Auch 2025 findet die Music Encoding Conference (MEC) wieder unter starker aktiver Beteiligung von Wissenschaftler:innen des Paderborner Zentrums Musik - Edition - Medien (ZenMEM) und des KreativInstituts.OWL (KIO) im Programmkomitee, Organisationsteam und MEI Board sowie mit Panels, Workshops, Vorträgen und Posterbeiträgen statt.
Ein Programmüberblick ist unter https://music-encoding.org/conference/2025/program/ verfügbar.
Eine kurzfristige Online-Teilnahme (Gebühr: £10) ist möglich, Registrierung unter https://music-encoding.org/conference/2025/registration/
Nach Registrierung ist das ausführliche Konferenzprogramm mit Abstracts über https://www.conftool.net/mec2025/ verfügbar. Besonders hingewiesen sei auf das von fünf Doktorandinnen durchgeführte Panel Sketching Genetic Editions: Challenges and Oppurtunities am Donnerstag 15-16:30 Uhr Mitteleuropäischer Zeit:
Sketching genetic editions: Challenges and Opportunities
Salome Obert1, Agnes Seipelt2, Alessandra Paciotti3, Cecilia Raunisi4, Lisa Rosendahl5
1Carl-Maria-von-Weber-Gesamtausgabe, Germany; 2Beethovens Werkstatt | Universität Paderborn, Germany; 3Università degli Studi di Pavia, Italy; 4Christian Albrechts Universität zu Kiel, Germany; 5Beethovens Werkstatt | Beethoven-Haus Bonn, Germany
The digital humanities have been changing scholarly methodologies in musicology for quite a while now. With this panel we would like to explore the possibilities of musicological genetic editions also in the digital realm.
Bringing together four doctoral students with different backgrounds, experts on various 19th century composers, the discussion aims to address critical questions about the nature, scope, and practical implementation of genetic criticism into digital editions. Our focus extends beyond the territory of the well known project Beethovens Werkstatt, examining how new approaches can accommodate a wide array of musical repertoires, sources, and creative processes. Each panelist will pitch their research, highlighting the unique selling points of their projects, the challenges posed by their sources, and the innovative models, tools and concepts used to address these challenges.
The panel is organized around four case studies: the sketches and autograph manuscript for Beethoven’s Bagatelle Op. 126, Franz Liszt’s autograph manuscript for the Sonata in B minor, the preparatory materials for Carl Maria von Weber’s opera Die drei Pintos, and the surviving compositional sketches of Johannes Brahms.
Collectively, these studies offer a multifaceted view of how digital genetic editions can address diverse repertoires and reveal the creative dynamics embedded in musical documents.
Digital genetic editions represent an attempt to document and analyze the creative process of composition through a dynamic representation of its textual and musical sources. These editions seek to move beyond the final stage of the work by shedding light on the intermediary stages of creation.
Beethovens Werkstatt – a joint research project by the Beethoven-Haus Bonn (Germany) and the Department of Musicology Detmold/Paderborn (Germany), funded by the Academy of Sciences and Literature Mainz (Germany) – plays a pioneering role in the field of genetic text criticism in music and digital editions. It is a fundamental research project that, for the first time, presents a series of concepts and models, as well as a glossary, for the investigation of writing and compositional processes in music and their digital representation and communication.
Each panelist will introduce a case study, illustrating how their project expands the boundaries of genetic editions and illustrates the extent to which the research subject could reuse the concepts and (data) models from Beethovens Werkstatt and where there is a need to modify or extend them.
The case studies expand the focus beyond a single composer’s workshop, addressing different genres/repertoires and creative contexts. They invite comparisons and contrasts, offering insights into how the lessons of Beethovens Werkstatt can be adapted to different challenges, from Liszt’s fluid revisions to the openness of the Weber manuscript. The presented sources reveal distinct challenges and possibilities for genetic editions, also in digital form.
By focusing on these themes, the panel aims to inspire a broader conversation about the future of digital genetic editions in musicology.
Ultimately, this panel envisions a future where digital genetic editions become a central tool for understanding and engaging with the creative processes of composers.
