\n

\n \n 2023\n \n \n (4)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n Scores: zwischen Dokumentation, Vermittlung und Kreation.\n \n \n \n\n\n \n Althammer, M.; Arend, A.; and Wieczorek, A.,\n editors.\n \n\n\n \n\n\n\n epodium, München, 2023.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{althammer_scores_2023,\n\taddress = {München},\n\ttitle = {Scores: zwischen {Dokumentation}, {Vermittlung} und {Kreation}},\n\tisbn = {978-3-940388-94-0},\n\tshorttitle = {Scores},\n\tlanguage = {eng ger},\n\tpublisher = {epodium},\n\teditor = {Althammer, Miriam and Arend, Anja and Wieczorek, Anna},\n\tyear = {2023},\n\tkeywords = {\\#1/🎁, \\#2/🤷, \\#3/🔎},\n}\n\n

\n

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\n\n\n

\n \n\n \n \n \n \n \n Scores: zwischen Dokumentation, Vermittlung und Kreation.\n \n \n \n\n\n \n Althammer, M.; Arend, A.; and Wieczorek, A.,\n editors.\n \n\n\n \n\n\n\n epodium, München, 2023.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{althammer_scores_2023-1,\n\taddress = {München},\n\ttitle = {Scores: zwischen {Dokumentation}, {Vermittlung} und {Kreation}},\n\tisbn = {978-3-940388-94-0},\n\tshorttitle = {Scores},\n\tlanguage = {eng ger},\n\tpublisher = {epodium},\n\teditor = {Althammer, Miriam and Arend, Anja and Wieczorek, Anna},\n\tyear = {2023},\n\tkeywords = {\\#1/🎁, \\#2/🤷, \\#3/🔎},\n}\n\n

\n

\n\n\n\n

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\n \n\n \n \n \n \n \n MovEnging and MEI: From Scores to Data: Encoding Music and Choreography.\n \n \n \n\n\n \n Drewes, H.; and Grund, V.\n\n\n \n\n\n\n In Althammer, M.; Arend, A.; and Wieczorek, A., editor(s), Scores: zwischen Dokumentation, Vermittlung und Kreation, pages 182–195. Epodium, München, 2023.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@incollection{althammer_movenging_2023,\n\taddress = {München},\n\ttitle = {{MovEnging} and {MEI}: {From} {Scores} to {Data}: {Encoding} {Music} and {Choreography}},\n\tisbn = {978-3-940388-94-0},\n\tlanguage = {eng ger},\n\tbooktitle = {Scores: zwischen {Dokumentation}, {Vermittlung} und {Kreation}},\n\tpublisher = {epodium},\n\tauthor = {Drewes, Henner and Grund, Vera},\n\teditor = {Althammer, Miriam and Arend, Anja and Wieczorek, Anna},\n\tyear = {2023},\n\tkeywords = {\\#1/🎁, \\#2/🤷, \\#3/🔎},\n\tpages = {182--195},\n}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n Scores: zwischen Dokumentation, Vermittlung und Kreation.\n \n \n \n\n\n \n Althammer, M.; Arend, A.; and Wieczorek, A.,\n editors.\n \n\n\n \n\n\n\n epodium, München, 2023.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{althammer_scores_2023-2,\n\taddress = {München},\n\ttitle = {Scores: zwischen {Dokumentation}, {Vermittlung} und {Kreation}},\n\tisbn = {978-3-940388-94-0},\n\tshorttitle = {Scores},\n\tlanguage = {eng ger},\n\tpublisher = {epodium},\n\teditor = {Althammer, Miriam and Arend, Anja and Wieczorek, Anna},\n\tyear = {2023},\n\tkeywords = {\\#1/🎁, \\#2/🤷, \\#3/🔎},\n}\n\n

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\n\n\n\n\n\n

\n

\n \n 2022\n \n \n (4)\n \n \n

\n

\n \n \n

\n \n\n \n \n \n \n \n \n Encoding Genetic Processes II.\n \n \n \n \n\n\n \n Cox, S.; and Kepper, J.\n\n\n \n\n\n\n In 2022. \n \n\n\n\n
\n\n\n\n \n \n $\"Encoding$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inproceedings{cox_encoding_2022,\n\ttitle = {Encoding {Genetic} {Processes} {II}},\n\turl = {https://hcommons.org/deposits/item/hc:45989/},\n\tabstract = {Traditional music philology aims at establishing an edited text, which is supposed to stage a clearly identified and well-reasoned version of a musical work. Such a text will always depend on sources used for its preparation and decisions taken by the editor(s). However, the intention is to deliver a product – a static text, which resembles a specific combination of the transmitted sources of the work in question. In Genetic Editing, the focus lies elsewhere: Instead of justifying a specific product version, the intention is to trace the creative processes involved in the composition of that work. Obviously, those processes are only accessible through transmitted documents as well, but those documents do not need to contain full texts, nor are they only relevant when the composition has already matured enough to more or less reflect the final work. The Beethovens Werkstatt project is one of the first endeavors to explore the applicability of Genetic Editing to music. Several years ago, a presentation at MEC 2015 in Florence introduced the first findings of the project and illustrated the then novel approaches of encoding genetic processes in MEI [2]. The discussions of the conceptual model proposed there eventually led to the introduction of several new elements into MEI. Since then, not only MEI has evolved, but also the project. The paper at hand reflects on data model considerations for the project’s current module.},\n\tlanguage = {en-US},\n\turldate = {2022-10-07},\n\tauthor = {Cox, Susanne and Kepper, Johannes},\n\tyear = {2022},\n\tkeywords = {ViFE},\n}\n\n

\n

\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n \n ODD Structures and Where to Find Them.\n \n \n \n \n\n\n \n Bohl, B. W.; and Kepper, J.\n\n\n \n\n\n\n In 2022. \n \n\n\n\n
\n\n\n\n \n \n $\"ODD$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 4 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inproceedings{bohl_odd_2022,\n\ttitle = {{ODD} {Structures} and {Where} to {Find} {Them}},\n\turl = {https://hcommons.org/deposits/item/hc:46009/},\n\tabstract = {In the past twenty years, the technical setup of the Music Encoding Initiative (MEI) data framework has been adjusted several times. Each of those transitions was motivated by the wish to improve the ways in which MEI could be integrated with other formats, to simplify the maintenance of MEI, and to encourage more people to actively contribute to the development of MEI. Some of those objectives are contradictory, and accordingly, there is no single right answer for all times about the best possible technical setup for MEI. The main purpose of this poster is to give a historical overview of the technical setups that MEI has gone through in the 20 or so years of its existence, and to illustrate the current workflows. Ideally, this empowers wider parts of the community to contribute to the continued development of both the MEI specification and documentation. Eventually, it will explain the steps necessary to set up a local working environment to participate in these developments.},\n\tlanguage = {en-US},\n\turldate = {2022-10-07},\n\tauthor = {Bohl, Benjamin W. and Kepper, Johannes},\n\tyear = {2022},\n\tkeywords = {ViFE},\n}\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n 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.\n \n \n \n \n\n\n \n Capelle, I.; and Richts-Matthaei, K.\n\n\n \n\n\n\n In 2022. \n \n\n\n\n
\n\n\n\n \n \n $\"United,$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inproceedings{capelle_united_2022,\n\ttitle = {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}},\n\tshorttitle = {United, {Linked}, {Connected} – {A} {Data} {Model} for the {Inventory} of the {Former} {Detmold} {Court} {Theatre} (1825–1875), or},\n\turl = {https://hcommons.org/deposits/item/hc:45993/},\n\tabstract = {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.},\n\tlanguage = {en-US},\n\turldate = {2022-10-07},\n\tauthor = {Capelle, Irmlind and Richts-Matthaei, Kristina},\n\tyear = {2022},\n\tkeywords = {VIFE},\n}\n\n

\n

\n\n\n

\n 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.\n

\n\n\n

\n \n\n \n \n \n \n \n Kultur – Daten – Kuratierung: Was speichern wir und wozu?.\n \n \n \n\n\n \n Altenhöner, R.; Dieckmann, L.; Münzmay, A.; Richts-Matthaei, K.; Röwenstrunk, D.; Stellmacher, M.; Pratschke, M.; Primavesi, P.; and Schulz, C.\n\n\n \n\n\n\n 2022.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{altenhoner_kultur_2022,\n\taddress = {Potsdam},\n\ttitle = {Kultur – {Daten} – {Kuratierung}: {Was} speichern wir und wozu?},\n\tcopyright = {All rights reserved},\n\tauthor = {Altenhöner, Reinhard and Dieckmann, Lisa and Münzmay, Andreas and Richts-Matthaei, Kristina and Röwenstrunk, Daniel and Stellmacher, Martha and Pratschke, Margarete and Primavesi, Patrick and Schulz, Christoph},\n\tyear = {2022},\n}\n\n

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\n \n 2021\n \n \n (5)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n MEI meets NFDI4Culture.\n \n \n \n \n\n\n \n Richts-Matthaei, K.; Albrecht-Hohmaier, M.; Röwenstrunk, D.; and Münzmay, A.\n\n\n \n\n\n\n July 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"MEI$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@misc{richts-matthaei_mei_2021,\n\taddress = {Alicante, Spain},\n\ttype = {Posterpräsentation},\n\ttitle = {{MEI} meets {NFDI4Culture}},\n\tcopyright = {All rights reserved},\n\turl = {https://music-encoding.org/conference/2021/program/},\n\tauthor = {Richts-Matthaei, Kristina and Albrecht-Hohmaier, Martin and Röwenstrunk, Daniel and Münzmay, Andreas},\n\tmonth = jul,\n\tyear = {2021},\n\tkeywords = {ViFE},\n}\n\n

