Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-24T13:54:12Z No. of bitstreams: 1 Dissert. Fabio Freire da Costa.pdf: 2299847 bytes, checksum: 841d843dbdd4d45e6adf4722c931d650 (MD5) / Made available in DSpace on 2013-05-24T13:54:12Z (GMT). No. of bitstreams: 1 Dissert. Fabio Freire da Costa.pdf: 2299847 bytes, checksum: 841d843dbdd4d45e6adf4722c931d650 (MD5) Previous issue date: 2007 / A presente dissertação objetiva discorrer sobre as funções que a música pop exerce na narrativa de um filme. Afinal, ela opera uma série de papéis no universo cinematográfico, seja na produção de sentido de uma obra ao endereçá-lo a um público específico e que a usa como demarcadora cultural, seja como elemento fundamental para a própria narrativa fílmica, desempenhando ações, caracterizando personagens ou compondo climas. A meta é procurar apontar diferenças entre o uso da música pop e da música incidental de uso mais convencional, destacando questões que são peculiares apenas a primeira (usos culturais, intervenção das letras na narrativa, gêneros musicais etc.). O trabalho apresenta uma discussão do entorno midiático e dos aspectos plásticos que envolvem o uso da música pop no cinema, bem como sobre as funções que ela exerce na narrativa fílmica, levando-se em consideração as propostas estéticas e questões econômicas e técnicas do tipo de filme que serve como recorte para a pesquisa, os chamados “filmes pop”. Ou seja, produções que retratam um cenário contemporâneo, urbano e com temáticas jovens, trazendo narrativas fragmentadas e que primam pelo excesso de elementos, além de articularem a música pop com elementos da cultura pop. A partir da prática recorrente do lançamento de álbuns de trilha sonora e da forma como a música pop é empregada como elemento narrativo e demarcador cultural, a pesquisa propõe uma análise midiática da trilha sonora dos filmes Pulp fiction, Trainspotting, Donnie Darko e 9 canções levando em consideração as funções exercidas, os gêneros musicais e os cenários que essas músicas agregam a essas produções. / Salvador

Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos. / Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.

Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.

Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos. / Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.

A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.

At the turn of the eighties' and nineties' of the 20th century, correspondingly to the whole social scale, significant changes happened on the domestic music scene. The musical and the creative elite were confronted with the Anglo-American production, and were forced, in a number of cases, to come up with the alternative ways of expressing themselves under the new circumstances. The goal of this thesis is to compare and contrast the situation on the domestic scene during the period right before the November 1989 and the period to follow; based on the various testimonies of popular Czechoslovakian musicians. The research aims to collect the information regarding contemporary popularity of the Czechoslovakian modern music and authors from the eighties'. I'm trying to verify if the critique perspective of one part of the public experts on the allegiance of the musical elite and the ideology of the pre-November regime is justified or not. At the same time, the thesis follows the fortune of the music stars in relation to the changing social order and, in addition to it, establish the basis for the study of the further research in the field.

No description available.

This dissertation explores constructions of Chineseness in China Wind music, a trend that emerged in the 2000s in Chinese popular music. China Wind music typically references traditional Chinese culture and incorporates Chinese instruments into global pop genres, such as hip hop, R&B, rock, and ballad. The trend was popularized by artists based in Taiwan but also includes those from the People’s Republic of China (PRC), Hong Kong, and Singapore. China Wind music’s seemingly pro-China messages belie the diverse political and cultural realities of Chinese-speaking artists and consumers residing in different regions. To better understand the complex relationship that China Wind artists and consumers have with Chinese identity, culture, and politics, I suggest that China Wind artists are acting as cultural nationalists who construct “an imagined cultural China” based on a supposedly shared culture and history. The three approaches to analyzing China Wind music employed in this thesis are: examining the musical construction of Chineseness in China Wind songs through the use of pentatonicism and musical borrowing, surveying the social meanings of instruments (e.g. erhu, pipa) and their deployment in China Wind music, and analyzing the relationship between the song and visual narratives in China Wind music videos and their remediation of Beijing opera, calligraphy, and martial arts. These analyses reveal how China Wind music incorporates a mix of living traditions and invented traditions (Hobsbawm 1983) to evoke an ambiguous “ancient” Chineseness that fosters a sense of belonging and connects audiences from various locales to an imagined cultural China. / Music Theory

