Martina Rebmann / Reiner Nägele

INFORMATION AND DOCUMENTATION

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 464–485

Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel |

The City Library at Mailänder Platz, Stuttgart

InformatIon and docu mentatIon

Archives and libraries have preserved a wide range of knowl­ 18 edge about music since time immemorial. Today, owing to digitisation, they are undergoing massive changes. Here Mar­ tina Rebmann and Reiner Nägele describe the structures of the library landscape and report on the latest developments.

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| Martina Rebmann / Reiner Nägele

INFORMATION AND DOCUMENTATION

Memory institutions, such as music libraries, archives and museums, are a sine qua non for the study and performance of music. These facilities, which preserve and transmit rich bodies of knowledge, are primarily found in the pub- lic sector. They have a great many tasks, some of which overlap or interrelate. Traditionally, they collect and catalogue source material, literature, sheet music, A Max Reger autogrg aphphh frf oom ththehe music colllection off Mununu ichi ’ss sound recordings, audio-visual media, musical instruments and – especially in CityyL Librb ary Am Gasteig museums – objects related to musical life. However, thanks to the digital revo- lution, for several years they have also preserved non-physical formats such as digitisations of their own physical holdings, including files of music, musical notation, e-mails and texts (e.g. from posthumous estates). Equally new is their STRUCTURE AND TASKS OF MUSIC LIBRARIES AND ARCHIVES function as aggregators, for example for streaming services. At present, Ger- many’s libraries must respond to changes in information infrastructure and Libraries concerned with music information and documentation basically fall the prospect of setting up a National Research Data Infrastructure (Nationale into two types: public music libraries (or general public libraries with music collec- Forschungsdateninfrastruktur, or NFDI) – a project discussed by Germany’s tions), and scholarly music libraries (or music departments in scholarly libraries). states and federal government.1 All of this naturally affects those institutions In addition to libraries at musical institutes of higher learning (Musikhochschulen), con cerned with and actively involved in music information and documenta tion, broadcasting companies and orchestras, the range also includes specialist libraries whether owing to the research data they themselves collect or to their respon- that maintain musical holdings, such as libraries at music research institutes or sibility for providing long-term access to findings from universities and other the musicology departments of universities. research bodies. This is accompanied by upheavals in key activities and pro- fessions. After all, libraries face a new challenge: even relatively new types of The world of archives also has institutions with extensive musical holdings, such research data must likewise be collected, stored and made accessible. This in- as those associated with broadcasters, art academies or music publishers. There fluences the way that libraries work, forcing them to change and expand their also exist specialist archives devoted to particular composers, sometimes with ad- modes of operation. As a result, libraries and their fields of activity are currently joining museums (see Heike Fricke’s essay ‘Music Museums and Musical Instru- undergoing a major transformation. ment Collections’). State and regional archives also preserve material on music history and cultural life, including, for example, the records of court theatres or collections of programme leaflets.

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Many of these institutions are members of the German chapter of the Interna- enlarged by provenance, though historically established points of emphasis natu- tional Association of Music Libraries, Archives and Documentation Centres (IAML). rally play a role. Some libraries and archives with a musical focus also take respon- As of May 2018 this chapter had 215 members, including 154 institutions and 61 in- sibility for interstate or even nationwide tasks. dividuals, making it one of the largest in IAML. Founded in Paris in 1951, IAML maintains three official languages – English, French and German – and has 26 na- Public music libraries tional branches throughout the world. Every year it holds an international con- gress at a different location. There is also a national congress in Germany, likewise The task of public music libraries, or public libraries with a music department, resides held at different locations. The German chapter of IAML publishes the periodical in offering a wide assortment of sheet music, books on music, musical periodicals, Forum Musikbibliothek,2 complementing IAML ’s international periodical Fontes sound recordings and audio-visual media from every area of music, whether for use Artis Musicae. on location or for taking out on loan. They also help by providing specialist informa- tion and supporting research. Recently public libraries have played an important role As befits its political subdivision into federal states, each with independence in as a so-called ‘third place’, a gathering spot or living space with special opportunities cultural matters, Germany has no publicly owned central institution that collects for exchanges and encounters. Depending on the size of the library, the spectrum (unpublished) musical sources, as the German Literature Archive in Marbach does for German literature. Holdings of individual institutions are mainly collected and Public music libraries turn into meeting places: reading corners, listening stations, musical instru- ments and concerts invite users to linger.