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\n \n\n \n \n \n \n \n \n NFDI4Culture: Datenmanagement aus Software-Perspektive.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n March 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"NFDI4Culture:$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_nfdi4culture_2021,\n\ttitle = {{NFDI4Culture}: {Datenmanagement} aus {Software}-{Perspektive}},\n\tcopyright = {All rights reserved},\n\turl = {https://rdmorganiser.github.io/docs/nfdiws/workshop-nfdi/},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = mar,\n\tyear = {2021},\n}\n\n

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\n \n\n \n \n \n \n \n \n Nachhaltige Software-Entwicklung als Thema der NFDI und in Rechenzentren.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n September 2021.\n Publisher: Zenodo Version Number: v1.0.0\n\n\n\n
\n\n\n\n \n \n $\"Nachhaltige$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{rowenstrunk_daniel_nachhaltige_2021,\n\taddress = {online},\n\ttitle = {Nachhaltige {Software}-{Entwicklung} als {Thema} der {NFDI} und in {Rechenzentren}},\n\tcopyright = {Creative Commons Attribution 4.0 International, Open Access},\n\turl = {https://zenodo.org/record/5535316},\n\tabstract = {Präsentation auf der Online Herbsttagung 2021 des Vereins "Zentren für Kommunikation und Informationsverarbeitung in Lehre und Forschung e.V." (https://www.zki.de/news-veranstaltungen/herbsttagung-2021/).},\n\tlanguage = {de},\n\turldate = {2021-11-15},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = sep,\n\tyear = {2021},\n\tnote = {Publisher: Zenodo\nVersion Number: v1.0.0},\n\tkeywords = {Infrastructure, NFDI, Sustainable Software},\n}\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n \n Digitale Quellenkritik: Ein neues Kapitel.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n March 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Digitale$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_digitale_2021,\n\ttype = {Podiumsgespräch},\n\ttitle = {Digitale {Quellenkritik}: {Ein} neues {Kapitel}},\n\tcopyright = {All rights reserved},\n\turl = {https://vdhd2021.hypotheses.org/288},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = mar,\n\tyear = {2021},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n \n Die Dimensionen von Musik und Vorschläge für ihre digitale Codierung.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n June 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Die$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_dimensionen_2021,\n\taddress = {Köln},\n\ttitle = {Die {Dimensionen} von {Musik} und {Vorschläge} für ihre digitale {Codierung}},\n\tcopyright = {All rights reserved},\n\turl = {https://dhc.hypotheses.org/programm-2021},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = jun,\n\tyear = {2021},\n}\n\n

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\n \n 2020\n \n \n (8)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n Inside Beethoven. Wie klingt klassische Kammermusik ‚von innen‘?.\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n Forschung und Lehre 27/4,342. 2020.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{munzmay_inside_2020,\n\ttitle = {Inside {Beethoven}. {Wie} klingt klassische {Kammermusik} ‚von innen‘?},\n\tcopyright = {All rights reserved},\n\tlanguage = {German},\n\tjournal = {Forschung und Lehre 27/4},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2020},\n\tkeywords = {Beethovens Werkstatt, DH, ViFE, ZenMEM},\n\tpages = {342},\n}\n\n

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\n \n\n \n \n \n \n \n \n Integrating Score Rendition in the MEI Garage.\n \n \n \n \n\n\n \n Rettinghaus, K.; Röwenstrunk, D.; and Kepper, J.\n\n\n \n\n\n\n May 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Integrating$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rettinghaus_integrating_2020,\n\ttype = {Posterpräsentation},\n\ttitle = {Integrating {Score} {Rendition} in the {MEI} {Garage}},\n\tcopyright = {All rights reserved},\n\turl = {https://music-encoding.org/conference/2020/program/},\n\tauthor = {Rettinghaus, Klaus and Röwenstrunk, Daniel and Kepper, Johannes},\n\tmonth = may,\n\tyear = {2020},\n}\n\n

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\n \n\n \n \n \n \n \n \n FDM-Dienste: Wie lokal ist fachspezifisch?.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n October 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"FDM-Dienste:$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_fdm-dienste_2020,\n\ttype = {Podiumsgespräch},\n\ttitle = {{FDM}-{Dienste}:  {Wie} lokal ist fachspezifisch?},\n\tcopyright = {All rights reserved},\n\turl = {https://www.fdm.nrw/index.php/veranstaltungen/nfdi-infoveranstaltung/},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = oct,\n\tyear = {2020},\n}\n\n

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\n \n\n \n \n \n \n \n \n NFDI und FDM Entwicklung am Hochschulstandort.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n October 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"NFDI$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_nfdi_2020,\n\ttitle = {{NFDI} und {FDM} {Entwicklung} am {Hochschulstandort}},\n\tcopyright = {All rights reserved},\n\turl = {https://www.fdm.nrw/index.php/veranstaltungen/nfdi-infoveranstaltung/},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = oct,\n\tyear = {2020},\n}\n\n

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\n \n\n \n \n \n \n \n \n ZenMEM und NFDI4Culture – digitale Werkstätten.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n November 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"ZenMEM$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{rowenstrunk_zenmem_2020,\n\taddress = {Paderborn},\n\ttitle = {{ZenMEM} und {NFDI4Culture} – digitale {Werkstätten}},\n\tcopyright = {All rights reserved},\n\turl = {https://kw.uni-paderborn.de/institut-fuer-anglistik-und-amerikanistik/digitale-kulturwissenschaften/werkstattgespraeche/werkstattgespraeche},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = nov,\n\tyear = {2020},\n\tkeywords = {NFDI4Culture},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n \n Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation.\n \n \n \n \n\n\n \n Münzmay, A.; Veit, J.; and Acquavella-Rauch, S.,\n editors.\n \n\n\n \n\n\n\n Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, November 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Brückenschläge$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@book{munzmay_bruckenschlage_2020,\n\ttitle = {Brückenschläge zwischen {Musikwissenschaft} und {Informatik}. {Theoretische} und praktische {Aspekte} der {Kooperation}},\n\turl = {https://dx.doi.org/10.25366/2020.87},\n\tpublisher = {Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold},\n\teditor = {Münzmay, Andreas and Veit, Joachim and Acquavella-Rauch, Stefanie},\n\tmonth = nov,\n\tyear = {2020},\n\tdoi = {10.25366/2020.87},\n\tkeywords = {DH, ViFE, ZenMEM},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n \n Brückenschläge zwischen Musikwissenschaft und Informatik – Vorbemerkung.\n \n \n \n \n\n\n \n Acquavella-Rauch, S.; Münzmay, A.; and Veit, J.\n\n\n \n\n\n\n In Brückenschläge zwischen Musikwissenschaft und Informatik. Theoretische und praktische Aspekte der Kooperation, pages XI–XV, November 2020. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold\n \n\n\n\n
\n\n\n\n \n \n $\"Brückenschläge$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@inproceedings{acquavella-rauch_bruckenschlage_2020,\n\ttitle = {Brückenschläge zwischen {Musikwissenschaft} und {Informatik} – {Vorbemerkung}},\n\turl = {https://musiconn.qucosa.de/id/qucosa:72736},\n\tdoi = {10.25366/2020.88},\n\turldate = {2021-02-16},\n\tbooktitle = {Brückenschläge zwischen {Musikwissenschaft} und {Informatik}. {Theoretische} und praktische {Aspekte} der {Kooperation}},\n\tpublisher = {Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold},\n\tauthor = {Acquavella-Rauch, Stefanie and Münzmay, Andreas and Veit, Joachim},\n\tmonth = nov,\n\tyear = {2020},\n\tkeywords = {DH, ViFE, ZenMEM},\n\tpages = {XI--XV},\n}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n \n NFDI4Culture - Consortium for research data on material and immaterial cultural heritage.\n \n \n \n \n\n\n \n Altenhöner, R.; Blümel, I.; Boehm, F.; Bove, J.; Bicher, K.; Bracht, C.; Brand, O.; Dieckmann, L.; Effinger, M.; Hagener, M.; Hammes, A.; Heller, L.; Kailus, A.; Kohle, H.; Ludwig, J.; Andreas Münzmay; Pittroff, S.; Razum, M.; Röwenstrunk, D.; Sack, H.; Simon, H.; Schmidt, D.; Schrade, T.; Walzel, A.; and Wiermann, B.\n\n\n \n\n\n\n Research Ideas and Outcomes, 6: e57036. July 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"NFDI4Culture$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{altenhoner_nfdi4culture_2020,\n\ttitle = {{NFDI4Culture} - {Consortium} for research data on material and immaterial cultural heritage},\n\tvolume = {6},\n\tcopyright = {2020 Reinhard Altenhöner, Ina Blümel, Franziska Boehm, Jens Bove, Katrin Bicher, Christian Bracht, Ortrun Brand, Lisa Dieckmann, Maria Effinger, Malte Hagener, Andrea Hammes, Lambert Heller, Angela Kailus, Hubertus Kohle, Jens Ludwig, Andreas Münzmay, Sarah Pittroff, Matthias Razum, Daniel Röwenstrunk, Harald Sack, Holger Simon, Dörte Schmidt, Torsten Schrade, Annika-Valeska Walzel, Barbara Wiermann},\n\tissn = {2367-7163},\n\turl = {https://riojournal.com/article/57036/},\n\tdoi = {10/ghk5fd},\n\tabstract = {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.},\n\tlanguage = {en},\n\turldate = {2020-10-30},\n\tjournal = {Research Ideas and Outcomes},\n\tauthor = {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 {Andreas Münzmay} 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},\n\tmonth = jul,\n\tyear = {2020},\n\tkeywords = {NFDI4Culture},\n\tpages = {e57036},\n}\n\n

\n

\n\n\n

\n 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.\n

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\n \n 2019\n \n \n (10)\n \n \n

