{"id":2107,"date":"2022-04-04T17:52:55","date_gmt":"2022-04-04T15:52:55","guid":{"rendered":"https:\/\/www.rombach-wissenschaft.de\/musical-science\/"},"modified":"2025-02-06T11:27:25","modified_gmt":"2025-02-06T10:27:25","slug":"musical-science","status":"publish","type":"page","link":"https:\/\/www.rombach-wissenschaft.de\/en\/musical-science\/","title":{"rendered":"Musical Science"},"content":{"rendered":"\n
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\n Musical Science\n <\/h3>\n \n
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From the very beginning, musicology has been a focal point of Rombach Wissenschaft\u2019s programme with an emphasis on works on the history and reception of European music, especially the music of Wolfgang Amadeus Mozart. We continue this music-historical orientation with our series of publications and introductory works, while at the same time supplementing them with current topics from sociology, ethnology and media studies.<\/p>\n\n <\/div>\n \n \n <\/div>\n\n

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Publication Series<\/h3>\n\n <\/div>\n<\/section>\n\n\n
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\n Ethnomusicology in the 21st Century\n <\/h2>\n\n
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Edited by Barbara Alge and Lisa-Maria Brusius<\/strong><\/p>\n

The series \u00bbEthnomusicology in the 21st century\u00ab, which was established at Goethe University in Frankfurt in 2021, includes monographs, edited volumes and conference proceedings on the fields of ethnomusicology and the anthropology of music. In light of the increasing importance of digitalisation, political debates on postcolonial and post-migrant societies, and the global health and climate crises, this series explores their consequences for music-making, discussing current issues, research approaches and paradigms.<\/p>\n

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\n Music and Literature\n <\/h2>\n\n
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Edited by Frieder von Ammon, Hans-Joachim Hinrichsen und Ivana Rentsch<\/strong><\/p>\n

Throughout the centuries, music and literature have mutually fostered, interpreted and depleted each other. As literature is able to inspire music and music is able to generate literature, literary works can have a musical dimension and musical composition can aim to be poetic. In addition to musical theatre and poetry set to music, the most prominent examples of music and literature dovetailing are symphonic poetry, incidental music in plays and the extensive passages about music, as described in countless novels. In this regard, this not least relates to the linguistic capacities of music and the musicality of language, which are continually newly reclaimed in theory and practice. The productive synergy between the two art forms is undoubtedly one of the constant aspects of European (and many other forms of) cultural history. The series of books Music and Literature<\/em> offers interdisciplinary research into these unchanging elements a forum for discussion and analysis. It is primarily interested in reciprocally shedding light on these related art forms: their close relationship to each other and their significant differences. To this end, it not only collates works from music and literary studies, but also does not shy away from looking beyond the borders of these disciplines.<\/p>\n

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\n Music and Mediality\n <\/h2>\n\n
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Edited by Sarah Fuchs and Ingeborg Zechner<\/strong><\/p>\n

Simple though it may seem, the title of this series \u2013 \u00bbMusic and Mediality\u00ab \u2013 is intended to communicate something slightly more complex: its concentration on musical phenomena in the process of passing from one state to another via media, technological or otherwise. Media artifacts and technologies play important parts in the stories we seek to tell here, but they are not our only focus: instead, we examine how the process of mediatization has influenced the production, performance, reception, and distribution of music throughout every era. Featuring single- and multiple-author volumes in German and English, the series aims to locate mediality at the center of musicological research, while at the same time opening up wider cross-disciplinary and cross-sectoral discussions about music and mediality.<\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Publications of the International Leo Kestenberg Society\n <\/h2>\n\n
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Edited by the International Leo Kestenberg Society<\/strong><\/p>\n

The International Leo Kestenberg Society (IKG) is dedicated to researching and promoting the life\u2019s work of the pianist, music teacher and educational policymaker Leo Kestenberg (1882\u20131962), whose innovative ideas on education and endeavours to enact reforms to create an overall concept of music education have had a lasting influence on music teaching until today. This series of publications by the IKG addresses Kestenberg\u2019s impact on educational and cultural policy against the backdrop of current specialist and political debates. Focusing on the field where artistic, pedagogical and educational thinking overlap, it sets itself the task of historically substantiating Kestenberg\u2019s ideas and reforms, systematically discussing them and expanding on them in the context of current socio-political developments.<\/p>\n

Learn more<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n The Society of Music\n <\/h2>\n\n
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Edited by Wolfgang Fuhrmann, Corinna Herr and Karsten Mackensen<\/strong><\/p>\n

In the variety of its forms, practices and theoretical descriptions, music is inextricably linked to the sociocultural contexts and discourses which surround it. These seemingly external factors cannot be separated from the \u203amusic from within\u2039. The volumes in the series Die Gesellschaft der Musik<\/em> (The Society of Music) examine musical phenomena from complementary cultural studies and social science perspectives. In this respect, the topics they analyse and the approaches they adopt range from the historical anthropology of music to the \u203asociomusicology of the digital world\u2039.<\/p>\n

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\n Tonal Discussions\n <\/h2>\n\n
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Studies on the History of the Reception and Interpretation of Music<\/p>\n

Edited by the Institut f\u00fcr Musikalische Rezeptions- und Interpretationsgeschichte des Mozarteum Salzburg<\/strong><\/p>\n

The series entitled Klang-Reden. Schriften zur Musikalischen Rezeptions- und Interpretationsgeschichte<\/em>\u00a0(Tonal Discussions. Studies on the History of the Reception and Interpretation of Music) was founded by the Institute for the History of Musical Reception and Interpretation in 2008. To date, the series has focused on Mozart, modern classical music, baroque music, popular music and methods used in musical interpretation research. One of its significant incentives in studying this field is, in particular, to place topics relating to musical practice in a clear context.<\/p>\n

To the institut<\/a><\/p>\n

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\n Voces\n <\/h2>\n\n
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Freiburg Contributions to Musicology<\/p>\n

Edited by Christian Berger, Konstantin Voigt and Christoph Wolff<\/strong><\/p>\n

Since it was founded 100 years ago by the musicologist Willibald Gurlitt, the music department at the University of Freiburg has studied the history of music from the early Middle Ages to the present. The volumes in the series \u00bbFreiburger Beitr\u00e4ge zur Musikwissenschaft\u00ab (the Freiburg Contributions to Musicology), which have been published under the title Voces<\/em> since 1995, are dedicated to upholding this tradition. This title refers to the tradition of medieval solmisation, which was taught and used until during the 16th century and represents a key element in understanding medieval sources of music. In this respect, the publications in the series are intended to bring to life the works they focus on through historical and music theory source criticism in tandem with intensive analytical examinations, and in this way make them more understandable for readers today.<\/p>\n

Learn more<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n <\/div>\n<\/section>\n\n\n

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\n Editions\n <\/div>\n
\n Introductions\n <\/div>\n <\/div>\n\n
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