Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3093
Stefan Keym
The article discusses features of (dis-)continuity between the three German musicological societies which existed before the foundation of the current “Gesellschaft für Musikforschung” (GfM). When the GfM was founded by Friedrich Blume in 1946/1947, it adopted the name of the first German-language musi- cological society: Robert Eitner’s “Gesellschaft für Musikforschung” (1868–1905). However, it has much more in common with its later predecessors: the “Internationale Musikgesellschaft” (1899–1914) and the “Deutsche Musikgesellschaft” (1918–1939). These societies established precedents for the structure of musicological societies, their congresses and journals. Even the close cooperation with a music publisher was continued by the new GfM, although Blume changed the partner from Breitkopf & Härtel to Bärenreiter. Furthermore, all three societies faced similar challenges: the relationship between musicological research and musical life, the tension between nationalist agendas and international cooperation, and the fluctuating forms of organization, which were easily destabilised in times of political turmoil.
& # x0D;& # x0D;& # x0D;本文讨论了在当前的“德国音乐协会”(GfM)成立之前存在的三个德国音乐学会之间(不)连续性的特征。当弗里德里希·布鲁姆于1946/1947年创立GfM时，它采用了第一个德语音乐生态学会的名称:罗伯特·艾特纳的“Gesellschaft f r Musikforschung”(1868-1905)。然而，它与后来的前辈有更多的共同之处:“国际音乐协会”(1899-1914)和“德国音乐协会”(1918-1939)。这些学会为音乐学学会的结构、代表大会和期刊建立了先例。即使是与音乐出版商的密切合作也被新的GfM所延续，尽管布鲁姆将合作伙伴从Breitkopf &Härtel到Bärenreiter。此外，这三个社会都面临着类似的挑战:音乐学研究与音乐生活之间的关系，民族主义议程与国际合作之间的紧张关系，以及组织形式的波动，这些形式在政治动荡时期很容易不稳定。& # x0D;& # x0D;
{"title":"Brüche und Kontinuitäten","authors":"Stefan Keym","doi":"10.52412/mf.2023.h3.3093","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3093","url":null,"abstract":"
 
 
 The article discusses features of (dis-)continuity between the three German musicological societies which existed before the foundation of the current “Gesellschaft für Musikforschung” (GfM). When the GfM was founded by Friedrich Blume in 1946/1947, it adopted the name of the first German-language musi- cological society: Robert Eitner’s “Gesellschaft für Musikforschung” (1868–1905). However, it has much more in common with its later predecessors: the “Internationale Musikgesellschaft” (1899–1914) and the “Deutsche Musikgesellschaft” (1918–1939). These societies established precedents for the structure of musicological societies, their congresses and journals. Even the close cooperation with a music publisher was continued by the new GfM, although Blume changed the partner from Breitkopf & Härtel to Bärenreiter. Furthermore, all three societies faced similar challenges: the relationship between musicological research and musical life, the tension between nationalist agendas and international cooperation, and the fluctuating forms of organization, which were easily destabilised in times of political turmoil.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3099
Veronika Busch, Kai Stefan Lothwesen
Since its institutional establishment, systematic musicology has received significant impulses from physics, physiology, psychology, and ethnomusicology, which encouraged research into the conditions of musical production, reproduction, and perception. Music-related behaviours are increasingly seen as culturally bound and are studied by means of empirical methods. Systematic musicology has been anchored in the “Gesellschaft für Musikforschung” (GfM) since its foundation, while also developing specialised societies and publications. A survey of contributions to the annual conference of the GfM from 1948 to 1999 reveals the presence of research from all areas of systematic musicology, with music-psychological contributions predominating. In addition, representatives are involved in the committees of the GfM, and the study group “Systematic Musicology” sees itself as an integrative forum that stimulates multidisciplinary discussions within the GfM.
