dieser Band thematisiert die Onlinestellung ethnographischer Korpora und im weitesten Sinne kultureller Archive. Sammlungen und Nachlässe wegweisender Feldforscher sind aufgrund ihrer eingeschränkten Nutzbarkeit, ihres Umfangs oder ihrer zersplitterten Verwahrung nur schwer zugänglich. Welch ein Gewinn, könnten solche Aufzeichnungen und Sammlungsobjekte als virtuelles Archiv weltweit genutzt werden! Die hier versammelten Beiträge eines internationalen Symposiums der Universität Rostock skizzieren neu beschrittene Wege, jenen Mehrwert zu erlangen. Ihr Bogen spannt sich vom Aufbau digitaler Feldforschungsarchive der sammlungsintensiven älteren Ethnologen- und Volkskundlergeneration über digitale Briefeditionen bis zur Digitalisierung und Verknüpfung von Museumsobjekten mit Archiv- und Bibliotheksgut. Die Transformation formatreicher Wissensspeicher (Handschriften, Tonaufzeichnungen, Fotos und Filme, entlegenes Druckgut) erfordert verschiedene Lösungsansätze. Fachspezifische Portalentwicklungen, Wege der analogen und digitalen Langzeitarchivierung sowie Retrieval-, Auswertungs- und Darstellungstechniken runden am Beispiel erprobter Digitalisierungsworkflows den Sammelband ab

Palestrina und seine Zeit – Traditionelle und digitale Forschungsperspektiven: Bericht zum Symposium anlässlich der Verabschiedung von Prof. Dr. Peter Ackermann vom 22.–23. April 2021

Unter dem Motto „Palestrina und seine Zeit – Traditionelle und digitale Forschungsperspektiven“ fand am 22. & 23. April 2021 ein internationales Online-Symposium zu Ehren von Prof. Dr. Peter Ackermann statt, der nach 25 Jahren an der Hochschule für Musik und Darstellende Kunst Frankfurt am Main in den Ruhestand gegangen ist. Die Beschäftigung sowohl mit Palestrina als auch mit digitalen Forschungsmethoden zieht sich wie ein roter Faden durch Ackermanns wissenschaftlichen Lebenslauf und so lag es nahe, beides bei dem Symposium zusammenzubringen. Die Vortragsthemen, die sich in diesem Band in schriftlicher Form wiederfinden, reichen von aktuellen Studien zu Palestrinas Werken und deren Rezeptionsgeschichte bis hin zu digitalen Analysetools und Grundsatzfragen bezüglich Digitalität in der Musikwissenschaft.Under the title 'Palestrina and His Time - Traditional and Digital Research Perspectives', an international online symposium was held on 22 & 23 April 2021 in honour of Prof. Dr. Peter Ackermann, who retired after 25 years at the Frankfurt University of Music and Performing Arts. Both Palestrina and digital research methods runs are recurring themes in Ackermann's academic curriculum vitae, and so it made sense to bring the two together at the symposium. The lecture topics, which are presented here in written form, range from current studies on Palestrina's works and their reception history to digital analysis tools and fundamental questions regarding digitality in musicology

Choral Research : A Global Bibliography

The aim of this bibliography is to make visible and bring to the fore choral related research that has not seldom been carried out within research areas other than musical ones and that has thus been overlooked by choral researchers and choirmasters, thereby landing up outside the discourses of choral research. The approximately 5,000 entered titles do not constitute a complete list of the choral research literature in the years 1960-2010, but rather merely reflect certain specific sub-sections of the global research about choral phenomena. The now chosen structure of the bibliography is based on the five thematically categorised main headings. 1 Choir in general 2 Choral history and choral sociology 3 Choral education 4 Choral music 5 Choir and drama, literature and film These, in turn, are divided into sub-categories