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Computer science and the humanities seem to belong to two opposite sides within the spectrum of scientific methods and research. In the domain of digital humanities, however, formalization and hermeneutic interpretation have to be integrated. As will be argued in this article, this integration provides a fundamentally new challenge to both disciplines. In particular, researchers from the humanities want to be sure that using the tools provided by computer science (big data, machine learning, etc.) do not change insights in any non-expected way. However, even if this could be partially secured, it cannot be achieved in general for most of the research practices. As will be demonstrated in the context of digital editions in musicology, it is impossible to design technology in a neutral or context-free manner. Due to the interests of different actors and institutions, numerous design conflicts arise where the implementation of requirements violates other, equally valid demands. To balance these conflicting requirements invariably brings some bias to the overall design. Thus, it is important to develop a strategy for identifying potential influences as well as the impact of design decisions throughout the whole process of developing tools and infrastructures. The paper presents an approach for hypotheses driven design of digital tools and infrastructures from a computer science point of view, placing great emphasis on supporting mutual understanding and ensuring a transparent design process.

In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time, all serve as examples. The significance of metatexts and connections in terms of materiality are also discussed. Conceptional principles of such a Digital Beethoven Edition would include an inclusive approach allowing for multiple perspectives, which greatly expands both the number of sources on which an edition is based and the potential for insight, in contrast with traditional editions.

This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.

The project “Creational Processes in Music 2.0 – Incorporating audiovisual media of popular music into methods of digital editions” aims to document, evaluate and thus investigate dimensions of musical creation processes that have not previously been ascertainable. It focuses on group related creativity, using qualitative research and ethnographical methods in order to investigate the self-perception of group members on the one hand, while on the other hand the creative process was documented and analyzed directly (module 2). The Melodic Hardcore Band Close to the Distance thankfully agreed to be interviewed in module 1 and to take part in a passive participant observation in module 2. In a third project module, current tools of digital musical editions were explored regarding their possibilities of incorporating audiovisual sources in order to gain a deeper insight into the ethnographically collected material.

Musicology has long since been established as central part of the so-called Digital Humanities. For many areas of music culture as a whole, digitization is considered the central paradigm of our time. But what exactly does this mean, and is it not unusual for technical and cultural developments to be thrown through and into each other? In literary studies as well as in cultural and contemporary history, a critical discussion has already begun on the multiple narratives and projections about „(post)digitality“, which are particularly common in science itself. Against this background, the article pleads for taking digitality seriously as an object of investigation in historical musicology (and possibly also in the history of musicology) and for initiating a corresponding field of research. For example, what promises and debates about loss associated with digitality can be observed within music culture at different times and in different contexts, but also what sources could provide information about this. The introduction of the CD in the 1980s and the emergence of the EDM sub-genre Glitch in the mid-1990s serve as starting examples for such a critical-historical view of and on digitality.

Ein Volltext für den Gesamtband liegt nicht vor. Nur die mit diesem Datensatz verknüpften Beiträge wurden auf Qucosa als Open Access-Veröffentlichung publiziert.

Im Oktober 2020 hat die erste Förderphase zum Aufbau einer Nationalen Forschungsdateninfrastruktur (NFDI) für das deutsche Wissenschaftssystem begonnen. Innerhalb der NFDI haben sich die Gesellschaft für Musikforschung und zahlreiche musikwissenschaftliche Forschungsinstitutionen gemeinsam mit Vertretern der Fachbereiche Architektur, Kunstgeschichte, Theater-, Film- und Medienwissenschaft zum Konsortium NFDI4Culture zusammengeschlossen, um Strategien und Werkzeuge für ein fachspezifisches Forschungsdatenmanagement für materielle und immaterielle Kulturgüter zu entwickeln. Für das Fach Musikwissenschaft erfahren die Grundsätze zum Umgang mit Forschungsdaten der Allianz der deutschen Wissenschaftsorganisationen aus dem Jahr 2010 und die Leitlinien zum Umgang mit Forschungsdaten der Deutschen Forschungsgemeinschaft aus dem Jahr 2015 hier zum ersten Mal eine systematische Anwendung. Die vorliegende Arbeit wurde am 9. Mai 2017 an der Humboldt-Universität zu Berlin als Masterarbeit eingereicht und am 18. September 2017 erfolgreich verteidigt. Aufgrund der vorstehend beschriebenen Entwicklungen haben die hier veröffentlichten Untersuchungsergebnisse und Beobachtungen bis heute grundsätzlich nichts an ihrer Gültigkeit verloren, gleichwohl es mit der NFDI nun aber eine konkrete Perspektive für den Aufbau eines fachspezifischen Forschungsdatenmanagements für das Fach Musikwissenschaft gibt. Ich bin daher gerne der Einladung gefolgt, die Arbeit auch knapp vier Jahre nach ihrer Entstehung auf musiconn.publish zu veröffentlichen. Der Text spiegelt den Sach- und Wissensstand vom Zeitpunkt seiner Einreichung wieder und wurde für die vorliegende Publikation nur marginal überarbeitet.