{"title":"Systematische Musikwissenschaft in der Gesellschaft für Musikforschung","authors":"Veronika Busch, Kai Stefan Lothwesen","doi":"10.52412/mf.2023.h3.3099","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3099","url":null,"abstract":"
 
 
 Since its institutional establishment, systematic musicology has received significant impulses from physics, physiology, psychology, and ethnomusicology, which encouraged research into the conditions of musical production, reproduction, and perception. Music-related behaviours are increasingly seen as culturally bound and are studied by means of empirical methods. Systematic musicology has been anchored in the “Gesellschaft für Musikforschung” (GfM) since its foundation, while also developing specialised societies and publications. A survey of contributions to the annual conference of the GfM from 1948 to 1999 reveals the presence of research from all areas of systematic musicology, with music-psychological contributions predominating. In addition, representatives are involved in the committees of the GfM, and the study group “Systematic Musicology” sees itself as an integrative forum that stimulates multidisciplinary discussions within the GfM.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3095
Lars Klingberg
The “Gesellschaft für Musikforschung” (GfM) was, from its foundation until 1968, the professional representation of musicologists in all German occupation zones and of both German states. Since the establishment of the branch office in Leipzig (1954), the GfM was politically instrumentalized by the GDR party and state apparatus as well as by musicologists loyal to the SED. The most important goal was the creation of two sections representing East and West Germany respectively; alternatively, the foundation of a separate musicological society in the GDR was prepared. These efforts were intensified after the construction of the Berlin Wall (1961). A central role was played by Karl Laux, the director of the Dresden Music Academy, and a personal friend of GfM president Friedrich Blume. Following a decision of the Secretariat of the Central Committee of the SED on April 5, 1967, the GfM finally had to end its activities in the GDR in September 1968, and East-German musicologists joined the “Verband Deutscher Komponisten”.
& # x0D;& # x0D;& # x0D;“德国音乐协会”(Gesellschaft fr Musikforschung，简称GfM)从成立到1968年，一直是德国所有占领区和德国两个州音乐学家的专业代表。自1954年在莱比锡成立分支机构以来，GfM在政治上被德意志民主共和国党和国家机器以及忠于SED的音乐学家所利用。最重要的目标是创建两个部分，分别代表东德和西德;另一种选择是，在德意志民主共和国建立一个独立的音乐学会。这些努力在柏林墙(1961年)建成后得到加强。德累斯顿音乐学院(Dresden Music Academy)院长卡尔•劳克斯(Karl Laux)扮演了核心角色，他是德累斯顿音乐学院院长弗里德里希•布鲁姆(Friedrich Blume)的私人朋友。1967年4月5日，东德中央委员会秘书处作出决定，GfM最终不得不在1968年9月结束在民主德国的活动，东德音乐学家加入了“德国音乐协会”(Verband Deutscher Komponisten)。& # x0D;& # x0D;
{"title":"Die GfM als gesamtdeutsche Gesellschaft","authors":"Lars Klingberg","doi":"10.52412/mf.2023.h3.3095","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3095","url":null,"abstract":"
 
 
 The “Gesellschaft für Musikforschung” (GfM) was, from its foundation until 1968, the professional representation of musicologists in all German occupation zones and of both German states. Since the establishment of the branch office in Leipzig (1954), the GfM was politically instrumentalized by the GDR party and state apparatus as well as by musicologists loyal to the SED. The most important goal was the creation of two sections representing East and West Germany respectively; alternatively, the foundation of a separate musicological society in the GDR was prepared. These efforts were intensified after the construction of the Berlin Wall (1961). A central role was played by Karl Laux, the director of the Dresden Music Academy, and a personal friend of GfM president Friedrich Blume. Following a decision of the Secretariat of the Central Committee of the SED on April 5, 1967, the GfM finally had to end its activities in the GDR in September 1968, and East-German musicologists joined the “Verband Deutscher Komponisten”.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"237 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3094
Christian Bartle, Christoph Flamm
The process of German musicology’s rapprochement with the international scientific community after 1945 can be traced through the musicological meetings and conferences that took place both inside and outside Germany. The essay evaluates the international participation – of German musicologists internationally and international colleagues at conferences in Germany – as well as the reception of these conferences in Die Musikforschung up to 1950. The key figure behind these developments was Friedrich Blume. Although the statements and reports of the “Gesellschaft für Musikforschung” (GfM) do not indicate any willingness to come to terms with the Nazi past, within a few years foreign organisations were ready to reach out to their German colleagues again.