Opposite page: after-work concert in the Central Library of Hamburg’s Bücherhallen. Left: the Wiesbaden Music Library. Right: the music library in Berlin’s Central and Regional Library 468 469 Information and Documentation | Fig. 1 | Public music libraries

Source: German Music Information Centre, 2018 may also include scholarly editions, spe- cial refer ence works and secondary liter- ature. Generally the offerings are freely accessible and mainly serve the purposes of practical music life, sometimes even Stadtbücherei Neumünster including practice rooms. The libraries Stadtbibliothek Cuxhaven Bibliothek der Hansestadt Lübeck also place great stock in public relations Bücherhallen Hamburg by organising concerts, lectures and ex- Stadtbibliothek Bremerhaven Zentral- und Landes- bibliothek Berlin (ZLB) hibitions on the subject of music. No less Stadtbibliothek Bremen Stadtbibliothek Stadtbibliothek important is their role as a place of learn- Friedrichshain-Kreuzberg Pankow Stadtbibliothek Stadtbibliothek Stadtbibliothek ing and a meeting place for all age Charlottenburg- Marzahn-Hellersdorf Wolfsburg Wilmersdorf Stadtbibliothek Hannover groups – sites of information exchange Stadt- und Landes- bibliothek Potsdam Stadt- und Regional- PROPORTION BY TYPE OF Stadtbibliothek bibliothek Frankfurt for professional musicians, schools Stadtbibliothek Osnabrück (Oder) HOLDINGS Essen Stadtbibliothek Stadtbibliothek Magdeburg Stadtbibliothek Sheet music and the world of musical performance Stadt- Braunschweig Stadtbibliothek Neukölln bücherei Steglitz-Zehlendorf Münster Audio-visual and audio recordings 3 Stadtbibliothek Stadtbibliothek Stadt- und Regional- brought together. Duisburg Stadtbibliothek Herne Bielefeld bibliothek Cottbus Books Mediothek Krefeld Stadt- und Landes- Albert Vigoleis bibliothek Dortmund Stadtbibliothek Halle Leipziger Städtischer Bibliotheken Thelen Stadt- Stadtbücherei Bochum Stadtbibliothek Bautzen Large public libraries also preserve bibliothek Stadtbücherei Hagen TOTAL HOLDINGS Viersen Stadtbibliothek Wuppertal Ernst-Abbe- Stadtbüchereien Öffentliche Bibliothek der Stadt Remscheid Stadtbücherei Weimar Bücherei Jena 283,100 histor ical collections. A good example Düsseldorf Stadtbibliothek Köln Stadt- und Regional- bibliothek Erfurt 100,000 is the Central and Regional Library in Städtische Bibliotheken Dresden Stadtbibliothek Chemnitz 50,000 Stadtbibliothek Bonn Stadt- und Regionalbibliothek Gera Stadtbibliothek Aachen Berlin (Zentral- und Landesbibliothek), Stadt- und Kreisbibliothek Greiz Stadtbibliothek Zwickau 10,010 where, among other things, visitors may Stadtbibliothek Koblenz Vogtlandbibliothek Plauen Stadtbücherei Frankfurt am Main Note: The map shows public music libraries use a collection of more than 73,000 LPs Mauritius-Mediathek (Wiesbaden) that are generally maintained as separate departments or areas in municipal libraries RW21 Stadtbibliothek Bayreuth representing the output of sound record- Stadtbücherei Würzburg and offer specialist information from trained Öffentliche Bücherei Anna Seghers (Mainz) Städtische music librarians. The indicated holdings Musikschule include books, sheet music and audio-visual ings in the former state of East Ger many. Stadtbibliothek Palais Walderdorff Aschaffenburg Stadtbibliothek Erlangen and audio recordings, but not periodicals, im Bildungs- und Medienzentrum (Trier) Stadtbibliothek Mannheim special holdings or digital material specific One of the largest of Germany’s public Stadtbibliothek Stadtbibliothek im to music. Ludwigshafen Bildungscampus Nürnberg music libraries is found in the Munich Stadtbibliothek Heilbronn Stadtbücherei Regensburg City Library (Münch ner Stadtbibliothek

Stadtbibliothek Stuttgart Am Gasteig), with 52,000 books, 70 pe- Stadtbibliothek Baden-Baden Stadtbücherei Ingolstadt in cooperation with riodical subscriptions, 122,000 items of Stadtbiblio- Stadtbibliothek Stadtbibliothek thek Sindel- Reutlingen Münchner Stadtbibliothek sheet music and 67,000 sound record- Offenburg fingen Am Gasteig Stadtbücherei Augsburg ings, plus special collections of rare items Ländergruppe Deutschland e.V. Stadtbibliothek Freiburg and autographs. Other large music li-

Cartography: S. Dutzmann braries are located in Frankfurt am Main, Leipzig, 2018 Hamburg, Dresden, Leipzig, Düsseldorf National boundary 025 5075 100 © German Music Council/ km State boundary German Music Information Centre and Stuttgart, not to mention the large district libraries in Berlin. 470 471 Information and Documentation |

Scholarly music libraries RareBe Bookoo ana d Music Readingg RooRo m innB Berlin'in sSs StateLe Librib aryy

