Ziel dieses Beitrags ist es, Bereiche der Musikwissenschaft aufzuzeigen, die in Litauen im letzten Jahrzehnt den intensivsten Wandel erlebt haben.

This paper will trace the development of musicology in Estonia, focusing especially upon some research problems and methods used for investigating folk music in the 1970s and 1980s.

Das musikwissenschaftliche Institut der Universität Breslau galt vor dem Zweiten Weltkrieg als eine der am reichsten mit Quellen ausgestatteten Forschungsstätten. Bedeutende Forscher lehrten hier. Der Lehrstuhl wurde besetzt von Otto Kinkeldey (1910–1914), Max Schneider (1915–1928) und Arnold Schmitz (1929–1939), als Dozenten waren hier Walther Vetter (1927, 1934–1936), Ernst Kirsch (Privatdozentur 1926, Professur 1935), Peter Epstein (1927–1932) und Fritz Feldmann (1932–1941) tätig. Arnold Schmitz (korrekt in Lexika Franz Arnold Schmitz) kommt in dieser Reihe besondere Bedeutung zu.

Die folgende ideen- und fachgeschichtliche Skizze ist kein Plädoyer für Diskontinuität, sondern für ein geschichtliches Kontinuum innerhalb der akademischen Fachdisziplin Musikwissenschaft in einem anderen als dem bisher tradierten und praktizierten Sinn, der vornehmlich darauf hinauslief, eine lebendige, diskussionsfreudige Wissenschaft zu schwächen, zugunsten eines Kanons mit Qualitäts- und Fortschrittsansprüchen, einer Kette von Werturteilen.

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At the beginning of this discussion, Tobias Janz introduces three areas in which musicology and music theory might benefit from a more thorough study of »sound«: (1) in music analysis, instrumental sound should not merely be understood as the manifestation of an abstract pitch-rhythm structure but the interaction of sound and structure should be acknowledged (a piano reduction from one of Haydn’s symphonies compared to one of Haydn’s piano sonatas reveals a substantially different idea about musical structure); (2) the origins of an exclusion and emancipation of the sound paradigm should be traced in music history and aesthetics, and it might be discussed to what extent a depreciation of sound has shaped our understanding of music until the present; (3) from a sociological perspective, an emphasis on sound has often been associated with popular music; since the early twentieth century, both popular and art music cultures have had a long history of treating the emancipation of sound as a predominant musical tool and medium, and thus these two »cultures« should not be regarded as entirely separate »worlds«, but rather as interactive. The other discussants broadly support the notion that sound is still a neglected area in music research by raising a variety of perspectives: our tools for describing sounds verbally and analytically are underdeveloped, and it is not always clear in which man- ner the idea of »composing [with] sounds«, for example in electronic music, should be grasped theoretically (Elena Ungeheuer); analyses of classical formal types and functions should rethink the common notion that sound and timbre are »secondary parameters« while the perception of form clearly depends on a more complex interaction between the diverse levels or parameters of the sounding events (Markus Neuwirth); established models of pitch-based analysis such as pitch-class set theory have to be complemented by aspects of register, timbre etc. which also would make their results more applicable in pedagogical situations (Lukas Haselböck); a deprecation of »Schöne Stellen« (beautiful moments) as structurally unimportant might often prevent music theorists from integrating auditory experience into analytical practice (Ludwig Holtmeier). Further aspects raised in the discussion with the audience include the idea that theory and analysis should focus more on how sounds are invented intuitively and »haptically«, for example by studying the tradition of the pianiste-compositeur and its interaction of improvisation and composition; the problem faced by a history of musical listening derived from written sources; the necessity to integrate comparisons of different performances of the same piece into a sound-based analysis of musical works; and the necessity of interdisciplinary musical research as exemplified by projects that aim to reconstruct such historical listening spaces and situations as, for instance, the Beethoven era.