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\n \n\n \n \n \n \n \n \n Prototypen und Produkte – Softwareentwicklung im Spannungsfeld zwischen Innovation und Nachhaltigkeit.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n January 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Prototypen$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_prototypen_2019,\n\taddress = {Universität Paderborn},\n\ttitle = {Prototypen und {Produkte} – {Softwareentwicklung} im {Spannungsfeld} zwischen {Innovation} und {Nachhaltigkeit}},\n\tcopyright = {All rights reserved},\n\turl = {https://kw.uni-paderborn.de/institut-fuer-medienwissenschaften/digitale-kulturwissenschaften/toolingup},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = jan,\n\tyear = {2019},\n}\n\n

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\n \n\n \n \n \n \n \n \n Nationale Forschungsdateninfrastruktur.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n September 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Nationale$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_nationale_2019,\n\taddress = {Paderborn},\n\ttitle = {Nationale {Forschungsdateninfrastruktur}},\n\tcopyright = {All rights reserved},\n\turl = {https://ess.upb.de/2019/programm.html},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = sep,\n\tyear = {2019},\n}\n\n

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\n \n\n \n \n \n \n \n Nationale Forschungsdateninfrastruktur, die Initiative NFDI4Culture und die Musikwissenschaft.\n \n \n \n\n\n \n Pasdzierny, M.; Röwenstrunk, D.; and Schmidt, D.\n\n\n \n\n\n\n Die Musikforschung, Heft 3/2019. 2019.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{pasdzierny_nationale_2019,\n\ttitle = {Nationale {Forschungsdateninfrastruktur}, die {Initiative} {NFDI4Culture} und die {Musikwissenschaft}},\n\tvolume = {Heft 3/2019},\n\tjournal = {Die Musikforschung},\n\tauthor = {Pasdzierny, Matthias and Röwenstrunk, Daniel and Schmidt, Dörte},\n\tyear = {2019},\n}\n\n

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\n \n\n \n \n \n \n \n \n Fokusthemen und Aufgabenbereiche für eine Forschungsdateninfrastruktur zu materiellen und immateriellen Kulturgütern. Living Document der NFDI-Initiative NFDI4Culture.\n \n \n \n \n\n\n \n Altenhöner, R.; Bicher, K.; Bracht, C.; Brand, O.; Blümel, I.; Bulle, K.; Effinger, M.; Hammes, A.; Hartmann, T.; Kailus, A.; Kett, J.; Pittroff, S.; Röwenstrunk, D.; Schelbert, G.; Schmidt, D.; Schrade, T.; Simon, H.; Taentzer, G.; Veit, J.; Voß, F.; Walzel, A.; and Wiermann, B.\n\n\n \n\n\n\n Technical Report Zenodo, May 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Fokusthemen$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@techreport{altenhoner_fokusthemen_2019,\n\ttitle = {Fokusthemen und {Aufgabenbereiche} für eine {Forschungsdateninfrastruktur} zu materiellen und immateriellen {Kulturgütern}. {Living} {Document} der {NFDI}-{Initiative} {NFDI4Culture}.},\n\tcopyright = {All rights reserved},\n\turl = {https://zenodo.org/record/2763576},\n\tabstract = {In der Konsortiumsinitiative „NFDI4Culture“ haben sich Partner*innen aus Forschung, Gedächtnisinstitutionen und Infrastruktureinrichtungen zusammengefunden, die sich dem Aufbau einer dezentralen, fach- und forschungsnahen Infrastruktur für Forschungsdaten aus dem Bereich der materiellen und immateriellen Kulturgüter widmen. Die wissenschaftliche Notwendigkeit und zugleich das kulturpolitische Potential von NFDI4Culture ergibt sich aus den Besonderheiten der beforschten, primär nicht-textuellen Güter, deren materiale und mediale Dimensionen einen Eigenwert besitzen, der nicht vollständig in einer digitalen Repräsentation aufgeht. Als Abformung eines Kulturguts kann das Digitalisat zudem seinerseits immaterielles Kulturgut werden, z. B. bei Verlust oder Zerstörung des materiellen Objekts, durch die Geschichtlichkeit medialer Objekte u.a.m. Der bisherige Austausch zwischen den einzelnen Partner*innen von NFDI4Culture dient dabei der Selbstverständigung zu Aufgaben und Zielen eines möglichen NFDI-Konsortiums und profitiert von den spezifischen Perspektiven und Kompetenzen aller Beteiligten. So werden Wissenstransfer und eine gemeinsame Sprechfähigkeit gewährleistet und befördert. Die vorliegenden Texte werden in diesem frühen Stadium des allgemeinen NFDI-Prozesses als Positionsbestimmung vorgelegt und dienen als Bezugspunkt für Diskussionen zu den für eine NFDI4Culture charakteristischen Herausforderungen in einem größeren Kontext: sowohl in und mit den Fachcommunities als auch zwischen den verschiedenen Konsortiumsinitiativen. Aufgabenfelder und Ziele einer NFDI4Culture können, werden und sollen sich entsprechend der in der Diskussion formulierten Bedarfe anpassen und weiterentwickeln. Das vorliegende „Living Document“ dient dabei als Referenzpunkt, in dem die verschiedenen, dynamisch fortlaufenden Diskussionen an einer Stelle immer wieder transparent gebündelt und dokumentiert werden.},\n\tlanguage = {deu},\n\turldate = {2020-02-07},\n\tinstitution = {Zenodo},\n\tauthor = {Altenhöner, Reinhard and Bicher, Katrin and Bracht, Christian and Brand, Ortrun and Blümel, Ina and Bulle, Klaus and Effinger, Maria and Hammes, Andrea and Hartmann, Thomas and Kailus, Angela and Kett, Jürgen and Pittroff, Sarah and Röwenstrunk, Daniel and Schelbert, Georg and Schmidt, Dörte and Schrade, Torsten and Simon, Holger and Taentzer, Gabriele and Veit, Joachim and Voß, Franziska and Walzel, Annika-Valeska and Wiermann, Barbara},\n\tmonth = may,\n\tyear = {2019},\n\tdoi = {10.5281/zenodo.2763576},\n\tkeywords = {NFDI, NFDI4Culture},\n}\n\n

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\n \n\n \n \n \n \n \n Quellen zur Aufführung – Beispiele aus dem Detmolder Hoftheater-Projekt.\n \n \n \n\n\n \n Capelle, I.\n\n\n \n\n\n\n Aufführung und Edition, 46: 111–124. 2019.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{capelle_irmlind_quellen_2019,\n\ttitle = {Quellen zur {Aufführung} – {Beispiele} aus dem {Detmolder} {Hoftheater}-{Projekt}},\n\tvolume = {46},\n\tissn = {0939-5946},\n\tdoi = {https://doi.org/10.1515/9783110639261-010},\n\tjournal = {Aufführung und Edition},\n\tauthor = {Capelle, Irmlind},\n\tyear = {2019},\n\tkeywords = {Detmolder Hoftheater, ViFE, performance, sources},\n\tpages = {111--124},\n}\n\n

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\n \n\n \n \n \n \n \n Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang.\n \n \n \n\n\n \n Münzmay, A.; and Siegert, C.\n\n\n \n\n\n\n Editio, 33: 10–30. 2019.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{munzmay_phonographischer_2019,\n\ttitle = {Phonographischer {Text}, {Interpretation} und {Aufführungsmaterial} als kritisch edierbarer {Sachzusammenhang}},\n\tvolume = {33},\n\tcopyright = {All rights reserved},\n\tdoi = {10.1515/editio-2019-0002},\n\tabstract = {The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition.},\n\tjournal = {Editio},\n\tauthor = {Münzmay, Andreas and Siegert, Christine},\n\tyear = {2019},\n\tkeywords = {ViFE, ZenMEM},\n\tpages = {10--30},\n}\n\n

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\n \n\n \n \n \n \n \n \n Kulturtransferforschung und Musikwissenschaft.\n \n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n In Zwischen Transfer und Transformation: Horizonte der Rezeption von Musik, pages 175–192. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Kulturtransferforschung$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@incollection{munzmay_kulturtransferforschung_2019,\n\ttitle = {Kulturtransferforschung und {Musikwissenschaft}},\n\tcopyright = {All rights reserved},\n\tisbn = {978-3-99012-779-7},\n\turl = {10.2307/j.ctvt6rjq6.10},\n\tabstract = {Discusses the research paradigm of ‘transferts culturels’ (cultural transfers), as established by French C.N.R.S. scholars Michel Espagne and Michael Werner in the 1980s and rapidly evolving in the context of French-German research after 1989, from the point of view of musicology. Ideological categories like ‘nation’ and ‘culture’ are weighed against frames that allow for more precise definitions, like local/regional repertoires or culture politics. Likewise, the opposed theoretical concepts of ‘reception’ and ‘production’ fundamentally affect the conceptualization of the musical ‘work’ entity. Taking cultural transfers into account has helped stimulating practice-oriented views of music history that no longer consider modifications or adaptations of works only as derivatives or even misunderstandings of ‘the original’, but, to the contrary, acknowledge them as historical facts and cultural expressions in their own rights. The examples of Richard Wagner’s Die Meistersinger von Nürnberg and Eduard Hanslick’s Die moderne Oper show how this was already a controversial issue in the 19th century under the impression of the international nature of the standard (French) opera repertoire of the time. A concluding section points out the possibilities for the coverage of culture transfer processes arising from the implementation of the FRBR (Functional Requirements for Bibliographic Records) model in bibliographic authority data on the ‘work’ level.},\n\tbooktitle = {Zwischen {Transfer} und {Transformation}: {Horizonte} der {Rezeption} von {Musik}},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2019},\n\tdoi = {10.2307/j.ctvt6rjq6.10},\n\tkeywords = {ViFE, ZenMEM},\n\tpages = {175--192},\n}\n\n