The classical tasks of scholarly libraries – collection, acquisition, cataloguing, utili- sation and presentation – also apply in general to their music departments.4 Source material and research literature are indispensible for the practice of musicology, and they must be kept ready to hand with maximum completeness. In Germany, unlike Europe’s more centralised states, this task is spread among various institu- tions. It was not until 1912 that a German national library was founded in Leipzig (Deutsche Bücherei). Its mandate covered all literature published domestically, whether in German or in foreign languages, and all German-language literature published abroad. Only in 1943 was its mandate expanded to include sheet music. Following the partition of Germany, the German Music Archive (Deutsches Musik- archiv, or DMA), located in what was then West Germany, only began to archive depository copies of sheet music in 1973. The nationwide collection of sound record ings in West Germany came equally late, beginning only in 1970. Af- ter the reunification of Germany in 1990, the Deutsche Bücherei in Leipzig and For historical reasons, the great state, regional and university libraries have music the Deutsche Bibliothek in Frankfurt am Main (founded in West Germany in departments with antiquarian holdings (manuscripts, music prints, librettos, post- 1947) were merged into a single national library under the name Die Deutsche humous estates and bodies of correspondence). Today they also collect writings on Bibliothek (known since 2006 as music, sheet music (complete scholarly editions as well as performing editions) Some 270 scholarly libraries, archives and Deutsche Nationalbibliothek). The and sound recordings. Among the largest music departments or collections are research institutes are documented at the German Music Archive (DMA), ini- those of the state libraries in Berlin and Munich. Important music departments are German Music Information Centre, along tially headquartered in Berlin, relo- also found at the Saxon State and University Library in Dresden (Sächsische Lan- with information on their major collec- cated to Leipzig in 2010. A new legal desbibliothek – Staats- und Universitätsbibliothek Dresden) and in Coburg, Darm- tions and administrative structures. mandate of 2006 gave the DMA, in stadt, Detmold, Frankfurt am Main, Karlsruhe, Münster, Schwerin, Speyer, Stutt- addition to sheet music and sound gart, Wolfenbüttel and Hamburg. Similar tasks in research and scholarship are recordings, the obligation to collect and catalogue music publications in the carried out by the libraries of musicological institutes and the specialist libraries of Web (audio files and digitised sheet music). Because of this convoluted history, such research and publishing bodies as the Bach Archive in Leipzig, the Beethoven there still exist gaps, especially in the systematic collection of all sheet music print- House in Bonn, the Joseph Haydn Institute in Cologne and the Max Reger Institute ed in Germany. This gap was and is meant to be closed by a consortium of scholarly in Karlsruhe. libraries known as Collection of German Prints (Sammlung Deutscher Drucke, or SDD). Founded in 1989, it is tasked with the retroactive collection and cataloguing Conservatory libraries of literature, sheet music and maps up to the year 1912. The acquisition of printed music is shared by the Bavarian State Library in Munich (Bayerische Staatsbiblio- Germany is noted for its wealth of tertiary-level conservatories (Musikhoch- thek, or BSB) up to the year 1800, and the Berlin State Library (Staatsbibliothek zu schulen). All of them maintain libraries to serve their own students and teach- Berlin, or SBB) from 1801 to 1945. ing staff. At present, the Conference of Rectors of German Conservatories unites

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Music archives

Music archives can be found in private and public ownership with a very wide va- riety of holdings. They range from the privately funded jazz-related Lippmann+Rau Archive in Eisenach to the archive of the International Music Institute in Darmstadt (IMD), an information centre on post-1946 contemporary music in Germany and abroad, to the German Folk Song Archive (Deutsches Volksliedarchiv) in Freiburg im Breisgau, which has been integrated in the Centre of Popular Culture and Music at Freiburg University since 2014. An equally highly specialised facility is the music archive of the Academy of Arts in Berlin (Akademie der Künste), which preserves posthumous estates and working archives related to contemporary music of the 20th and 21st centuries, mainly by the Academy’s own members and master-class TheT e muusic librab ry of DeDetmold Univn er-e sitity of Musis c, newne lyy oopeop ned iinn 200155 pupils. There are also archival holdings from large music publishing firms such as Schott, Breitkopf and Peters; some are located in the firms’ present premises, others in public institutions such as archives, libraries and research centres.