{"title":"Geglückte Reintegration?","authors":"Christian Bartle, Christoph Flamm","doi":"10.52412/mf.2023.h3.3094","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3094","url":null,"abstract":"
 
 
 The process of German musicology’s rapprochement with the international scientific community after 1945 can be traced through the musicological meetings and conferences that took place both inside and outside Germany. The essay evaluates the international participation – of German musicologists internationally and international colleagues at conferences in Germany – as well as the reception of these conferences in Die Musikforschung up to 1950. The key figure behind these developments was Friedrich Blume. Although the statements and reports of the “Gesellschaft für Musikforschung” (GfM) do not indicate any willingness to come to terms with the Nazi past, within a few years foreign organisations were ready to reach out to their German colleagues again.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3097
Jens Dufner
The “Fachgruppe freie Forschungsinstitute” is one of the few permanent special interest groups within the “Gesellschaft für Musikforschung” (GfM). It represents research institutes in Germany which are not based at university departments (hence “free” institutes) and is thus concerned with institutional issues of long-term editorial projects. Furthermore, it serves as a forum for intense discussion of methodological and philological questions among its members. The group was founded in the mid-1960s, when the importance of research institutes had increased within musicology while their funding had not been secured yet. The association of the editorial projects with the German Academies of Science in the 1970s ensured their financial viability. Today the section is the central forum of exchange for musical philologists in Germany, regularly organising conferences and publishing scholarly volumes. As many of the long-term editorial projects are coming to an end and new projects are increasingly funded only short-term, the institutional function of the group has recently come back into focus.
{"title":"Zur Geschichte der Fachgruppe „Freie Forschungsinstitute“ in der Gesellschaft für Musikforschung","authors":"Jens Dufner","doi":"10.52412/mf.2023.h3.3097","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3097","url":null,"abstract":"
 
 
 The “Fachgruppe freie Forschungsinstitute” is one of the few permanent special interest groups within the “Gesellschaft für Musikforschung” (GfM). It represents research institutes in Germany which are not based at university departments (hence “free” institutes) and is thus concerned with institutional issues of long-term editorial projects. Furthermore, it serves as a forum for intense discussion of methodological and philological questions among its members. The group was founded in the mid-1960s, when the importance of research institutes had increased within musicology while their funding had not been secured yet. The association of the editorial projects with the German Academies of Science in the 1970s ensured their financial viability. Today the section is the central forum of exchange for musical philologists in Germany, regularly organising conferences and publishing scholarly volumes. As many of the long-term editorial projects are coming to an end and new projects are increasingly funded only short-term, the institutional function of the group has recently come back into focus.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3096
Sabine Ehrmann-Herfort
The article presents the early history of the Music History Department of the German Historical Institute (“Deutsches Historisches Institut”) in Rome in the context of the cultural and political activities of other Roman cultural and research institutes in the postwar period. A visit of German President Theodor Hess in Rome in 1957 paved the way for the foundation of the Department in 1960. The article also addresses the role of the “Gesellschaft für Musikforschung” (GfM) with its newly founded “Commission for Foreign Studies” (“Kommission für Auslandsstudien”): For more than twenty years its chairman Karl Gustav Fellerer oversaw the research activities in Rome. The Department, especially its library, soon became a meeting point for German and Italian musicologists. A second section focuses on the current fields of research and the numerous funding opportunities offered by the Music History Department to researchers, especially young scholars.
{"title":"Faszination Rom. Die Musikgeschichtliche Abteilung des Deutschen Historischen Instituts in Rom (DHI)","authors":"Sabine Ehrmann-Herfort","doi":"10.52412/mf.2023.h3.3096","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3096","url":null,"abstract":"The article presents the early history of the Music History Department of the German Historical Institute (“Deutsches Historisches Institut”) in Rome in the context of the cultural and political activities of other Roman cultural and research institutes in the postwar period. A visit of German President Theodor Hess in Rome in 1957 paved the way for the foundation of the Department in 1960. The article also addresses the role of the “Gesellschaft für Musikforschung” (GfM) with its newly founded “Commission for Foreign Studies” (“Kommission für Auslandsstudien”): For more than twenty years its chairman Karl Gustav Fellerer oversaw the research activities in Rome. The Department, especially its library, soon became a meeting point for German and Italian musicologists. A second section focuses on the current fields of research and the numerous funding opportunities offered by the Music History Department to researchers, especially young scholars.","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"199 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-16DOI: 10.52412/mf.2023.h3.3098
Michael Fuhr, Cornelia Gruber
This article gives a brief insight into the work of the study group “Ethnomusicology and Comparative Musicology” of the “Gesellschaft für Musikforschung” (GfM). It spotlights central issues, historical moments and developments in the past, and more recent activities of the study group. The first part roughly outlines cornerstones from its founding stages in the post-WWII years, when traditional views of “Völkerkunde” prevailed, to the paradigm shifts of the 1980s and 1990s, as comparative musicology gradually shifted towards ethnomusicological approaches grounded in cultural and social anthropology. The second part highlights the study group’s self-reflexive perspective and its recent engagement with topics such as diversity, anti-racism, and (post-)coloniality in the academic field. Drawing on issues discussed in the context of the “crisis of ethnographic representation,” recent debates and activities in the group are driven by ethical and political discussions regarding the power imbalances that shape ethnomusicological methodologies, practices and discourses within and beyond academia, and are thus closely tied to larger questions of social justice, equity, and inclusion.