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\n \n\n \n \n \n \n \n Musikwissenschaft und Digital Humanities.\n \n \n \n\n\n \n Stadler, P.\n\n\n \n\n\n\n In Hentschel, F., editor(s), Historische Musikwissenschaft. Gegenstand – Geschichte – Methodik, of Kompendien Musik, pages 330–339. Laaber-Verlag, Laaber, 2019.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@incollection{stadler_musikwissenschaft_2019,\n\taddress = {Laaber},\n\tseries = {Kompendien {Musik}},\n\ttitle = {Musikwissenschaft und {Digital} {Humanities}},\n\tnumber = {2},\n\tbooktitle = {Historische {Musikwissenschaft}. {Gegenstand} – {Geschichte} – {Methodik}},\n\tpublisher = {Laaber-Verlag},\n\tauthor = {Stadler, Peter},\n\teditor = {Hentschel, Frank},\n\tyear = {2019},\n\tkeywords = {Musicology, ViFE},\n\tpages = {330--339},\n}\n\n

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\n \n\n \n \n \n \n \n Aufführungs- und zensurbedingte Veränderungen im Wiener Manuskript der Freischütz-Erstaufführung 1821 in Wien.\n \n \n \n\n\n \n Seipelt, A.\n\n\n \n\n\n\n Weberiana, 29: 107–161. 2019.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{seipelt_auffuhrungs-_2019,\n\ttitle = {Aufführungs- und zensurbedingte {Veränderungen} im {Wiener} {Manuskript} der {Freischütz}-{Erstaufführung} 1821 in {Wien}},\n\tvolume = {29},\n\tlanguage = {german},\n\tjournal = {Weberiana},\n\tauthor = {Seipelt, Agnes},\n\tyear = {2019},\n\tkeywords = {FreiDi, ViFE},\n\tpages = {107--161},\n}\n\n

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\n \n\n \n \n \n \n \n Digitale Musikanalyse auf Grundlage von MEI-codierten Daten.\n \n \n \n\n\n \n Seipelt, A.; and Klugseder, R.\n\n\n \n\n\n\n In Aringer, K.; Utz, C.; and Wozonig, T., editor(s), Musik im Zusammenhang: Festschrift Peter Revers zum 65. Geburtstag, pages 69–87. Hollitzer, 2019.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{seipelt_digitale_2019,\n\ttitle = {Digitale {Musikanalyse} auf {Grundlage} von {MEI}-codierten {Daten}},\n\tisbn = {978-3-99012-553-3},\n\tbooktitle = {Musik im {Zusammenhang}: {Festschrift} {Peter} {Revers} zum 65. {Geburtstag}},\n\tpublisher = {Hollitzer},\n\tauthor = {Seipelt, Agnes and Klugseder, Robert},\n\teditor = {Aringer, Klaus and Utz, Christian and Wozonig, Thomas},\n\tyear = {2019},\n\tkeywords = {Bruckner, Digitale Edition, ViFE, ZenMEM},\n\tpages = {69--87},\n}\n\n

\n

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\n\n\n\n\n\n

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\n \n 2018\n \n \n (9)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n \n Der FID Musikwissenschaft (Musiconn) in Lehre und Forschung. Kommentar aus Nutzer-Perspektive.\n \n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n Zeitschrift für Bibliothekswesen und Bibliographie, 65(2-3): 101–104. June 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Der$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{munzmay_fid_2018,\n\ttitle = {Der {FID} {Musikwissenschaft} ({Musiconn}) in {Lehre} und {Forschung}. {Kommentar} aus {Nutzer}-{Perspektive}},\n\tvolume = {65},\n\tcopyright = {All rights reserved},\n\tissn = {00442380, 18642950},\n\turl = {http://zs.thulb.uni-jena.de/receive/jportal_jparticle_00562259},\n\tdoi = {10.3196/1864295018652390},\n\tlanguage = {en},\n\tnumber = {2-3},\n\turldate = {2020-03-23},\n\tjournal = {Zeitschrift für Bibliothekswesen und Bibliographie},\n\tauthor = {Münzmay, Andreas},\n\tmonth = jun,\n\tyear = {2018},\n\tkeywords = {ViFE, ZenMEM},\n\tpages = {101--104},\n}\n\n

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\n \n\n \n \n \n \n \n Informationsveranstaltung zur Schaffung nationaler Forschungsdateninfrastrukturen.\n \n \n \n\n\n \n Röwenstrunk, D.; Schmidt, D.; and Veit, J.\n\n\n \n\n\n\n September 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_informationsveranstaltung_2018,\n\taddress = {Osnabrück},\n\ttitle = {Informationsveranstaltung zur {Schaffung} nationaler {Forschungsdateninfrastrukturen}},\n\tcopyright = {All rights reserved},\n\tauthor = {Röwenstrunk, Daniel and Schmidt, Dörte and Veit, Joachim},\n\tmonth = sep,\n\tyear = {2018},\n}\n\n

\n

\n\n\n\n

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\n \n\n \n \n \n \n \n \n Ebenen von und Prozesse in Infrastrukturen.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n December 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Ebenen$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_ebenen_2018,\n\taddress = {Universität Paderborn},\n\ttitle = {Ebenen von und {Prozesse} in {Infrastrukturen}},\n\tcopyright = {All rights reserved},\n\turl = {https://nfdi.edirom.de/program},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = dec,\n\tyear = {2018},\n}\n\n

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\n \n\n \n \n \n \n \n \n ZenMEM im Rahmen der NFDI.\n \n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n February 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"ZenMEM$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_zenmem_2018,\n\taddress = {Berlin},\n\ttitle = {{ZenMEM} im {Rahmen} der {NFDI}},\n\tcopyright = {All rights reserved},\n\turl = {https://forschungsinfrastrukturen.de/doku.php},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = feb,\n\tyear = {2018},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n Langzeitverfügbarkeit von wissenschaftlicher Software im Bereich historisch-kritischer Musikedition.\n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n Bibliothek Forschung und Praxis, 42(2): 302–308. 2018.\n tex.ids: rowenstrunkLangzeitverfugbarkeitWissenschaftlicherSoftware2018a\n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{rowenstrunk_langzeitverfugbarkeit_2018,\n\ttitle = {Langzeitverfügbarkeit von wissenschaftlicher {Software} im {Bereich} historisch-kritischer {Musikedition}},\n\tvolume = {42},\n\tissn = {1865-7648},\n\tdoi = {https://doi.org/10.1515/bfp-2018-0029},\n\tabstract = {Die Langzeitverfügbarkeit von Forschungsergebnissen und der dafür häufig notwendige langfristige Erhalt der Lauffähigkeit von Software ist eine gemeinschaftliche Herausforderung für Forschung, Softwareentwicklung und Gedächtnisinstitutionen. Es stehen verschiedene Maßnahmen wie Standardisierung, Emulation oder auch die Weiterentwicklung durch Open-Source-Communities zur Verfügung, die in unterschiedlichen Kontexten für unterschiedliche Arten von Software zum Einsatz kommen können.},\n\tnumber = {2},\n\tjournal = {Bibliothek Forschung und Praxis},\n\tauthor = {Röwenstrunk, Daniel},\n\tyear = {2018},\n\tnote = {tex.ids: rowenstrunkLangzeitverfugbarkeitWissenschaftlicherSoftware2018a},\n\tkeywords = {DH, digital edition, long-term availability, musicology, research software},\n\tpages = {302--308},\n}\n\n

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\n \n\n \n \n \n \n \n \n Virtualitäten der Opéra comique und XML-Kode als ‚Teleskop‘.\n \n \n \n \n\n\n \n Münzmay, Andreas\n\n\n \n\n\n\n In Petersen, Birger, editor(s), Symposiumsbericht ‚Virtualitäten des Barock. Deleuze und musikalische Analyse’, of Beitragsarchiv des Internationalen Kongresses der Gesellschaft für Musikforschung, Mainz 2016 – ‚Wege der Musikwissenschaft‘, hg. von Gabriele Buschmeier und Klaus Pietschmann. Schott Campus, Mainz, 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Virtualitäten$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@incollection{munzmay_andreas_virtualitaten_2018,\n\taddress = {Mainz},\n\tseries = {Beitragsarchiv des {Internationalen} {Kongresses} der {Gesellschaft} für {Musikforschung}, {Mainz} 2016 – ‚{Wege} der {Musikwissenschaft}‘,  hg. von {Gabriele} {Buschmeier} und {Klaus} {Pietschmann}},\n\ttitle = {Virtualitäten der {Opéra} comique und {XML}-{Kode} als ‚{Teleskop}‘},\n\tcopyright = {All rights reserved},\n\turl = {urn:nbn:de:101:1-2018101811433555555600},\n\tbooktitle = {Symposiumsbericht ‚{Virtualitäten} des {Barock}. {Deleuze} und musikalische {Analyse}’},\n\tpublisher = {Schott Campus},\n\tauthor = {{Münzmay, Andreas}},\n\teditor = {{Petersen, Birger}},\n\tyear = {2018},\n\tkeywords = {Music Edition, Scholarly Editing, ViFE, XML, ZenMEM},\n}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n Lesen und Schreiben im digitalen Dickicht. Musikwissenschaft, Digital Humanities und die hybride Musikbibliothek.\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n Bibliothek Forschung und Praxis, 42(2): 236–246. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@article{munzmay_lesen_2018,\n\ttitle = {Lesen und {Schreiben} im digitalen {Dickicht}. {Musikwissenschaft}, {Digital} {Humanities} und die hybride {Musikbibliothek}},\n\tvolume = {42},\n\tissn = {1865-7648},\n\tdoi = {https://doi.org/10.1515/bfp-2018-0031},\n\tabstract = {Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sog. digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re-Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate -Ankerfunktion haben.},\n\tnumber = {2},\n\tjournal = {Bibliothek Forschung und Praxis},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2018},\n\tpages = {236--246},\n}\n\n