24 institutions with libraries primarily open to their own members, focusing MUSIC INFORMATION AND DOCUMENTATION CENTRES mainly on study and performance material. Some of them also preserve histori- cal collections. Independently of local music documentation centres, the German Music In- formation Centre (Deutsches Musikinformationszentrum, or MIZ), a central clear- Broadcasting and orchestral libraries and archives ing house for information on musical life in Germany, supports various groups of users. It has large collections of data on the central areas of musical life, including Germany’s broadcasting and orchestral libraries are open only to employees of structural data on more than 11,000 institutions, large collections of statistics and the relevant broadcasting corporation or to members of the symphony or opera specialist articles on individual topics, orches tra concerned. Access to the archives of Germany’s public broadcasters by all with the aim of documenting and At present Germany has 72 public music scholars and researchers was uniformly regulated in 2014. The German Broad- communicating the structure and libraries, all of which can be researched via casting Ar chive (Deutsches Rundfunkarchiv, or DRA), a non-profit foundation of evolution of Germany’s musical cul- the databases of the Music Information Germany’s broadcasting association ARD and Deutschlandradio, is also open to ture. A publicly funded facility, the Centre with information on their holdings. outsiders. One of the country’s largest media archives, the DRA houses large col- MIZ updates its information on a reg- lections of audio and video recordings, written materials, publications and docu- ular basis and systematically prepares it for research purposes under many head- ments. The audio-visual holdings date back to the beginning of sound and video ings. The MIZ is linked with related partner organisations all over the world. recording, thereby documenting the evolution of broadcasting in Germany. Major points of emphasis include radio broadcasting up to 1945 and radio and television Comprehensive access to source collections, information on holdings, and mate- broadcast ing in the former state of East Germany. rials for music and musicology are offered by the Virtual Library of Musicology (Virtuelle Fachbibliothek Musikwissenschaft, or ViFaMusik). Sponsored by the

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Left: single recordings in the Archive for Pop Music Cultures Right: holdings from the German Musical Archive Opposite page: historical songbooks

Founded in 1914 as the German Folk Song Archive, the Centre of Popular Culture and Music at Freiburg Uni- versity is devoted to collecting and studying traditional songs, musicals, pop songs and other types of music.

or do research in Germany (at present the GfM has 1,600 members). An expansion German Research Foundation (Deutsche Forschungsgemeinschaft, or DFG), the of this circle of users outside of the GfM’s membership is currently being negoti- project was established between 2005 and 2013 at the Bavarian State Library (BSB) ated. The GfM provides ‘a forum for information and exchange of ideas for all those in collaboration with the State Institute for Music Research in Berlin (Staatliches interested in concepts and questions regarding Music History, Ethnomusicology, Institut für Musikforschung, SIM) and the German Musicological Society in Kassel and Systematic Musicology. […] The Society also promotes musicological research (Gesellschaft für Musikforschung, GfM). Since 2014, ViFaMusik has been part of the in collaboration with other academic fields. In addition, one of the prime tasks of Specialised Information Service for Musicology (Fachinformationsdienst Musik- the Society is seen in the communication of knowledge in all areas of music to a wissenschaft, or FID) under the aegis of the BSB. In addition to the participating wider public.’6 institutions, the musicological community is closely involved in the further develop - ment of ViFaMusik. Its main offering is a meta-search engine into the musical One important recent development is the joint project ZenMEM (Zentrum Musik – holdings of major European music libraries, including those in Berlin, Leipzig, Lon- Edition – Medien), a consortium of musicologists from Paderborn University, Det- don, Munich and Vienna, as well as the database of Répertoire International des mold University of Music and the University of East Westphalia-Lippe that has Sources Musicales (RISM), the tables of contents of standard periodicals and care- been in existence since 2014. It is financed by the Federal Ministry of Education and fully selected internet resources.5 Offerings such as ‘JSTOR Complete Music Col- Research as part of the grant programme for founding digital humanities centres. lection’ or ‘Index to Printed Music’ are reachable via the FID, where the databases Among its declared goals are ‘to promote the use of digital methods’, ‘to set up range from general reference collections to specialist data collections for public corresponding digital resources’ and ‘to further expand standard tools’ in the field and scholarly libraries. Until now, because of licensing legislation, free access to of music. Especially important is the Music Encoding Initiative format (MEI), devel- fee-based offerings has been granted only to members of the German Musicologi- oped from the Text Encoding Initiative (TEI) employed in text research. cal Society (GfM), the professional association for musicologists who teach, study

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The above-named International Association of Music Libraries (IAML) and the equivalent to GCSEs in Great Britain. The training programme is general in nature International Musicological Society (IMS) are jointly responsible for several vital without a special emphasis on music. research-related projects. One is Répertoire International des Sources Musicales (RISM). Founded in 1952 and now headquartered in Frankfurt am Main, it refer- Owing to the digital revolution, the occupational profile has changed so markedly ences sources on music ranging from pre-1800 music prints, post-1600 music that course material must be adapted at ever-shorter intervals. Curricula now cover manuscripts, sources on music theory, and Arabic, Greek, Hebrew and Persian such topics as Strategies in the Semantic Web, Digital Archiving and Acquisition sources. This transnational non-profit organisation is funded primarily by Ger- and Processing of Online Media. The current technological and economic upheavals many via the Union of the German Academies of Sciences and Humanities.7 Musi- are causing knowledge to become ever-more rapidly obsolete, with the result that cologists and performers have at their disposal, free of charge, the RISM-OPAC of advanced training in information and documentation is now de rigueur. the BSB in Munich, with a database hosted by the SBB in Berlin. In addition, since 1971 RIdIM (Répertoire International d’Iconographie Musicale) has been document- CURRENT DEVELOPMENTS ing visual material related to music, principally in the visual arts and handicrafts. RILM (Répertoire International de Littérature Musicale), headquartered in New The origin and operation of the Virtual Library of Musicology (ViFaMusik), the York, has been listing writings on music, such as monographs and essays, since on-going transformation of collections relevant to musical performance and re- 1967. This international bibliography with roughly one million entries on scholarly search into online repositories, the generation of research data in digital editions, studies of music also provides abstracts. Information for the German area of RILM the changing behaviour of publishers (e-media, open access), the digital publica- is supplied by the database ‘Bibliographie des Musikschrifttums online’, offered tion of audible music via downloads or streaming: all of these are symptoms of a free of charge by the SIM in Berlin and now boasting more than 360,000 entries. ‘change of paradigms in archiving’,11 as are the specific demands they place on data The fourth of the so-called ‘R’ projects is RIPM (Répertoire International de la Presse modelling and retrieval systems, algorithmic analytical methods, text mining, Musicale), which has, since 1980, listed music-related articles and illustrations optical character and optical music recognition, and disciplinary and interdisci- from rare primary-source music periodicals from the 18th to 20th centuries. plinary contextualisation through linked (open) data.12