{"title":"Die Fachgruppe „Musikethnologie und vergleichende Musikwissenschaft“ in der Gesellschaft für Musikforschung","authors":"Michael Fuhr, Cornelia Gruber","doi":"10.52412/mf.2023.h3.3098","DOIUrl":"https://doi.org/10.52412/mf.2023.h3.3098","url":null,"abstract":"
 
 
 This article gives a brief insight into the work of the study group “Ethnomusicology and Comparative Musicology” of the “Gesellschaft für Musikforschung” (GfM). It spotlights central issues, historical moments and developments in the past, and more recent activities of the study group. The first part roughly outlines cornerstones from its founding stages in the post-WWII years, when traditional views of “Völkerkunde” prevailed, to the paradigm shifts of the 1980s and 1990s, as comparative musicology gradually shifted towards ethnomusicological approaches grounded in cultural and social anthropology. The second part highlights the study group’s self-reflexive perspective and its recent engagement with topics such as diversity, anti-racism, and (post-)coloniality in the academic field. Drawing on issues discussed in the context of the “crisis of ethnographic representation,” recent debates and activities in the group are driven by ethical and political discussions regarding the power imbalances that shape ethnomusicological methodologies, practices and discourses within and beyond academia, and are thus closely tied to larger questions of social justice, equity, and inclusion.
 
 
","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135352504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.52412/mf.2023.h2.3089
Oliver Huck
Even though the manuscript Ms. Hans. III,4 of the Staats- und Universitätsbibliothek Hamburg has been missing since World War II, its descriptions by Johann Ludwig von Bouck and Hugo Leichsenring contribute valuable information about the music library of Valentin Pralle, organist at the Swedish court in 1542 and at St. Katharinen in Hamburg from 1542 until his death in 1565. The article identifies the intabulation sent in a letter by the organist Johan Kellner to Pralle in 1554 (one of the earliest manuscripts in “new” German organ tablature) as the five-part motet Respice in me et miserere mei deus by G. Domale, based either on the prints RISM 15511 or 155412. Furthermore, the antigraph of four Latin motets and ten French chansons, copied in partbooks by Pralle himself, can be identified as the Selectissimae necnon familiarissimae cantiones (RISM 15407). There was another set of partbooks with four hitherto unknown German songs for four and five voices of which at least the first (cited in a quodlibet by Melchior Franck first printed in RISM F 1651) is by Johann Stahel, of whom so far only one five-part secular song in the fifth volume of Georg Forster’s Frischen teutschen Liedlein has been known. The article furthermore discusses a fascicle with German and French songs with incipits of texts only, for which neither Bouk nor Leichsenring give any information concerning the notation. From a note by Otto Kade in his copy of Ludwig Senfl’s Wohl kumbt der Mai taken from RISM 153417, it is evident that Ms. Hans. III,4 contained monophonic versions of this and other songs of which some or at least their melodies are hitherto unknown.
