University of Music and Theatre Leipzig

Abstract Musicology has increasingly recognised the relevance of dedications for texts and works. Nevertheless, there seems to be no practical consensus on how to edit the dedications of historical musical sources. Using the example of 19th-century music prints, this essay highlights the role of dedications for a musical work and points out nuances of the phenomenon that are of relevance for editorial decision-making. An overview of functions of dedications in 19th-century music is outlined. This is followed by a theoretically-guided discussion of more ambivalent case examples in which rivaling dedication variants to a single work must be considered from the editor’s perspective. While a complete guideline for the editing of dedications cannot be given in this study, the conclusions drawn may help to establish a common awareness and a best practice.

Digitization projects make cultural heritage data sustainably available. However, while digital libraries may capture various aspects, relations across different sources often remain unobserved. In our project, musicologists aimed to relate musical instruments with historical performances of musical pieces, both contained in different sources. We defined a similarity measure taking instrumentation, temporal as well as geospatial metadata into account, with which we were able to hypothesize potential relations. We propose a novel timeline design that offers a specific semantic zoom metaphor enabling the collaborating musicologists to observe and evaluate the results of our similarity analysis. The value of our system for research in musicology is documented in three case studies.

Zusammenfassung: Kulturelle Bildung stellt sich heute die Aufgabe, asthetische Erfahrungen bei ihrer jeweiligen Zielgruppe anzuregen. Wie aber konnen solche Erfahrungen zum Gegenstand empirischer Forschung gemacht werden? In diesem Beitrag werden zunachst einige grundlegende Theoriemomente asthetischer Erfahrungen beschrieben und in ihrer Bedeutung fur die empirischen Erforschung beleuchtet. Anschliesend wird die Angemessenheit qualitativer Verfahren auf dem Forschungsgebiet herausgearbeitet. Bisherige qualitative Forschungsarbeiten bieten hinsichtlich des methodischen Zugangs zu asthetischen Erfahrungen wertvolle Orientierung. So dienen einerseits sprachliche Auserungen und andererseits kunstlerische Gestaltungsprodukte als Dokumente. Anhand einer Grounded-Theory-Studie wird schlieslich gezeigt, wie beide Zugange im Rahmen eines musikpadagogischen Forschungsprojekts kombiniert wurden. Die Darstellung wesentlicher Ergebnisse gibt einen Uberblick uber die Facetten asthetischer Erfahrungen in konkreten Bildungsangeboten, hier: verschiedenen Kompositionsprojekten mit Schulerinnen und Schulern. Am Schluss des Beitrags werden Aufgaben zukunftiger Forschungsvorhaben skizziert.

Phonorama is a sonar-like mobile application that uses audio hotspots bound to specific geo-locations. Decreasing the distance to the audio source increases the volume. The addition of direction indicators enable rich and immediate, immersive audio-only spatial explorations: The direction of the audio hotspot source relative to the user's location is represented by a realtime stereo-panning (Directional Stereophony). If the audio source is left of the user, the volume on the left headphone speaker is louder than the volume on the right speaker. While the software has been created for audio guides in the context of media arts, it might be useful for all kinds of acoustic navigations, e.g. information hotspots in museums and public space, navigational aid, assistive technologies, social networking or localized advertisements.