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\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n \n \n \n Stand und Perspektiven der Nutzung von MEI in der Musikwissenschaft und in Bibliotheken.\n \n \n \n\n\n \n Veit, J.; and Richts, K.\n\n\n \n\n\n\n Bibliothek Forschung und Praxis, 42(2): 292–301. 2018.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@article{veit_stand_2018,\n\ttitle = {Stand und {Perspektiven} der {Nutzung} von {MEI} in der {Musikwissenschaft} und in {Bibliotheken}},\n\tvolume = {42},\n\tissn = {1865-7648},\n\tdoi = {https://doi.org/10.1515/bfp-2018-0026},\n\tabstract = {Ausgehend von einer Darstellung der (an TEI angelehnten) Entwicklung von MEI werden die Forschungsperspektiven des Einsatzes dieses für wissenschaftliche Zwecke geschaffenen Formats und speziell das Potential seines umfangreichen Header-Bereichs beschrieben. Am Beispiel der Rolle von Faksimiles in Editionen wird deutlich, wie dieses Format zu einer neuen Zusammenarbeit von Wissenschaft und Bibliotheken beitragen kann.},\n\tlanguage = {german},\n\tnumber = {2},\n\tjournal = {Bibliothek Forschung und Praxis},\n\tauthor = {Veit, Joachim and Richts, Kristina},\n\tyear = {2018},\n\tpages = {292--301},\n}\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n \n \n \n „Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang. Ein Beitrag zur Theorie der Edition von Klangdokumenten.\n \n \n \n\n\n \n Münzmay, A.; and Siegert, C.\n\n\n \n\n\n\n February 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@misc{munzmay_phonographischer_2018,\n\taddress = {Goethe-Universität Frankfurt am Main},\n\ttype = {Plenumsvortrag},\n\ttitle = {„{Phonographischer} {Text}, {Interpretation} und {Aufführungsmaterial} als kritisch edierbarer {Sachzusammenhang}. {Ein} {Beitrag} zur {Theorie} der {Edition} von {Klangdokumenten}},\n\tauthor = {Münzmay, Andreas and Siegert, Christine},\n\tmonth = feb,\n\tyear = {2018},\n}\n\n

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\n\n\n\n\n\n

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\n \n 2017\n \n \n (9)\n \n \n

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\n \n\n \n \n \n \n \n \n Bericht zum Expertengespräch zur genetischen Textkritik im Bereich Musik, Akademie der Wissenschaften und der Literatur, Mainz, 26.–27. November 2015.\n \n \n \n \n\n\n \n Münzmay, A.; Cox, S.; Sänger, R.; Novara, E.; Hartwig, M.; Rovelli, F.; Veit, J.; and Appel, B.,\n editors.\n \n\n\n \n\n\n\n 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Bericht$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{munzmay_bericht_2017,\n\ttitle = {Bericht zum {Expertengespräch} zur genetischen {Textkritik} im {Bereich} {Musik}, {Akademie} der {Wissenschaften} und der {Literatur}, {Mainz}, 26.–27. {November} 2015},\n\tcopyright = {All rights reserved},\n\turl = {http://beethovens-werkstatt.de/expertenkolloquium/},\n\teditor = {Münzmay, Andreas and Cox, Susanne and Sänger, Richard and Novara, Elisa and Hartwig, Maja and Rovelli, Federica and Veit, Joachim and Appel, Bernhard},\n\tyear = {2017},\n\tkeywords = {Beethovens Werkstatt, DH, ViFE, ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n \n Moves like swagger – look into my API and you’ll own me.\n \n \n \n \n\n\n \n Herold, K.; Hartwig, M.; Röwenstrunk, D.; and Stadler, P.\n\n\n \n\n\n\n May 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Moves$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{herold_moves_2017,\n\taddress = {Tours, France},\n\ttype = {Posterpräsentation},\n\ttitle = {Moves like swagger – look into my {API} and you’ll own me},\n\tcopyright = {All rights reserved},\n\turl = {https://music-encoding.org/conference/programs/2017ConferenceProgram.pdf},\n\tauthor = {Herold, Kristin and Hartwig, Maja and Röwenstrunk, Daniel and Stadler, Peter},\n\tmonth = may,\n\tyear = {2017},\n}\n\n

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\n \n\n \n \n \n \n \n \n Reconstruction - Representation - Collaboration. Interdisciplinary Approaches To Changes In Contexts Of Digital (Music) Editions.\n \n \n \n \n\n\n \n Schloots, F.; Meise, B.; Stadler, P.; Müller-Lietzkow, J.; Meister, D.; Kepper, J.; and Röwenstrunk, D.\n\n\n \n\n\n\n In 12th Annual International Conference of the Alliance of Digital Humanities Organizations, DH 2017, Montréal, Canada, August 8-11, 2017, Conference Abstracts, Montreal, Canada, August 2017. Alliance of Digital Humanities Organizations (ADHO)\n \n\n\n\n
\n\n\n\n \n \n $\"Reconstruction$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@inproceedings{schloots_reconstruction_2017,\n\taddress = {Montreal, Canada},\n\ttitle = {Reconstruction - {Representation} - {Collaboration}. {Interdisciplinary} {Approaches} {To} {Changes} {In} {Contexts} {Of} {Digital} ({Music}) {Editions}},\n\tcopyright = {All rights reserved},\n\turl = {https://dh2017.adho.org/abstracts/356/356.pdf},\n\turldate = {2021-11-15},\n\tbooktitle = {12th {Annual} {International} {Conference} of the {Alliance} of {Digital} {Humanities} {Organizations}, {DH} 2017, {Montréal}, {Canada}, {August} 8-11, 2017, {Conference} {Abstracts}},\n\tpublisher = {Alliance of Digital Humanities Organizations (ADHO)},\n\tauthor = {Schloots, Franziska and Meise, Bianca and Stadler, Peter and Müller-Lietzkow, Jörg and Meister, Dorothee and Kepper, Johannes and Röwenstrunk, Daniel},\n\tmonth = aug,\n\tyear = {2017},\n}\n\n

\n

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\n \n\n \n \n \n \n \n \n Das Hoftheater-Projekt. Gesänge aus des Adlers Horst.\n \n \n \n \n\n\n \n Capelle, I.\n\n\n \n\n\n\n Heimatland Lippe, 100(10): 241. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Das$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{capelle_hoftheater-projekt._2017,\n\ttitle = {Das {Hoftheater}-{Projekt}. {Gesänge} aus des {Adlers} {Horst}},\n\tvolume = {100},\n\turl = {http://www.llb-detmold.de/wir-ueber-uns/aus-unserer-arbeit/texte/2017-5.html},\n\tnumber = {10},\n\tjournal = {Heimatland Lippe},\n\tauthor = {Capelle, Irmlind},\n\tyear = {2017},\n\tkeywords = {Detmolder Hoftheater},\n\tpages = {241},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n „Comment l’édition critique numérique peut répondre aux défis d'un genre hybride. Le cas du Faust, drame littéraire, drame mis en musique (Goethe/Lindpaintner, 1830)“.\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

\n

@misc{munzmay_comment_2017,\n\taddress = {Paris, France},\n\ttitle = {„{Comment} l’édition critique numérique peut répondre aux défis d'un genre hybride. {Le} cas du {Faust}, drame littéraire, drame mis en musique ({Goethe}/{Lindpaintner}, 1830)“},\n\tlanguage = {fr},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2017},\n}\n\n

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\n \n\n \n \n \n \n \n Musiktheorie. Zeitschrift für Musikwissenschaft, Themenheft \"Digitalität in der Musikwissenschaft\".\n \n \n \n\n\n \n Münzmay, A.; and Acquavella-Rauch, S.,\n editors.\n \n\n\n \n\n\n\n Volume 32 of Musiktheorie. Zeitschrift für Musikwissenschaft 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{munzmay_musiktheorie._2017,\n\tseries = {Musiktheorie. {Zeitschrift} für {Musikwissenschaft}},\n\ttitle = {Musiktheorie. {Zeitschrift} für {Musikwissenschaft}, {Themenheft} "{Digitalität} in der {Musikwissenschaft}"},\n\tvolume = {32},\n\teditor = {Münzmay, Andreas and Acquavella-Rauch, Stefanie},\n\tyear = {2017},\n}\n\n

\n

\n\n\n\n

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\n \n\n \n \n \n \n \n Perspektiven der Edition musikdramatischer Texte.\n \n \n \n\n\n \n Münzmay, A.; Betzwieser, undefined; and Dubowy, N.,\n editors.\n \n\n\n \n\n\n\n Volume 43 of Editio BeihefteDe Gruyter, Berlin, 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{munzmay_perspektiven_2017,\n\taddress = {Berlin},\n\tseries = {Editio {Beihefte}},\n\ttitle = {Perspektiven der {Edition} musikdramatischer {Texte}},\n\tvolume = {43},\n\tlanguage = {de},\n\tpublisher = {De Gruyter},\n\teditor = {Münzmay, Andreas and Betzwieser,, Thomas and Dubowy, Norbert},\n\tyear = {2017},\n}\n\n

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\n \n\n \n \n \n \n \n „Musik modellieren – aber was heißt hier ‚Musik’? Digitale Forschungspraxis zwischen Notentext, Klangdokument und Theorie“.\n \n \n \n\n\n \n Münzmay, A.; and Kepper, J.\n\n\n \n\n\n\n May 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{munzmay_musik_2017,\n\taddress = {Universität Paderborn},\n\ttitle = {„{Musik} modellieren – aber was heißt hier ‚{Musik}’? {Digitale} {Forschungspraxis} zwischen {Notentext}, {Klangdokument} und {Theorie}“},\n\tauthor = {Münzmay, Andreas and Kepper, Johannes},\n\tmonth = may,\n\tyear = {2017},\n}\n\n

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\n \n\n \n \n \n \n \n Challenges for annotation concepts in music.\n \n \n \n\n\n \n Hadjakos, A.; Iffland, J.; Oberhoff, A.; Keil, A.; and Veit, J.\n\n\n \n\n\n\n In International Journal of Humanities and Arts Computing (IJAHC). 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@incollection{hadjakos_challenges_2017,\n\ttitle = {Challenges for annotation concepts in music},\n\tbooktitle = {International {Journal} of {Humanities} and {Arts} {Computing} ({IJAHC})},\n\tauthor = {Hadjakos, Aristotelis and Iffland, Joachim and Oberhoff, Andreas and Keil, Andreas and Veit, Joachim},\n\tyear = {2017},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n 2016\n \n \n (13)\n \n \n