The purpose of this study was to develop a commercial singing guide that could be used as an aid in teaching selected elements of commercial singing. It addressed itself specifically to the following problems: determining how the selected elements of the commercial vocal style are produced, developing a guide for teaching the production of this vocal style to trained and untrained singers and evaluating the effectiveness of the guide.

Diese Arbeit beschäftigt sich mit der archivarischen und geisteswissenschaftlichen Erschließung der Horst Lippmann-Sammlung (des Konzertveranstalters Horst Lippmanns, der Sammlung der Lippmann+Rau Konzertagentur) im Lippmann+Rau-Musikarchiv in Eisenach. Diese Arbeit ist eine Mischform aus Auflistung, tieferer Erschließung und Werkstattbericht der Arbeit des Autoren als Musikarchivar im Lippmann+Rau-Musikarchiv seit April 2022. Die Horst Lippmann-Sammlung wird hier in ihrer Erschließung beschrieben, diese Workflows mit denen den Sächsischen Staatsarchiv verglichen und zum Schluss mit der Sammlung des Konzertveranstalters Fritz Rau auch biographisch verglichen. Hier zeigt sich, dass Lippmann durch seinen Charakter als nachdenklicher Kunstliebhaber aus einer vermögenden Familie den Anforderungen einer großen Konzertagentur nicht wirklich gewachsen war, weshalb er sich ab den 70er Jahren aus dem Konzertgeschäft zugunsten von Fritz Rau zurückzog und hier das Plattenlabel führen konnte, was durch seine sorgfältige Arbeitsweise beinahe den kompletten Grundstock der Horst Lippmann-Sammlung darstellt. Zum Schluss zeigt sich, dass einem Erklären einer Sammlung auch immer ein ganzheitliches Verstehen einer Sammlung folgen muss, um eine Sammlung nachhaltig erschließen zu können.:1. Einleitung und Grundlage 2. Grundlegendes zum Lippmann+Rau-Musikarchiv 2.1. Bisherige Katalogisierungen im Lippmann+Rau-Musikarchiv 3. Erschließungsansätze von Archivsammlungen 3.1. Erschließungsansatz im Lippmann+Rau-Musikarchiv seit April 2022 3.2. Erschließungsstandards und -richtlinien und Vergleich mit der Erschließungsarbeit im Lippmann+Rau-Musikarchiv 3.2.1. Die Erschließungsrichtlinien des sächsischen Staatsarchivs im Vergleich mit den Arbeitsweisen im Lippmann+Rau-Musikarchiv 4. Die Sammlung Horst Lippmann im Lippmann+Rau-Musikarchiv (LRA-101) 4.1. Grundlegendes zu Horst Lippmann 4.2. Grundlegende Positionierung und Hindernisse bei der Erschließung der Horst Lippmann- Sammlung LRA-101 4.3. Die Erschließung der Horst Lippmann-Sammlung im Lippmann+Rau-Musikachiv Eisenach (LRA-101) 4.3.1. Die Erschließung der Dokumente der Horst Lippmann-Sammlung 4.3.2. Die Erschließung der Tonbänder der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Objekte der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Fotos der Horst Lippmann-Sammlung 4.3.4. Die Erschließung der Bücher, Zeitschriften, Vinyls und CDs der Lippmann-Sammlung 4.4. Die Erschließung der Horst Lippmann-Sammlung im Kontext und Auswertung der Personendatenbank 5. Die Horst Lippmann-Sammlung im Vergleich zur Fritz Rau-Sammlung 5.1. Die Sammlung Fritz Rau (LRA-102) 5.1.1. Grundlegendes zu Fritz Rau 5.1.2. Die Erschließung der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach (LRA-102) 5.1.3. Die Erschließung der Fritz Rau-Sammlung im Kontext 5.2. Die Charaktere von Horst Lippmann und Fritz Rau und die Auswirkungen auf