TRAINING AND ADVANCED EDUCATION ‘Digital’ is not just another term for ‘electronic’; it is ‘an episteme, and thus an order of knowledge all its own’.13 In any event, it changes the millennia-old function of As most German libraries are financed by the public sector, library services are libraries and archives as memory institutions pure and simple. The growing pres- mainly structured in accordance with the conditions underlying the civil service. ence of the digital, the increasing number of digital originals (‘digital born’) and As a result, there are higher and mid-level civil servants employed at scholarly and the associated specific nature of encoded information (as opposed to historically public libraries.8 The prerequisite for access to higher-level civil service is a degree generated knowledge) have brought about a seismic shift in the way we perceive in musicology followed by an internship or post-graduate training.9 Studies for en- search results, modes of access and ultimately the conditions of reception. tering higher-level service at scholarly or public libraries are offered with various degrees by technical colleges inter alia in Hanover, Leipzig, Potsdam and Stuttgart. The classical library was a cult site that reinforced the continuum known as histo- Courses related to music librarianship can be taken as part of degree programmes rical memory, which could be monumentally safeguarded between the covers of in information and media studies.10 The prerequisite for a three-year training pro- a book or durably conserved on sound and video recordings. In contrast, a digital gramme for employment in the media and information services, or for mid-level library generated from linked data files can be used without references to histo- library service, is the mittlere Reife, a secondary school leaving certificate roughly ry or cognitive references generated by librarians or archival administrators. As a

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result, a mandatory and historically legitimised ontology has become obsolete. Petrucci Music Library), with a correspondingly ‘free’ and less regulated structure, The digital creates an ‘an-historical’ reality in a virtual universe. In principle, any- all demand contextualisation and visualisation ‘on diverse platforms and portals thing can be linked with anything else. in the internet, such as institutional websites, regional culture portals, the German Digital Library, Europeana or Archivportal-D’.14 In the electronic library the traditional static catalogue gives way to dynamic search engines and discovery systems. Even RISM-OPAC, developed and hosted at Admittedly, extant analog systems that guide users to a library’s holdings, making the BSB to make data from music manuscripts available wordwide, acknowledges them systematised and accessible, are not yet obsolete. Many conventional card ca- this dynamic principle and is constantly being expanded along these lines. talogues with references to special holdings have yet to be converted. But this will

Digitisation Centre at the Bavarian State Library happen with the passage of time and the growth of digitisation, which in evitably Before the information landscape was universally digitised, and thus until well entails a conversion of metadata or even a new cataloguing system. Extant CD-ROM into the 1990s, specialist searches were usually limited to library catalogues and a databases, and especially internet sources such as net publications and e-media few specialist databases. Today, in contrast, researchers have at their disposal a vir- of every type (e-books, e-journals, databases), must be sorted and archived as in- tually limitless multitude of digital information resources and search tools, from formation with proof of their relevance to the subject at hand. Research data in the discovery system to specialist databases and portals to technical and institu- the humanities is usually ‘digital representation and processing forms of cultural tional repositories and scholarly search engines. In particular, the wide- ranging objects which ought, in principle, to be presented in the same way as in tradition- and constantly expanding digital collections present on the internet, whether gen- al archives and libraries’.15 The digital transformation of research itself, and of its erated in accordance with the standards of librarianship (as in the Digital Collec- publication, thus requires ‘not less but more preparation and saving of content’, tions of the Library of Congress) or based on private initiatives (as in the IMSLP/ meaning in this case research data.16