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\n \n\n \n \n \n \n \n ZenMEM – Musik und nicht-textuelle Objekte im Kontext digitaler Editionen.\n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n June 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{rowenstrunk_zenmem_2016,\n\taddress = {Hochschule für Musik Detmold},\n\ttitle = {{ZenMEM} – {Musik} und nicht-textuelle {Objekte} im {Kontext} digitaler {Editionen}},\n\tcopyright = {All rights reserved},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = jun,\n\tyear = {2016},\n}\n\n

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\n \n\n \n \n \n \n \n Bühnenrollen und Identitätskonzepte: Karrierestrategien von Künstlerinnen im Theater des 19. Jahrhunderts.\n \n \n \n\n\n \n Strohmann, N. K.; Tumat, A.; Kurz, L.; and Zimmermann, J.,\n editors.\n \n\n\n \n\n\n\n of Beiträge aus dem Forschungszentrum Musik und GenderWehrhahn Verlag, Hannover, 1. Auflage edition, 2016.\n OCLC: ocn988938981\n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{strohmann_buhnenrollen_2016,\n\taddress = {Hannover},\n\tedition = {1. Auflage},\n\tseries = {Beiträge aus dem {Forschungszentrum} {Musik} und {Gender}},\n\ttitle = {Bühnenrollen und {Identita}̈tskonzepte: {Karrierestrategien} von {Ku}̈nstlerinnen im {Theater} des 19. {Jahrhunderts}},\n\tisbn = {9783865255341},\n\tshorttitle = {Bühnenrollen und {Identita}̈tskonzepte},\n\tnumber = {Band 5},\n\tpublisher = {Wehrhahn Verlag},\n\teditor = {Strohmann, Nicole K. and Tumat, Antje and Kurz, Lukas and Zimmermann, Juana},\n\tyear = {2016},\n\tnote = {OCLC: ocn988938981},\n\tkeywords = {19th century, Actresses, Europe, History, Prima donnas (Singers), Women dancers, Women in the performing arts, Women singers},\n}\n\n

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\n \n\n \n \n \n \n \n \n Künftige Rahmenbedingungen musikwissenschaftlicher Editionsprojekte aus der Sicht des Virtuellen Forschungsverbunds Edirom (ViFE) am Musikwissenschaftlichen Seminar Detmold/Paderborn.\n \n \n \n \n\n\n \n Beer, N.; Herold, K.; Stadler, P.; and Veit, J.\n\n\n \n\n\n\n April 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Künftige$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{beer_kunftige_2016,\n\ttitle = {Künftige {Rahmenbedingungen} musikwissenschaftlicher {Editionsprojekte} aus der {Sicht} des {Virtuellen} {Forschungsverbunds} {Edirom} ({ViFE}) am {Musikwissenschaftlichen} {Seminar} {Detmold}/{Paderborn}},\n\turl = {https://edirom.de/files/Positionspapier_ViFE_2016-04.pdf},\n\tauthor = {Beer, Nikolaos and Herold, Kristin and Stadler, Peter and Veit, Joachim},\n\tmonth = apr,\n\tyear = {2016},\n}\n\n

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\n \n\n \n \n \n \n \n \n Die Bestände des Lippischen Hoftheaters Detmold (1825–1875). Durch digital gestützte Tiefenerschließung zu neuen Forschungsmöglichkeiten.\n \n \n \n \n\n\n \n Capelle, I.\n\n\n \n\n\n\n In Beitragsarchiv zur Jahrestagung der Gesellschaft für Musikforschung Halle/Saale 2015 – »Musikwissenschaft: die Teildisziplinen im Dialog«, hrsg. von Wolfgang Auhagen und Wolfgang Hirschmann. Schott campus, Mainz, 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Die$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@incollection{capelle_irmlind_bestande_2016,\n\taddress = {Mainz},\n\ttitle = {Die {Bestände} des {Lippischen} {Hoftheaters} {Detmold} (1825–1875). {Durch} digital gestützte {Tiefenerschließung} zu neuen {Forschungsmöglichkeiten}},\n\turl = {http://schott-campus.com/gfm-jahrestagung-2015], Mainz 2016 [Schott Campus, urn:nbn:de:101:1-201609131284},\n\tbooktitle = {Beitragsarchiv zur {Jahrestagung} der {Gesellschaft} für {Musikforschung} {Halle}/{Saale} 2015 – »{Musikwissenschaft}: die {Teildisziplinen} im {Dialog}«, hrsg. von {Wolfgang} {Auhagen} und {Wolfgang} {Hirschmann}},\n\tpublisher = {schott campus},\n\tauthor = {Capelle, Irmlind},\n\tyear = {2016},\n\tkeywords = {Detmolder Hoftheater, Erschließung, MEI, TEI, ViFE},\n}\n\n

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\n \n\n \n \n \n \n \n Zum Einsatz von Normdaten bei der Carl-Maria-von-Weber-Gesamtausgabe.\n \n \n \n\n\n \n Stadler, P.\n\n\n \n\n\n\n In Eckhardt, W.; Neumann, J.; Schwinger, T.; and Staub, A., editor(s), Wasserzeichen – Schreiber – Provenienz. Neue Methoden der Erforschung und Erschließung von Kulturgut im digitalen Zeitalter: zwischen wissenschaftlicher Spezialdisziplin und Catalog Enrichment, of Zeitschrift für Bibliothekswesen und Bibliographie. Sonderbände, pages 19–26. Vittorio Klostermann, Frankfurt am Main, 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@incollection{stadler_zum_2016,\n\taddress = {Frankfurt am Main},\n\tseries = {Zeitschrift für {Bibliothekswesen} und {Bibliographie}. {Sonderbände}},\n\ttitle = {Zum {Einsatz} von {Normdaten} bei der {Carl}-{Maria}-von-{Weber}-{Gesamtausgabe}},\n\tnumber = {118},\n\tbooktitle = {Wasserzeichen – {Schreiber} – {Provenienz}. {Neue} {Methoden} der {Erforschung} und {Erschließung} von {Kulturgut} im digitalen {Zeitalter}: zwischen wissenschaftlicher {Spezialdisziplin} und {Catalog} {Enrichment}},\n\tpublisher = {Vittorio Klostermann},\n\tauthor = {Stadler, Peter},\n\teditor = {Eckhardt, Wolfgang and Neumann, Julia and Schwinger, Tobias and Staub, Alexander},\n\tyear = {2016},\n\tkeywords = {ViFE},\n\tpages = {19--26},\n}\n\n

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\n \n\n \n \n \n \n \n Musikphilologie im Gespräch. Musikeditorische Arbeitswirklichkeiten im Kontext des \"digital turn\".\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{munzmay_musikphilologie_2016,\n\taddress = {Universität und Akademie der Wissenschaften Mainz},\n\ttype = {Diskussion {Roundtable}},\n\ttitle = {Musikphilologie im {Gespräch}. {Musikeditorische} {Arbeitswirklichkeiten} im {Kontext} des "digital turn"},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2016},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Möglichkeiten des digitalen Publizierens.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_moglichkeiten_2016,\n\taddress = {Universität und Akademie der Wissenschaften Mainz},\n\ttype = {Symposium "{Vom} {Werkverzeichnis} zur genetischen {Edition} - {Einsatz} und {Weiterentwicklung} von internationalen {Datenstandards} für die {Musikwissenschaft}},\n\ttitle = {Möglichkeiten des digitalen {Publizierens}},\n\tauthor = {Veit, Joachim},\n\tyear = {2016},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Musikdokumente: Aspekte ihrer Modellierung im Kontext digitaler Editionen.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_musikdokumente:_2016,\n\taddress = {Universität Paderborn},\n\ttitle = {Musikdokumente: {Aspekte} ihrer {Modellierung} im {Kontext} digitaler {Editionen}},\n\tauthor = {Veit, Joachim},\n\tyear = {2016},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Ungeahnte Metamorphosen = Zu den Folgen genuin digitaler Musikeditionen.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_ungeahnte_2016,\n\taddress = {Universität und Akademie der Wissenschaften Mainz},\n\ttype = {Symposium "{Musikwissenschaftliche} {Digital} {Humanities}-{Projekte}},\n\ttitle = {Ungeahnte {Metamorphosen} = {Zu} den {Folgen} genuin digitaler {Musikeditionen}},\n\tauthor = {Veit, Joachim},\n\tyear = {2016},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n \"Raus aus dem Elfenbeinturm!\" - Zum Potential kooperativer Forschung am Beispiel des digitalen 'Freischütz'.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_raus_2016,\n\taddress = {Hochschule für Musik Detmold},\n\ttitle = {"{Raus} aus dem {Elfenbeinturm}!" - {Zum} {Potential} kooperativer {Forschung} am {Beispiel} des digitalen '{Freischütz}'},\n\tauthor = {Veit, Joachim},\n\tyear = {2016},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Lesen und Schreiben im digitalen Dickicht. Musikwissenschaft, Digital Humanities und die hybride Musikbibliothek.\n \n \n \n\n\n \n Münzmay, Andreas\n\n\n \n\n\n\n September 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@misc{munzmay_andreas_lesen_2016,\n\taddress = {Detmold},\n\ttitle = {Lesen und {Schreiben} im digitalen {Dickicht}. {Musikwissenschaft}, {Digital} {Humanities} und die hybride {Musikbibliothek}},\n\tauthor = {{Münzmay, Andreas}},\n\tmonth = sep,\n\tyear = {2016},\n}\n\n