die jeweiligen Sammlungen 6. Andere Sammlungen zu Horst Lippmann in Deutschland 7. Analyse der Horst Lippmann-Sammlung im Kontext der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach 8. Zusammenfassung 9. Quellenverzeichnis / This work deals with the archival and humanities development of the Horst Lippmann collection (of the concert promoter Horst Lippmann, the collection of the Lippmann+Rau concert agency) in the Lippmann+Rau music archive in Eisenach. This work is a hybrid of listing, in-depth development and workshop report of the author's work as a music archivist in the Lippmann+Rau Music Archive since April 2022. The Horst Lippmann Collection is described here in its current status of cataloguing, these workflows compared with those of the Saxon State Archives and finally compared biographically with the collection of the concert promoter Fritz Rau. This all shows that Lippmann, due to his character as a thoughtful art lover from a wealthy family, was not really up to the demands of a large concert agency, which is why he withdrew from the concert business in favor of Fritz Rau from the 70s onwards and was able to run the company's record label here, which he did in his meticulous way of working as it represents almost the entire core of the Horst Lippmann collection. Finally, it becomes clear that an explanation of a collection must always be followed by a holistic understanding of a collection in order to be able to catalogue a collection in the long term.:1. Einleitung und Grundlage 2. Grundlegendes zum Lippmann+Rau-Musikarchiv 2.1. Bisherige Katalogisierungen im Lippmann+Rau-Musikarchiv 3. Erschließungsansätze von Archivsammlungen 3.1. Erschließungsansatz im Lippmann+Rau-Musikarchiv seit April 2022 3.2. Erschließungsstandards und -richtlinien und Vergleich mit der Erschließungsarbeit im Lippmann+Rau-Musikarchiv 3.2.1. Die Erschließungsrichtlinien des sächsischen Staatsarchivs im Vergleich mit den Arbeitsweisen im Lippmann+Rau-Musikarchiv 4. Die Sammlung Horst Lippmann im Lippmann+Rau-Musikarchiv (LRA-101) 4.1. Grundlegendes zu Horst Lippmann 4.2. Grundlegende Positionierung und Hindernisse bei der Erschließung der Horst Lippmann- Sammlung LRA-101 4.3. Die Erschließung der Horst Lippmann-Sammlung im Lippmann+Rau-Musikachiv Eisenach (LRA-101) 4.3.1. Die Erschließung der Dokumente der Horst Lippmann-Sammlung 4.3.2. Die Erschließung der Tonbänder der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Objekte der Horst Lippmann-Sammlung 4.3.3. Die Erschließung der Fotos der Horst Lippmann-Sammlung 4.3.4. Die Erschließung der Bücher, Zeitschriften, Vinyls und CDs der Lippmann-Sammlung 4.4. Die Erschließung der Horst Lippmann-Sammlung im Kontext und Auswertung der Personendatenbank 5. Die Horst Lippmann-Sammlung im Vergleich zur Fritz Rau-Sammlung 5.1. Die Sammlung Fritz Rau (LRA-102) 5.1.1. Grundlegendes zu Fritz Rau 5.1.2. Die Erschließung der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach (LRA-102) 5.1.3. Die Erschließung der Fritz Rau-Sammlung im Kontext 5.2. Die Charaktere von Horst Lippmann und Fritz Rau und die Auswirkungen auf die jeweiligen Sammlungen 6. Andere Sammlungen zu Horst Lippmann in Deutschland 7. Analyse der Horst Lippmann-Sammlung im Kontext der Fritz Rau-Sammlung im Lippmann+Rau-Musikarchiv Eisenach 8. Zusammenfassung 9. Quellenverzeichnis