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Digital Musicology im Kontext der Digital Humanities1 Wolfgang Schmale Der Musikwissenschaft geht es nicht anders als anderen Fächern aus den Geis- tes- und Kulturwissenschaften: Eine Wissenschaft, die nicht zumindest einen digitalen Zweig aufweist, steht heutzutage unter Begründungsdruck. In den Digital Humanities zieht die Musikwissenschaft mit anderen Fächern gleich: Studiengänge mit dem Schwerpunkt Digital Musicology, PhD-Programme, Professuren, digitale Projekte, Tagungen – das ganze Register wird gezogen. Nachdem ich mir 2015 im Zusammenhang einer

135 MUSICAL MEANING AND THE MUSICOLOGY OF RECORD PRODUCTION1 Simon Zagorski-Thomas Introduction The study of record production, and indeed of musicology in general, tends to divide into two camps that we might broadly describe as production and reception based approaches. On one side academics study the technical and creative process that shapes the musical output and on the other they study the way in which audiences (real or idealised) engage with the »text« to create meaning. This paper will attempt to bridge some of the gaps between these

Introduction Musicology, Musical Modernity, and the Challenges of Entangled History Tobias Janz and Yang Chien-Chang Nearly two decades after the beginning of a new century, musicology’s role in a continuously changing world order is changing too. The thirty years since the turn- ing point of 1989 have been characterized by the restructuring of governance and society in large parts of the former Eastern bloc in Europe, a liberalization of trade and the rapid development of markets in parts of Asia and South-America, the revolution of digitalized


Brandon Farnsworth Curating Contemporary Music Festivals Music and Sound Culture | Volume 47 For C. Brandon Farnsworth, born in 1991, works as an independent music curator, and as a research associate at the Zurich University of the Arts, where he also studied classical music performance and transdisciplinary studies. He pursued his doc- toral degree in historical musicology at the University of Music Carl Maria von Weber Dresden, and was an affiliated researcher with the joint “Epistemologies of Aesthetic Practice” doctoral program at the Collegium

framing in order to make it more easily palatable for that particular group.The goal is to present material for further argumentation, but also to lay out a broader framework for further research—such as the many interrelationships between fes- tivals for the arts and their modes of presentation. This extends to other areas of this volume as well. While musicology strug- gles with a lack of adequate tools for approaching transdisciplinary musical works, Chapter 3 provides an adaptable framework in the form of a series of concerns, issues, and common contradictions that

“internal” and “external” to music, crucial to both positions above,may be better understood as “external to musicology” instead (ibid.). The scope of Brüstle’s work does not however include approaches to festival leadership; her concern is with artistic practices. Her work is nonetheless signif- icant in its portrayal of artists who see the mediation of their works as integral to their musical expression. Thus, while not explicitly positioning itself in regards to issues of arts administration, as with Tröndle or Beckert, Brüstle ends up de- riving an approach to concert

) What this created was a chasm between this thematic focus on the one side and the biennale productions and their critical reception on the other. There is a very pragmatic reason for this of course, namely that in the case of both festivals, there is a severe lack of discussion from scholars that take them se- riously.There is a strong tendency towards more prescriptive approaches to exper- imental music that come from a background in traditional historical musicology. Ideally, these artistic directors would be able to program scholars who were able to both give a

A New Perspective on Music's Mediation
New Perspectives on Music History of the 20th and 21st Century