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Digital research data can be ‘both the origin and the result of scholarly work’ and is The specific demands placed on data modelling – authority data, music and text ‘documented in regulated and machine-readable form, catalogued in accordance encoding (MEI, TEI), protocols, documentations, decisions on formats and stan- with international standards (ideally) and marked with authority data, making it dards and so forth – already necessitate an appropriate workflow and efficient and amenable to both processing and interpretation’.17 The many digital and hybrid proactive resource management in the course of scholarly research, and not just in publishing projects in German-language musicology, which generate such re- the context of a library’s collection activities. It is thus essential to establish, at an search data using music and text encoding (e.g. in the Edirom Virtual Research early stage, a close-knit cooperation when developing projects between scholar- Group), must ensure that the data is securely stored and reusable once the project ship and information infrastructure facilities. concerned has come to an end.18 The boundaries between archives, libraries and research were thus redrawn long Thus, in recent years even the traditional work of specialist librarians has markedly ago. A cautious glimpse into the future also suggests that the traditional activities changed. Where it was once purely a matter of acquisition and cataloguing, it has of librarianship will become less and less important, for ‘the future task of the li- now expanded into multilevel activities. The librarian is now a conduit and, at brary as knowledge infrastructure’ will chiefly be ‘to curate the basically infinite the same time, an agent of ‘knowledge management’ in dialogue with special- linked open data space’20 – a service defined primarily by technology. ist fields and information technology (‘embedded librarianship’). The demands placed on librarians with regard to specialist expertise have grown accordingly. This affects questions regarding information technology, the ordering and orga- Martina Rebmann has been head of the music department at the Berlin n isation of knowledge in the ‘ecosystem of contextualised and networked data State Library since 2008. Before then she headed the music collection of collections’,19 strategies for long-term archiving and utilisation, and questions of the Baden Regional Library in Karlsruhe. licensing and rights management that arise especially when holdings are pre- sented online and reused. Reiner Nägele became director of the music department of the Bavarian State Library in Munich in 2009. Before then he headed the music collec- In this light, recent years have witnessed the birth of a number of innovative li- tion of the Württemberg Regional Library in Stuttgart. brary service concepts that offer scholars support and cooperation in dealing with digital data, documents, tools and infrastructures in their research and teaching. At the Bavarian State Library, for instance, these include the Electronic Publishing Centre (Zentrum für elektronisches Publizieren) and the International Image Inter operability Framework project (IIIF), which sets new standards for presenting 1 See RfII – Rat für Informationsinfrastrukturen: Leistung aus Vielfalt. digital images and data in the internet. Similarly DaFo (Daten für die Forschung), Empfehlungen zu Strukturen, Prozessen und Finanzierung des the internationally accessible free downloading service for high-resolution images Forschungsdatenmanagements in Deutschland (Göttingen, 2016), and their associated texts (if already machine-readable); the possibility of image- online at http://www.rfii.de/download/rfii-empfehlungen-2016 based similarity searches; and the development of application scenarios for Opti- (accessed on 16 July 2018). cal Music Recognition (OMR) in the musicological information service Musiconn: 2 Forum Musikbibliothek: Beiträge und Informationen aus der musikbiblio- all offer novel opportunities in the scholarly study of music and related fields thekarischen Praxis (Weimar, 1978- 99; Berlin, 2000- ), ed. by the German of research. chapter of IAML. Available online from 2012 at http://www.aibm.info/ publikationen/forum-musikbibliothek (accessed on 10 October 2018).