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\n \n\n \n \n \n \n \n Annette et Lubin. Comédie en un acte en vers, mêlée d’ariettes et de vaudevilles.\n \n \n \n\n\n \n Blaise, A.; and Favart, J.\n\n\n \n\n\n\n Volume 2 of OPERA – Spektrum des europäischen Musiktheaters in Einzeleditionen. Historisch-kritische HybridausgabenBärenreiter, Kassel, 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@book{blaise_annette_2016,\n\taddress = {Kassel},\n\tseries = {{OPERA} – {Spektrum} des europäischen {Musiktheaters} in {Einzeleditionen}. {Historisch}-kritische {Hybridausgaben}},\n\ttitle = {Annette et {Lubin}. {Comédie} en un acte en vers, mêlée d’ariettes et de vaudevilles},\n\tvolume = {2},\n\tpublisher = {Bärenreiter},\n\tauthor = {Blaise, Adolphe and Favart, Justine},\n\teditor = {Münzmay, Andreas},\n\tcollaborator = {Droese, Janine},\n\tyear = {2016},\n}\n\n

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\n \n\n \n \n \n \n \n Genèses musicales. Hrsg. von Nicolas Donin, Almuth Grésillon und Jean-Louis Lebrave. Paris: Presses de l’université Paris-Sorbonne, 2015. 272 S., Rezension.\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n Editio. Internationales Jahrbuch für Editionswissenschaft, 30: 248–252. 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@article{munzmay_geneses_2016,\n\ttitle = {Genèses musicales. {Hrsg}. von {Nicolas} {Donin}, {Almuth} {Grésillon} und {Jean}-{Louis} {Lebrave}. {Paris}: {Presses} de l’université {Paris}-{Sorbonne}, 2015. 272 {S}., {Rezension}},\n\tvolume = {30},\n\tjournal = {Editio. Internationales Jahrbuch für Editionswissenschaft},\n\tauthor = {Münzmay, Andreas},\n\tyear = {2016},\n\tpages = {248--252},\n}\n\n

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\n \n 2015\n \n \n (13)\n \n \n

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\n \n\n \n \n \n \n \n Pfade im editorischen Netz. Überlegungen zur Pragmatik des editorischen Hyperlinks am Beispiel der Comédie en vaudevilles Annette et Lubin (1762).\n \n \n \n\n\n \n Münzmay, A.; and Droese, J.\n\n\n \n\n\n\n Editio. Internationales Jahrbuch für Editionswissenschaft, 29: 82–102. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{munzmay_pfade_2015,\n\ttitle = {Pfade im editorischen {Netz}. Überlegungen zur {Pragmatik} des editorischen {Hyperlinks} am {Beispiel} der {Comédie} en vaudevilles {Annette} et {Lubin} (1762)},\n\tvolume = {29},\n\tjournal = {Editio. Internationales Jahrbuch für Editionswissenschaft},\n\tauthor = {Münzmay, Andreas and Droese, Janine},\n\tyear = {2015},\n\tkeywords = {Music Edition, Scholarly Editing, ViFE},\n\tpages = {82--102},\n}\n\n

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\n \n\n \n \n \n \n \n Workshop \"Einführung in die Nutzung der Edirom Tools im Kontext digitaler Musikeditionen\" und Durchführung einer Evaluation dieser Veranstaltung durch Bianca Meise, Franziska Schloots und Anna Hoblitz.\n \n \n \n\n\n \n Beer, N.; and Röwenstrunk, D.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{beer_workshop_2015,\n\taddress = {Karl-Franzens-Universität Graz},\n\ttype = {Workshop},\n\ttitle = {Workshop "{Einführung} in die {Nutzung} der {Edirom} {Tools} im {Kontext} digitaler {Musikeditionen}" und {Durchführung} einer {Evaluation} dieser {Veranstaltung} durch {Bianca} {Meise}, {Franziska} {Schloots} und {Anna} {Hoblitz}},\n\tauthor = {Beer, Nikolais and Röwenstrunk, Daniel},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Modellierung von Annotationen in der digitalen Musik- und Medienedition.\n \n \n \n\n\n \n Komprecht, A.; and Oberhoff, A.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{komprecht_modellierung_2015,\n\taddress = {Karl-Franzens-Universität Graz},\n\ttype = {Vortrag},\n\ttitle = {Modellierung von {Annotationen} in der digitalen {Musik}- und {Medienedition}},\n\tauthor = {Komprecht, Anna and Oberhoff, Andreas},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Annotating music in digital surroundings - a new challenge for scholarly editors.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_annotating_2015,\n\taddress = {Universität Hamburg},\n\ttitle = {Annotating music in digital surroundings - a new challenge for scholarly editors},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Noten jenseits des Papiers. Zur Entwicklung von Werkzeugen für die Digital Humanities im Bereich der Musikedition.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n ForschungsForum Paderborn, 18: 40–48. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{veit_noten_2015,\n\ttitle = {Noten jenseits des {Papiers}. {Zur} {Entwicklung} von {Werkzeugen} für die {Digital} {Humanities} im {Bereich} der {Musikedition}},\n\tvolume = {18},\n\tjournal = {ForschungsForum Paderborn},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n\tpages = {40--48},\n}\n\n

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\n \n\n \n \n \n \n \n Outside - inside: Two aspects of the digital turn in music edition.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
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@misc{veit_outside_2015,\n\taddress = {TU Darmstadt},\n\ttitle = {Outside - inside: {Two} aspects of the digital turn in music edition},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n What is 'Granularity of Musical Objects?.\n \n \n \n\n\n \n Komprecht, A. M.; and Röwenstrunk, D.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{komprecht_what_2015,\n\taddress = {Universität Florenz},\n\ttype = {Posterpräsentation},\n\ttitle = {What is '{Granularity} of {Musical} {Objects}?},\n\tauthor = {Komprecht, Anna Maria and Röwenstrunk, Daniel},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n Neue Möglichkeiten für Musikeditionen.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{veit_neue_2015,\n\taddress = {Wolfenbüttel},\n\ttitle = {Neue {Möglichkeiten} für {Musikeditionen}},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n}\n\n

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\n \n\n \n \n \n \n \n Noten klicken. Digitale Musikeditionen in Forschung und Praxis.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n Musikforum, 4: 50–52. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{veit_noten_2015-1,\n\ttitle = {Noten klicken. {Digitale} {Musikeditionen} in {Forschung} und {Praxis}},\n\tvolume = {4},\n\tjournal = {Musikforum},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n\tpages = {50--52},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n Zur Gründung des Zentrums Musik – Edition – Medien.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n ad notam. Jahrbuch der Hochschule für Musik Detmold, 14: 74–77. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{veit_zur_2015,\n\ttitle = {Zur {Gründung} des {Zentrums} {Musik} – {Edition} – {Medien}},\n\tvolume = {14},\n\tjournal = {ad notam. Jahrbuch der Hochschule für Musik Detmold},\n\tauthor = {Veit, Joachim},\n\tyear = {2015},\n\tkeywords = {ZenMEM},\n\tpages = {74--77},\n}\n\n

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\n \n\n \n \n \n \n \n Faire parler l’hypertextualité. Vers une édition critique d’\"Annette et Lubin\" (Comédie-Italienne, 1762).\n \n \n \n\n\n \n Münzmay, A.\n\n\n \n\n\n\n In Beaucé, P.; and Rubellin, F., editor(s), Parodier l’opéra. Pratiques, formes et enjeux, pages 51–70. Espaces 34, Montpellier, 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@incollection{munzmay_faire_2015,\n\taddress = {Montpellier},\n\ttitle = {Faire parler l’hypertextualité. {Vers} une édition critique d’"{Annette} et {Lubin}" ({Comédie}-{Italienne}, 1762)},\n\tbooktitle = {Parodier l’opéra. {Pratiques}, formes et enjeux},\n\tpublisher = {Espaces 34},\n\tauthor = {Münzmay, Andreas},\n\teditor = {Beaucé, Pauline and Rubellin, Françoise},\n\tyear = {2015},\n\tpages = {51--70},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n Zur Idee und Geschichte einer Weber-Gesamtausgabe.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n In Emans, R.; and Krämer, U., editor(s), Musikeditionen im Wandel der Geschichte, of Bausteine zur Geschichte der Edition, pages 405–430. De Gruyter, Berlin, 2015.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@incollection{veit_zur_2015-1,\n\taddress = {Berlin},\n\tseries = {Bausteine zur {Geschichte} der {Edition}},\n\ttitle = {Zur {Idee} und {Geschichte} einer {Weber}-{Gesamtausgabe}},\n\tlanguage = {deutsch},\n\tnumber = {5},\n\tbooktitle = {Musikeditionen im {Wandel} der {Geschichte}},\n\tpublisher = {de Gruyter},\n\tauthor = {Veit, Joachim},\n\teditor = {Emans, Reinmar and Krämer, Ulrich},\n\tyear = {2015},\n\tkeywords = {Weber-Gesamtausgabe},\n\tpages = {405--430},\n}\n\n

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\n \n\n \n \n \n \n \n \n 6. Edirom-Summer-School mit Teilnehmerrekord. Workshop-Woche zum digitalen Arbeiten in der Musikwissenschaft.\n \n \n \n \n\n\n \n Komprecht, A. M.\n\n\n \n\n\n\n Paderborner Universitätszeitschrift, (2): 34–35. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"6.$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{komprecht_6._2015,\n\ttitle = {6. {Edirom}-{Summer}-{School} mit {Teilnehmerrekord}. {Workshop}-{Woche} zum digitalen {Arbeiten} in der {Musikwissenschaft}},\n\turl = {https://www.uni-paderborn.de/fileadmin/marketing/puz/puz-2015-2.pdf},\n\tabstract = {In der vorlesungsfreien Zeit veranstaltet der "Virtuelle Forschungsverbund Edirom" (ViFE) des Musikwissenschaftlichen Seminars Detmold/Paderborn in Zusammenarbeit mit DARIAH-DE zum sechsten Mal die Edirom-Summer-School (ESS) in den Räumen des Heinz Nixdorf Instituts der Universität Paderborn. Nachdem bereits in den vergangenen Jahren eine stetig steigende Teilnehmerzahl zu verbuchen war, wurde in diesem Jahr ein neuer Rekord mit insgesamt 100 Beteiligten aufgestellt.},\n\tnumber = {2},\n\tjournal = {Paderborner Universitätszeitschrift},\n\tauthor = {Komprecht, Anna Maria},\n\tyear = {2015},\n\tkeywords = {Digitale Musikedition, ViFE},\n\tpages = {34--35},\n}\n\n

