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Media – History Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. © 2021 transcript Verlag, Bielefeld Cover layout: Maria Arndt, Bielefeld Cover illustration: Astrid Sodomka Proofread by Anthony Kroytor Translated by Gavin Bruce (Hanns-Werner Heister's text) Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-5145-4 PDF-ISBN 978-3-8394-5145-8 https://doi.org/10.14361/9783839451458 Printed on permanent acid-free text paper. Contents Editor’s Note .................................................................... 7 An Introduction ................................................................. 9 “Living in a Material World,” Contemplating the Immaterial One—Musings on What Sounds Can Actually Tell Us, or Not Emile Wennekes (Utrecht University) .................................................15 The (Re)Construction of Communicative Pasts in the Digital Age Changes, Challenges, and Chances in Digital Transformation Christian Schwarzenegger (University of Augsburg) ..................................31 The Narratological Architecture of Musical lieux de mémoire A Transmedial Perspective on Antonio Stradivari Matej Santi (University of Music and Performing Arts Vienna) ......................... 51 Beethoven in 1970, Bernstein and the ORF: Cultural Memory and the Audiovisual Cornelia Szabó-Knotik (University of Music and Performing Arts Vienna) .............. 81 Women’s Voices in Radio Julia Jaklin (University of Music and Performing Arts Vienna) ...................... 107 ‘Real Sound,’ Readymade, Handmade: Musical Material and the Medium Between Mechanization, Automation, and Digitalization as an Impression and Expression of Reality An Implicit Call for Real Interdisciplinarity Hanns-Werner Heister .............................................................. 119 Sonic Icons in A Song Is Born (1948): A Model for an Audio History of Film Winfried Pauleit (University of Bremen) ............................................. 151 The Production, Reception and Cultural Transfer of Operetta on Early Sound Film Derek B. Scott (University of Leeds)................................................ 169 The Address of the Ear: Music and History in Waltz with Bashir Rasmus Greiner (University of Bremen) ............................................ 183 “I’ve never understood the passion for Schubert’s sentimental Viennese shit”—Using Metadata to Capture the Contexts of Film Music Elias Berner (University of Music and Performing Arts Vienna) .......................197 Connecting Research: The Interdisciplinary Potential of Digital Analysis in the Context of A. Kluge’s Televisual Corpus Birgit Haberpeuntner and Klaus Illmayer (University of Vienna and Austrian Academy of Science) ...............................................................217 Modelling in Digital Humanities: An Introduction to Methods and Practices of Knowledge Representation Franziska Diehr (Prussian Cultural Heritage Foundation)............................ 241 Playing with a Web of Music: Connecting and Enriching Online Music Repositories David M. Weigl and Werner Goebl (University of Music and Performing Arts Vienna).. 263 A Few Notes on the Auditive Layer of the Film ★ Johann Lurf (Artist and filmmaker) ................................................ 283 Afterword John Corner (University of Leeds).................................................. 287 List of Contributors .......................................................... 293 Editor’s Note This volume of Music—Media—History deals with a number of topics relating to digital humanities, more specifically to musicology, collecting contribu- tions by a group of international experts from a variety of fields. Most of the chapters in this book were originally discussed at an interdisciplinary con- ference held at the University of Music and Performing Arts Vienna in early 2019 and organized by the Telling Sounds research project (www.mdw.ac.at/ imi/tellingsounds), which was planned and financed as an enrichment of the university’s infrastructure. Using digitally available audiovisual material stored in various archives and collections and enriching their metadata by means of historical expertise and research, this project’s main objective is to understand historicity as a socially and politically significant phenomenon in our society, a society in which it has become a part of everyday life to have immediate access to all manner of information as well as music and music repertoires of the most diverse origins and initial modes of distribution. This research is ongoing; the present volume documents an important step in its development as well as representing the growing international aca- demic community involved. We want to thank all the individuals and institutions who have made this book possible in spite of the unforeseeable difficulties caused by the pandemic in Spring 2020 (in alphabetical order): Gavin Bruce (translation of Hanns- Werner Heister’s text), Julia Jaklin (text formatting), Anthony Kroytor (proof- reading), Astrid Sodomka (cover design) and Cornelia Szabó-Knotik (head of the Telling Sounds research project); the mdw and the Ministry of Science for their financial support and the publisher for their valuable cooperation. Matej Santi and Elias Berner (Editors) An Introduction to the subject The thematic question common to all the articles in this volume is: Howcould audiovisual sources (radio broadcasts, newsreels, film, amateur recordings), now digitized and available on the internet, be evaluated and made into fruit- ful research opportunities? Examined closely, each concept of the tripartite structure music–me- dia–history is related to—and depends on—the others. Broadly speaking, media exert a significant influence on the storage and transmission ofin- formation and, consequently, on what is remembered and what is forgotten. Thus, history takes place through the interpretation of stored information, its communication by media, and its dissemination by means of media transmission. The same holds true for the history of music. By taking a closer look at what falls under the umbrella term ‘music his- tory’—at least as reflected by those publications from the first decades of the 21st century which take an overview approach1—it becomes apparent that ‘written music,’ or music codified in signs on a physical carrier, is the primary object of study. Popular music or the musical practices of other cultures are relegated to the edge of this Eurocentric history of music. This is in part due to the problematic relation to the concept of ‘musical work.’ At the beginning of its career as an academic discipline, historical mu- sicology focused on finding out, analyzing and evaluating sources—such as 1 Cf.e.g.Heinemann,Michael. Kleine Geschichte der Musik. Stuttgart: Reclam 2004; Keil, Werner. Musikgeschichte im Überblick. München: Fink, 2012; Taruskin, Richard, and Christopher Howard Gibbs. The Oxford History of Western Music: College Edition. New York,Oxford:OxfordUniv.Press,2013.Anattempttocounteractthistrendappearedin 2018: Strohm, Reinhard. Studies on a Global History of Music: A Balzan Musicology Project. New York: Routledge, 2018. 10 MatejSantiandEliasBerner music manuscripts and biographic entries. Needless to say, this type of study could only be approached by attributing a privileged status to ‘written’ mu- sic—i.e. medialized information codified by a sign system and recorded on a physical carrier such as stone, parchment, and later paper. This is due to the fact that the technology of sound recording and reproduction,
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