即使是汉斯女士的手稿。III、 汉堡大学图书馆4号自第二次世界大战以来一直下落不明，约翰·路德维希·冯·布克和雨果·莱森林对其的描述为瓦伦丁·普莱尔的音乐图书馆提供了宝贵的信息。这篇文章将管风琴师约翰·凯尔纳在1554年写给普拉勒的一封信中的录音（“新”德国管风琴表中最早的手稿之一）确定为G.多梅尔的《我与守财奴的梅》中的五部分《呼吸》，基于RISM 15511或155412的版画。此外，Pralle本人在部分书籍中复制的四首拉丁歌曲和十首法国歌曲的翻版可以被确定为Selectissimae necnon familysimae cantiones（RISM 15407）。还有另一套部分书，其中有四首迄今为止不为人知的德语歌曲，分别为四首和五首人声，其中至少第一首（梅尔基奥·弗兰克在1651年RISM F首次印刷的一本小册子中引用）是约翰·斯塔赫尔的，到目前为止，在格奥尔格·福斯特的《Frischen teutschen Liedlin》第五卷中，只有一首五部分的世俗歌曲为人所知。文章还讨论了一本只有正文的德语和法语歌曲分册，Bouk和Leichsenring都没有提供任何关于注释的信息。从Otto Kade在其Ludwig Senfl的《Wohl kumbt der Mai》（取自RISM 153417）副本中的一篇笔记中可以明显看出，Hans女士。III、 4包含了这首歌和其他歌曲的单声道版本，其中一些或至少它们的旋律迄今为止是未知的。
{"title":"Die Musikalien des Hamburger Organisten Valentin Pralle († 1565)","authors":"Oliver Huck","doi":"10.52412/mf.2023.h2.3089","DOIUrl":"https://doi.org/10.52412/mf.2023.h2.3089","url":null,"abstract":"Even though the manuscript Ms. Hans. III,4 of the Staats- und Universitätsbibliothek Hamburg has been missing since World War II, its descriptions by Johann Ludwig von Bouck and Hugo Leichsenring contribute valuable information about the music library of Valentin Pralle, organist at the Swedish court in 1542 and at St. Katharinen in Hamburg from 1542 until his death in 1565. The article identifies the intabulation sent in a letter by the organist Johan Kellner to Pralle in 1554 (one of the earliest manuscripts in “new” German organ tablature) as the five-part motet Respice in me et miserere mei deus by G. Domale, based either on the prints RISM 15511 or 155412. Furthermore, the antigraph of four Latin motets and ten French chansons, copied in partbooks by Pralle himself, can be identified as the Selectissimae necnon familiarissimae cantiones (RISM 15407). There was another set of partbooks with four hitherto unknown German songs for four and five voices of which at least the first (cited in a quodlibet by Melchior Franck first printed in RISM F 1651) is by Johann Stahel, of whom so far only one five-part secular song in the fifth volume of Georg Forster’s Frischen teutschen Liedlein has been known. The article furthermore discusses a fascicle with German and French songs with incipits of texts only, for which neither Bouk nor Leichsenring give any information concerning the notation. From a note by Otto Kade in his copy of Ludwig Senfl’s Wohl kumbt der Mai taken from RISM 153417, it is evident that Ms. Hans. III,4 contained monophonic versions of this and other songs of which some or at least their melodies are hitherto unknown.","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48051568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.52412/mf.2023.h2.3091
Katharina Bergmann
{"title":"Die im Jahre angenommenen musikwissenschaftlichen und musikpädagogischen Dissertationen und Habilitationen","authors":"Katharina Bergmann","doi":"10.52412/mf.2023.h2.3091","DOIUrl":"https://doi.org/10.52412/mf.2023.h2.3091","url":null,"abstract":"","PeriodicalId":42161,"journal":{"name":"MUSIKFORSCHUNG","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45885566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.52412/mf.2023.h2.3088
Jin-Ah Kim
This brief article discusses the genesis and identification of Ferdinand Hiller’s Youth Symphony in E minor. In contrast to previous research, it is argued that the “third” Symphony in E minor (September 1831) is not a completely new work, but a heavily revised new version of the Symphony in E minor (September 23, 1829). This hypothesis can be substantiated with Hiller’s entries in his own handwritten catalogue of works as well as autographs or copies of the work, which show that he revised the first and second movements, replaced the third movement and arranged a “Chant des Pirates” as finale. A passage from a letter by Felix Mendelssohn Bartholdy, who had offered to perform Hiller’s symphony in Leipzig, confirms the thesis.
本文论述了费迪南德·希勒《E小调青年交响曲》的产生与鉴定。与之前的研究相反，有人认为《E小调第三交响曲》（1831年9月）不是一部全新的作品，而是对《E小调交响曲》（1829年9月23日）进行了大量修订的新版。希勒在自己手写的作品目录中的条目以及作品的签名或副本可以证实这一假设，这些条目表明他修改了第一和第二乐章，取代了第三乐章，并安排了一首“海盗圣歌”作为压轴曲。Felix Mendelssohn Bartholdy的一封信中的一段话证实了这一论点，他曾主动提出在莱比锡演奏希勒的交响乐。
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