Eine rätselhafte Verbindung: Literarisch-musikalische Studien zu Robert Schumanns Drei-Werke-Einheit op. 79, op. 98a und op. 98b

Die vorliegende Arbeit unternimmt ein Gedankenspiel. Sie eröffnet den LeserInnen eine neuartige Perspektive auf drei Werke Robert Schumanns, die in enger zeitlicher Abfolge im Jahre 1849 entstanden sind und sich allesamt mit der Kunstfigur Mignon aus Johann Wolfgang von Goethes Bildungsroman »Wilhelm Meisters Lehrjahre« befassen: dem Liederalbum für die Jugend op. 79, den Liedern und Gesängen aus Goethes »Wilhelm Meister« op. 98a und dem Requiem für Mignon op. 98b. Wäre es denkbar, dass Schumann gezielt Verbindungen zwischen den drei Werken gesetzt hat, um sie als eine Einheit zu kennzeichnen? Erwächst aus dieser Drei-Werke-Einheit dann vielleicht etwas viel Größeres: eine Erzählumgebung, mit deren Hilfe Schumann – wie er selbst dem Musikkritiker Franz Brendel einmal schrieb – der Musik etwas über die Zeit erzählt? Die neue Werkform des »Musikalischen Bildungszyklus«, die hier geschaffen wird, ist Ausdruck einer lebendigen Kunst und eines Künstlers, der ein Bewusstsein für sein eigenes Künstler-Sein schafft

United, Linked, Connected – A Data Model for the Inventory of the Former Detmold Court Theatre (1825–1875), or: How Library Inventory History Can also Be Told

Library forms of cataloging may differ greatly from the cataloging requirements of musicological research projects: They are often not detailed enough and do not take a close enough look at aspects of content relevant to research, such as handwritten entries in materials, etc. Library catalog entries of individual documents stand on their own for historical reasons, but usually do not reflect relationships to other surviving materials. This observation was the starting point for the Detmold Court Theatre Project, a six-year research project (September 2014 – January 2021) that looked at the interconnectedness of different surviving materials of a 19th century theatre company that existed from 1825 to 1875. This project dealt with a very detailed form of inventory indexing in order to hand over and make accessible the formerly related materials in their entirety. This form of indexing was called ‘contextual deep indexing’. This special form of indexing took into account not only the pure performance materials but also the surviving theatre files, such as fee books, revenue and expense documents, stock lists, director’s books, role and costume books, etc. […]. It was the first attempt to carry out such a form of indexing on the basis of the MEI and TEI encoding standards for a large repertory. For this purpose, a data model was needed that focuses on the linking of MEI and TEI data and enables the linking of different surviving library holdings, with a focus on a FRBR-based indexing of performance materials and associated performers as well as the structure of the theatre. […] The paper summarizes the results of this pilot project. It addresses the particularities and requirements of an inventory development that does not focus on individual objects, but on the relationship between different objects (and subjects). It presents a document-oriented (not object-oriented) data model that uses library materials to revive an entire network of a long-gone organization

MEI Meets NFDI4Culture

NFDI4Culture is the consortium for research data on material and immaterial cultural heritage and offers a user-centered and research-led infrastructure. By focusing on the digital capture as well as data-based research of cultural assets, NFDI4Culture brings together different disciplines in their research interests but also in terms of their infrastructure needs. The consortium has been funded since October 2020 for an initial period of 5 years. Paderborn University is connected to NFDI4Culture via the Center for Music, Edition, Media (Zen-MEM), which bundles activities in the fields of digital musicology, music and film informatics, media science, media technologies, and in several areas of computer science with a special focus on Digital Music Edition and Digital Musicology. With its many projects, ZenMEM contributes a lot to the further development of MEI. MEI will therefore also have a special place in NFDI4Culture. In addition to general community aspects and enhancements of the format, activities will focus on the development of best practice recommendations and training materials, the further development of MEI-related tools, such as MerMEId and the MEIGarage, and concepts for data quality in MEI, but also on the improvement of standard data for musical works. The poster will show the organizational structure of NFDI4Culture and its representation at Paderborn University, its interaction and networking with national and international infrastructures, combined with several examples where MEI is involved

Eine rätselhafte Verbindung: Literarisch-musikalische Studien zu Robert Schumanns Drei-Werke-Einheit op. 79, op. 98a und op. 98b

Die vorliegende Arbeit unternimmt ein Gedankenspiel. Sie eröffnet den LeserInnen eine neuartige Perspektive auf drei Werke Robert Schumanns, die in enger zeitlicher Abfolge im Jahre 1849 entstanden sind und sich allesamt mit der Kunstfigur Mignon aus Johann Wolfgang von Goethes Bildungsroman »Wilhelm Meisters Lehrjahre« befassen: dem Liederalbum für die Jugend op. 79, den Liedern und Gesängen aus Goethes »Wilhelm Meister« op. 98a und dem Requiem für Mignon op. 98b. Wäre es denkbar, dass Schumann gezielt Verbindungen zwischen den drei Werken gesetzt hat, um sie als eine Einheit zu kennzeichnen? Erwächst aus dieser Drei-Werke-Einheit dann vielleicht etwas viel Größeres: eine Erzählumgebung, mit deren Hilfe Schumann – wie er selbst dem Musikkritiker Franz Brendel einmal schrieb – der Musik etwas über die Zeit erzählt? Die neue Werkform des »Musikalischen Bildungszyklus«, die hier geschaffen wird, ist Ausdruck einer lebendigen Kunst und eines Künstlers, der ein Bewusstsein für sein eigenes Künstler-Sein schafft