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3 See also the MIZ’s focus on ‘Public Music Libraries’ at https://themen. Lage der Bibliothek’, Bibliothek – Forschung und Praxis, 39 (2015), miz.org/fokus-oeffentliche-musikbibliotheken (accessed on 17 Octo- pp. 268-76, quote on p. 273. ber 2018). 15 Position paper of the German Association of Historians (VHD) 4 Martina Rebmann, ‘Musikabteilungen in wissenschaftlichen Biblio- on the creation of a nationwide research data infrastructure at theken. Aktueller Stand: Kooperationen, Projekte, Perspektiven’, https://www.historikerverband.de/verband/stellungnahmen/ Musikbibliotheken – Neue Wege und Perspektiven, special issue of positionspapier-zur-schaffung-nationaler-forschungsdateninfra Zeitschrift für Bibliothekswesen und Bibliographie (ZfBB), ed. Michael strukturen-nfdi.html (accessed on 10 October 2018). Fernau, Reiner Nägele and Martina Rebmann, 59/3-4 (2012), pp. 129-36. 16 Elmar Mittler, ‘Wohin geht die Reise? – Bibliothekspolitik am Anfang 5 Research options are discussed in Susanne Hein’s article ‘Musik- des 21. Jahrhunderts’, Bibliothek – Forschung und Praxis, 41 (2017), recherche’ on the pages of the MIZ at http://www.miz.org/static_de/ pp. 213-23, quote on p. 219. themenportale/einfuehrungstexte_pdf/08_MedienRecherche/ 17 Jenny Oltersdorf and Stefan Schmunk, ‘Von Forschungsdaten und hein.pdf (accessed on 16 July 2018). wissenschaftlichen Sammlungen: Zur Arbeit des Stakeholder- 6 See https://www.musikforschung.de/index.php (accessed on 16 July 2018). gremiums “Wissenschaftliche Sammlungen” in DARIAH-DE ’, 7 See http://www.rism.info/de/unternehmen/ (accessed on 16 July 2018). Bibliothek – Forschung und Praxis, 40 (2016), pp. 179-85, quote on p. 182. 8 Information can be found in the internet on the home pages of tech- 18 See ‘Grundsätze zum Umgang mit Forschungsdaten der Allianz der nical colleges and hiring institutions, e.g. at http://staatsbibliothek- deutschen Wissenschaftsorganisationen’, ratified on 24 June 2010, berlin.de/extras/spezielle-interessen/ausbildung/weiterfuehrende- available at https://www.ratswd.de/download/RatSWD_WP_2010/ informationen (accessed on 10 October 2018). RatSWD_WP_156.pdf (accessed on 10 October 2018). 9 Further information inter alia at http://staatsbibliothek-berlin.de/ 19 Mittler, ‘Wohin geht die Reise?’ (see note 16), p. 217. extras/spezielle-interessen/ausbildung/referendariat/; 20 Klaus Ceynowa and Lilian Landes, ‘Neuer Wein in neuen Schläuchen: https://www.ibi.hu-berlin.de/de/studium/fernstudium/startseite Von Wissenschaftlern, die nicht nur anders publizieren, sondern and https://bibliotheksportal.de/informationen/beruf/berufswege/ auch anders schreiben werden’, Bibliothek – Forschung und Praxis, wissenschaftlicher-dienst (accessed on 16 July 2018). 38 (2014), pp. 287-93, quote on p. 292. 10 Information on course offerings at https://bibliotheksportal.de/ informationen/beruf/berufswege/studium; information on study locations at http://marvin.bibliothek.uni-augsburg.de/cgi-bin/daps2. pl? instliste=hochschule (accessed on 16 July 2018). 11 Aleida Assmann, quoted from Alexander Roesler and Bernd Stiegler, eds., Grundbegriffe der Medientheorie (Paderborn, 2005), p. 25. 12 On the standard technologies and technical terms see Fotis Jannidis et al., eds., Digital humanities: Eine Einführung (Stuttgart, 2017). 13 Hanna Engelmeier, ‘Was ist die Literatur in “Digitale Literatur”’, Merkur 71 (2017), pp. 31-45, quote on p. 32. 14 Klaus Ceynowa, ‘Vom Wert des Sammelns und vom Mehrwert des Digitalen – Verstreute Bemerkungen zur gegenwärtigen

484 485 MusicAl life in Germany

This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

Authors Prof. Dr Hans Bäßler | Prof. Dr Michael Dartsch | Dr Heike Fricke | Stefan Fricke | Barbara Haack | Prof. Christian Höppner | Prof. Dr Arnold Jacobshagen | Hans-Jürgen Linke | Dr Richard Lorber | Prof. Dr Julio Mendívil | Gerald Mertens | Dr Reiner Nägele | Prof. Dr Ortwin Nimczik | Dr Martina Rebmann | Dr Astrid Reimers | Prof. Dr Karl-Heinz Reuband | Dr Tobias Eduard Schick | Prof. Dr Dörte Schmidt | Prof. Dr Holger Schramm | Prof. Dr Wolfgang Seufert | Benedikt Stampa | Prof. Dr Johannes Voit | Prof. Dr Meinrad Walter | Prof. Dr Peter Wicke | Prof. Dr Franz Willnauer

Advisers Dr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University The translated version of this publication of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music was made possible by the kind support Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | of Hal Leonard Europe GmbH. Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

A publication of the German Music Information Centre

2 3 Picture credits

Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

the information has been obtained and checked with maximum care. Nonetheless, neither the German Unless otherwise indicated, picture credits on pages with more than one photograph occur line by line from left to right. Music Council nor the German Music Information Centre can assume liability for its accuracy. Readers are

invited to send all questions and comments regarding the contents to Title page/spine/bookmark: a member of the Youth Symphony Orchestra of Leipzig Music School performing at the German Orchestra Competition in Ulm, 2016. © Jan Karow

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Ch. 4 | Music Communication Ch. 9 | Music Theatre

