Tiefenbohrungen in den musikwissenschaftlichen Werk- und Autorschaftsbegriff mit digitalen Werkzeugen
The concept of work and authorship have long been the subject of intense reflection in historical musicology. Edition projects deal with composers and their work process and have developed new approaches for this purpose. Against the background of the question of where the ‘text’ to be edited actually ends, this paper discusses the possibilities of making director’s piano score (Regieklavierauszug) digitally visible and thus interpretable (understood as a work ‘sui generis’). Furthermore, the creative process of all participants in the classical sound recording is considered in terms of its digital visibility. On the basis of my research data from the DFG project “The sound recording studio as a discoursive room” at the TU Berlin/Audiokommunikation (participant observation, interviews, transcripts of recording processes, evaluations with MaxQDA) I show that these creative processes in the collaborative interaction of artists and engineers can also be found in classical music. By evaluating these (and other) materials with the help of MEI and TEI, new ways of ‘work’ and ‘authorship’ are also explored in this genre. Ultimately, this should also establish the sound recording as a ‘sui generis’ work.
Published in: Editio, 10.1515/editio-2021-0010, De Gruyter