Eine rätselhafte Verbindung: Literarisch-musikalische Studien zu Robert Schumanns Drei-Werke-Einheit op. 79, op. 98a und op. 98b

Die vorliegende Arbeit unternimmt ein Gedankenspiel. Sie eröffnet den LeserInnen eine neuartige Perspektive auf drei Werke Robert Schumanns, die in enger zeitlicher Abfolge im Jahre 1849 entstanden sind und sich allesamt mit der Kunstfigur Mignon aus Johann Wolfgang von Goethes Bildungsroman »Wilhelm Meisters Lehrjahre« befassen: dem Liederalbum für die Jugend op. 79, den Liedern und Gesängen aus Goethes »Wilhelm Meister« op. 98a und dem Requiem für Mignon op. 98b. Wäre es denkbar, dass Schumann gezielt Verbindungen zwischen den drei Werken gesetzt hat, um sie als eine Einheit zu kennzeichnen? Erwächst aus dieser Drei-Werke-Einheit dann vielleicht etwas viel Größeres: eine Erzählumgebung, mit deren Hilfe Schumann – wie er selbst dem Musikkritiker Franz Brendel einmal schrieb – der Musik etwas über die Zeit erzählt? Die neue Werkform des »Musikalischen Bildungszyklus«, die hier geschaffen wird, ist Ausdruck einer lebendigen Kunst und eines Künstlers, der ein Bewusstsein für sein eigenes Künstler-Sein schafft

United, Linked, Connected – A Data Model for the Inventory of the Former Detmold Court Theatre (1825–1875), or: How Library Inventory History Can also Be Told

Library forms of cataloging may differ greatly from the cataloging requirements of musicological research projects: They are often not detailed enough and do not take a close enough look at aspects of content relevant to research, such as handwritten entries in materials, etc. Library catalog entries of individual documents stand on their own for historical reasons, but usually do not reflect relationships to other surviving materials. This observation was the starting point for the Detmold Court Theatre Project, a six-year research project (September 2014 – January 2021) that looked at the interconnectedness of different surviving materials of a 19th century theatre company that existed from 1825 to 1875. This project dealt with a very detailed form of inventory indexing in order to hand over and make accessible the formerly related materials in their entirety. This form of indexing was called ‘contextual deep indexing’. This special form of indexing took into account not only the pure performance materials but also the surviving theatre files, such as fee books, revenue and expense documents, stock lists, director’s books, role and costume books, etc. All information was recorded based on autopsy (in the case of musical records on the basis of already existing RISM records from the 1980s). It was the first attempt to carry out such a form of indexing on the basis of the MEI and TEI encoding standards for a large repertory. For this purpose, a data model was needed that focuses on the linking of MEI and TEI data and enables the linking of different surviving library holdings, with a focus on a FRBR-based indexing of performance materials and associated performers as well as the structure of the theatre. Using a custom ODD-based schema, separate records were created for all works, expressions, and manifestations (in this case preserving the unity of materials kept under a common signature) and given unique identifiers so that they can now all be referenced individually. The paper summarizes the results of this pilot project. It addresses the particularities and requirements of an inventory development that does not focus on individual objects, but on the relationship between different objects (and subjects). It presents a document-oriented (not object-oriented) data model that uses library materials to revive an entire network of a long-gone organization

MEI Meets NFDI4Culture

NFDI4Culture is the consortium for research data on material and immaterial cultural heritage and offers a user-centered and research-led infrastructure. By focusing on the digital capture as well as data-based research of cultural assets, NFDI4Culture brings together different disciplines in their research interests but also in terms of their infrastructure needs. The consortium has been funded since October 2020 for an initial period of 5 years. Paderborn University is connected to NFDI4Culture via the Center for Music, Edition, Media (Zen-MEM), which bundles activities in the fields of digital musicology, music and film informatics, media science, media technologies, and in several areas of computer science with a special focus on Digital Music Edition and Digital Musicology. With its many projects, ZenMEM contributes a lot to the further development of MEI. MEI will therefore also have a special place in NFDI4Culture. In addition to general community aspects and enhancements of the format, activities will focus on the development of best practice recommendations and training materials, the further development of MEI-related tools, such as MerMEId and the MEIGarage, and concepts for data quality in MEI, but also on the improvement of standard data for musical works. The poster will show the organizational structure of NFDI4Culture and its representation at Paderborn University, its interaction and networking with national and international infrastructures, combined with several examples where MEI is involved