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\n\n\n\n\n\n

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\n \n 2014\n \n \n (3)\n \n \n

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\n \n \n

\n \n\n \n \n \n \n \n Traditionelle und genuin digitale Editionskonzepte – Möglichkeiten und Grenzen digitaler Musikeditionen am Beispiel der Weber-Gesamtausgabe und des Freischütz Digital Projekts.\n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n June 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@misc{rowenstrunk_traditionelle_2014,\n\taddress = {Bern, Schweiz},\n\ttitle = {Traditionelle und genuin digitale {Editionskonzepte} – {Möglichkeiten} und {Grenzen} digitaler {Musikeditionen} am {Beispiel} der {Weber}-{Gesamtausgabe} und des {Freischütz} {Digital} {Projekts}},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = jun,\n\tyear = {2014},\n\tkeywords = {ViFE},\n}\n\n

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\n\n\n\n

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\n \n\n \n \n \n \n \n \"Ich entsagte also eine Zeitlang der Kunst als ihr unmittelbarer Diener\". Zu Carl Maria von Webers Aufenthalt in Württemberg.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n In Bandur, M.; Gervink, M.; Ziegler, F.; Allroggen, G.; and Veit, J., editor(s), Bericht über das Symposium 'Carl Maria von Weber und das Virtuosentum seiner Zeit' (Dresden 2011) sowie Beiträge zu Weber in Stuttgart und Gotha, volume 9, of Weber-Studien, pages 117–154. Schott, Mainz, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@incollection{veit_ich_2014,\n\taddress = {Mainz},\n\tseries = {Weber-{Studien}},\n\ttitle = {"{Ich} entsagte also eine {Zeitlang} der {Kunst} als ihr unmittelbarer {Diener}". {Zu} {Carl} {Maria} von {Webers} {Aufenthalt} in {Württemberg}},\n\tvolume = {9},\n\tbooktitle = {Bericht über das {Symposium} '{Carl} {Maria} von {Weber} und das {Virtuosentum} seiner {Zeit}' ({Dresden} 2011) sowie {Beiträge} zu {Weber} in {Stuttgart} und {Gotha}},\n\tpublisher = {Schott},\n\tauthor = {Veit, Joachim},\n\teditor = {Bandur, Markus and Gervink, Manuel and Ziegler, Frank and Allroggen, Gerhard and Veit, Joachim},\n\tyear = {2014},\n\tkeywords = {Weber-Gesamtausgabe},\n\tpages = {117--154},\n}\n\n

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\n \n\n \n \n \n \n \n Markieren, Codieren, Annotieren – Arbeiten an und mit digitalen Musikeditionen mit Edirom und MEI.\n \n \n \n\n\n \n Röwenstrunk, D.\n\n\n \n\n\n\n June 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@misc{rowenstrunk_markieren_2014,\n\taddress = {Bern, Schweiz},\n\ttitle = {Markieren, {Codieren}, {Annotieren} – {Arbeiten} an und mit digitalen {Musikeditionen} mit {Edirom} und {MEI}},\n\tauthor = {Röwenstrunk, Daniel},\n\tmonth = jun,\n\tyear = {2014},\n\tkeywords = {Edirom, MEI, ViFE},\n}\n\n

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\n \n 2008\n \n \n (1)\n \n \n

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\n \n\n \n \n \n \n \n Von Volkston und Romantik: Des Knaben Wunderhorn in der Musik.\n \n \n \n\n\n \n Tumat, A.,\n editor.\n \n\n\n \n\n\n\n Winter, Heidelberg, 2008.\n OCLC: ocn227017826\n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{tumat_von_2008,\n\taddress = {Heidelberg},\n\ttitle = {Von {Volkston} und {Romantik}: {Des} {Knaben} {Wunderhorn} in der {Musik}},\n\tisbn = {9783825353339},\n\tshorttitle = {Von {Volkston} und {Romantik}},\n\tpublisher = {Winter},\n\teditor = {Tumat, Antje},\n\tyear = {2008},\n\tnote = {OCLC: ocn227017826},\n\tkeywords = {Congresses, Germany, History and criticism, Knaben Wunderhorn, Music, Music and literature},\n}\n\n

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\n \n 2003\n \n \n (1)\n \n \n

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\n \n\n \n \n \n \n \n Hase oder Igel? – Musikedition und neue Medien.\n \n \n \n\n\n \n Veit, J.\n\n\n \n\n\n\n In Arndt, J.; and Keil, W., editor(s), Alte\" Musik und \"Neue\" Medien, pages 230–263. Hildesheim, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@incollection{veit_hase_2003,\n\taddress = {Hildesheim},\n\ttitle = {Hase oder {Igel}? – {Musikedition} und neue {Medien}},\n\tbooktitle = {Alte" {Musik} und "{Neue}" {Medien}},\n\tauthor = {Veit, Joachim},\n\teditor = {Arndt, Jürgen and Keil, Werner},\n\tyear = {2003},\n\tkeywords = {Music Edition, ViFE},\n\tpages = {230--263},\n}\n

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\n\n\n\n\n\n

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\n \n 2002\n \n \n (1)\n \n \n

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\n \n\n \n \n \n \n \n Carl Maria von Weber: Sinfonie Nr. 1 C-Dur (WeV M.2), Sinfonie Nr. 2 C-Dur (WeV M.3).\n \n \n \n\n\n \n Veit, J.; and Ziegler, F.,\n editors.\n \n\n\n \n\n\n\n Volume 1 of Carl Maria von Weber, Sämtliche WerkeSchott, Mainz, 2002.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{veit_carl_2002,\n\taddress = {Mainz},\n\tseries = {Carl {Maria} von {Weber}, {Sämtliche} {Werke}},\n\ttitle = {Carl {Maria} von {Weber}: {Sinfonie} {Nr}. 1 {C}-{Dur} ({WeV} {M}.2), {Sinfonie} {Nr}. 2 {C}-{Dur} ({WeV} {M}.3)},\n\tvolume = {1},\n\tnumber = {V},\n\tpublisher = {Schott},\n\teditor = {Veit, Joachim and Ziegler, Frank},\n\tyear = {2002},\n\tkeywords = {Edition, Musik, Weber-Gesamtausgabe},\n}\n\n

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\n \n 1973\n \n \n (1)\n \n \n

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\n \n\n \n \n \n \n \n Ruggiero ovvero l'eroica gratitudine.\n \n \n \n\n\n \n Hortschansky, K.\n\n\n \n\n\n\n Volume 1 of Concentus musicusKöln, 1973.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@book{hortschansky_ruggiero_1973,\n\taddress = {Köln},\n\tseries = {Concentus musicus},\n\ttitle = {Ruggiero ovvero l'eroica gratitudine},\n\tvolume = {1},\n\tauthor = {Hortschansky, Klaus},\n\tyear = {1973},\n\tkeywords = {\\#1/🎁, \\#2/🤷, \\#3/🔎},\n}\n\n

\n

\n\n\n\n

\n\n\n\n\n\n

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\n \n undefined\n \n \n (2)\n \n \n

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\n \n\n \n \n \n \n \n \n METAdata and metaDATA.\n \n \n \n \n\n\n \n Gubsch, C.; and Ried, D.\n\n\n \n\n\n\n In . \n \n\n\n\n
\n\n\n\n \n \n $\"METAdata$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{gubsch_metadata_nodate,\n\ttitle = {{METAdata} and {metaDATA}},\n\turl = {https://hcommons.org/deposits/item/hc:45991/},\n\tabstract = {Metadata are a very broad and extremely differentiated subject and ranges from rudimentary catalog data to deeply indexed scientific catalogs (e.g., catalogs of works). In this paper, the concept of metadata in the context of MEI is first examined, before two examples are used to show that metadata are more than just rudimentary descriptions. These examples are also intended to illustrate the extent to which metadata are encoded in the field of music philology and thus represent an attempt to create a little more awareness for the work of the Metadata and Cataloging Interest Group of MEI. The examples deal on the one hand with the encoding of performance resources and on the other hand with watermarks. In both cases, the possibilities of metadata encoding with MEI version 4 are exhausted and it is discussed which steps are useful and necessary to create an even deeper, machine-readable structure so that these sub-fields of the MEI metadata can also be used for larger scientific purposes such as analyses.},\n\tlanguage = {en-US},\n\turldate = {2022-10-07},\n\tauthor = {Gubsch, Clemens and Ried, Dennis},\n\tkeywords = {ViFE},\n}\n\n

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\n \n\n \n \n \n \n \n \n MEI Meets NFDI4Culture.\n \n \n \n \n\n\n \n Albrecht-Hohmaier, M.; Münzmay, A.; Richts-Matthaei, K.; and Röwenstrunk, D.\n\n\n \n\n\n\n In . \n \n\n\n\n
\n\n\n\n \n \n $\"MEI$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n\n\n\n

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@inproceedings{albrecht-hohmaier_mei_nodate,\n\ttitle = {{MEI} {Meets} {NFDI4Culture}},\n\turl = {https://hcommons.org/deposits/item/hc:46001/},\n\tabstract = {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.},\n\tlanguage = {en-US},\n\turldate = {2022-10-07},\n\tauthor = {Albrecht-Hohmaier, Martin and Münzmay, Andreas and Richts-Matthaei, Kristina and Röwenstrunk, Daniel},\n}\n\n

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