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160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche 175 © Bertram Maria Keller (top) | © Rebecca Kraemer 162 © Notenspur Leipzig e.V./Foto: Daniel Reiche (middle) | © Heiko Rhode (bottom) Ch. 11 | Festspiele and Festivals 176 © Volker Beurshausen für LMA NRW 166 © EPiD Page Copyright Page Copyright 167 © EPiD/Foto: Marianne Gorka | 178 © Bundesakademie Trossingen/Nico Pudimat © EPiD/Foto: Hartmut Merten 179 © Landesakademie für die musizierende Jugend 300/301 © Axel Nickolaus 315 © Janet Sinica 169 © DCV/Alex Zuckrow | © DCV/Rainer Engel in Baden-Württemberg/Foto: Steffen Dietze 303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze 316 © Kurt Weill Fest Dessau GmbH/ Fotos: Sebastian Gündel 172 © Jan Krauthäuser 180/181 © Jan Karow 304 © Bayreuther Festpiele/Enrico Nawrath 185 © Jan Krauthäuser 306/307 © KunstFestSpiele Herrenhausen, 319 © Thüringer Bachwochen Fotos: Helge Krückeberg, 2018 320 © Ansgar Klostermann Ch. 7 | Orchestras, Radio Ensembles and Opera Choruses 308 © Thomas Ziegler 321 © Marco Borggreve 312 © WPR Schnabel (top left) | 322 © Musikfest Erzgebirge Page Copyright Page Copyright © Lutz Voigtländer (bottom left and right) 325 © Claus Langer/WDR 313 © Lutz Edelhoff 188/189 © Peter Adamik 205 © Susanne Diesner | © Jan Roloff 191 © Matthias Creutziger 207 © Gert Mothes 192 © Markus Werner 208 © Adrian Schulz Ch. 12 | Contemporary Music 193 © Marian Lenhard 211 © WDR | © WDR/Thomas Kost 194/195 © Peter Meisel (BRSO) 212 © Marco Borggreve Page Copyright Page Copyright 198 © Stefan Höderath 213 © rbb/Thomas Ernst 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © Deutscher Musikrat/Gerardo Scheige 202 © Ufuk Arslan 215 © Selina Pfruener | © Silvano Ballone 332/333 © SWR/Oliver Reuther 344 © IMD/Daniel Pufe 335 © Ursula Kaufmann/Ruhrtriennale 2018 345 © IMD/Jens Steingässer | © IMD/Daniel Pufe 336 © Martin Sigmund 348 © Antoine Porcher Ch. 8 | Independent Ensembles 337 © Koen Broos 349 © Markus Scholz (left and top right) | © Kathrin Singer (bottom right) Page Copyright Page Copyright 218/219 © Dominik Mentzos Photography 232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats- Ch. 13 | Popular Music 220 © Gerhard Kühne archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent Page Copyright Page Copyright 222 © Holger Talinski | © Geoffroy Schied (bottom right) 223 © Sonja Werner (top) | © Geoffroy Schied (middle and 350/351 © Timmy Hargesheimer 365 © Christian Faustus bottom right) | © Holger Talinski (bottom left) 233 Stadtarchiv Konstanz/picture: Stefan Morent 353 © Reinhard Baer 366 © NDR/Rolf Klatt 226 © Holger Schneider 234 © Fabian Schellhorn 356 © Carsten Klick 369 © MDR/ORF/Peter Krivograd | 227 © Capella de la Torre/Andreas Greiner-Napp 236 © Kai Bienert | © Barbara Aumüller 358 © Sandra Ludewig © MDR/ARD/Jürgens TV/Dominik Beckmann 229 © Jörg Hejkal 237 © Walter Vorjohann 360 Melt Festival © Stephan Flad 372 © Jan Krauthäuser 238 © Beate Rieker/ensemble recherche 361 © ICS Festival Service GmbH/Rolf Klatt

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Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

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400/401 © Oliver Jentsch 408 © D. Joosten | © Frank Diehn 402 © Andy Spyra 409 © S. Hauptmann (top and bottom right) | Ch. 20 | Preferences and Publics © Matthias Kimpel (middle and bottom left) 405 © Silverangel Photography Page Copyright Page Copyright 410 © Daniela Incoronato 510/511 © Konzerthaus Berlin/David von Becker 521 © NDR/Foto: Micha Neugebauer 513 © Stefan Gloede 524 © Jonathan Braasch Ch. 16 | Music in Church 514 © Semperoper Dresden/Matthias Creutziger (top left) | 525 © Lutz Edelhoff Page Copyright Page Copyright © Martin Sigmund (bottom left)| © Niklas Marc 526 © NDR/Alex Spiering Heinecke (top right) | © Leo Seidel (bottom right) 529 KunstFestSpiele Herrenhausen, 414/415 © Beatrice Tomasetti 423 © Michael Vogl 515 © Bayerische Staatsoper/Felix Loechner Foto: Helge Krückeberg, 2018 416 © MBM/Mathias Marx 424 © Eugène Bornhofen 518 © Landestheater Detmold/Kerstin Schomburg | 530 © Saad Hamza 419 © Antoine Taveneaux/CC BY-SA 3.0 (top left) | 427 gemeinfrei | © Gottfried-Silbermann-Gesellschaft | Landestheater Detmold/A. T. Schäfer © Deutsches orthodoxes Dreifaltigkeitskloster © Michael Zapf | © Martin Doering (bottom left) | © Beatrice Tomasetti (top right) | 431 © Cornelius Bierer © Tobias Barniske (bottom right) 434 © Gert Mothes 420/421 © Hartmut Hientzsch 440/441 © Stefan Korte Ch. 21 | Music in Broadcasting 422 © Matthias Knoch Page Copyright Page Copyright

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