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Philology of Sound

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  • cris.virtual.department
    University of Music and Performing Arts Vienna
  • cris.virtual.orcid
  • dc.contributor.author
    Urbanek, Nikolaus
  • dc.date.accessioned
    2025-11-25T13:39:14Z
  • dc.date.available
    2025-11-25T13:39:14Z
  • dc.date.issued
    2025
  • dc.date.publishedOnline
    2025-11-25
  • dc.description.abstract
    The seemingly unproblematic link between sound and philology turns out to be rather fragile on closer inspection. For a long time, dimensions of sonic phenomena were regarded as “secondary parameters,” so that tools for analyzing phenomena of sound were not developed to the same degree as analytical tools for text-related aspects. It is precisely this confrontation between music as text and music as sound, in which the critique of a musicological “forgetfulness of sound” has a precarious starting point in the history of the discipline. This chapter, which is concerned with mapping the intersection between “sound” and “philology,” argues step by step: After briefly recalling the discussion of phenomena of sound in the history of the reception of Mahler’s work, it argues for the formulation of an integral concept of musical sound that includes aspects of materiality, mediality, and performativity. Against the background of a historical and systematic positioning of philology as a scientifically founded and oriented discipline, some virulent fundamental questions of musical philology between author-related editorial philology and philological research into creative musical processes are worked out. This is further elaborated with regard to specific aspects raised in particular by the philological approach to the sound world(s) of Mahler’s symphonic works.
  • dc.description.note
  • dc.description.provenance
    Submitted by Christian Keitel (keitel@mdw.ac.at) on 2025-11-24T13:39:14Z workflow start=Step: checkcorrectionstep - action:noUserSelectionAction No. of bitstreams: 1 10_Urbanek_philology of sound_FINAL.pdf: 265002 bytes, checksum: 25758d104c6d57a4f081209bca6ba4c2 (MD5)
    Made available in DSpace on 2025-11-24T13:39:14Z (GMT). No. of bitstreams: 1 10_Urbanek_philology of sound_FINAL.pdf: 265002 bytes, checksum: 25758d104c6d57a4f081209bca6ba4c2 (MD5) Previous issue date: 2026
  • dc.identifier.doi
    10.21939/h92e-z916
  • dc.identifier.uri
    https://dspace.mdw.ac.at/handle/123456789/23407
  • dc.language.iso
    en
  • dc.relation.publication
    Mahlers Klang: Zwischen Schaffensprozess, Interpretation und Rezeption | Gustav Mahler’s Sound: Between Compositional Process, Performance, and Reception
  • dc.rights.license
    CC-BY-SA-4.0
  • dc.subject
    Klang
    Philologie
    Mahlers Symphonik
    critique genetique
    textgenetische Kritik
    sound
    philology
    Mahler’s symphonies
    text-genetic criticism
  • dc.title
    Philology of Sound
  • dc.type
    text::book::book part
  • dcterms.publisher
    Hollitzer
  • dcterms.rightsHolder
    Nikolaus Urbanek
  • dspace.entity.type
    Publication
  • dspace.workflow.startDateTime
    2025-11-24T13:39:14.262Z
  • mdwlis.publication.firstRelease
    true
  • mdwlis.publication.mdwAttribution
    i-dont-know
  • mdwlis.subject.oefosDeKunstzweig
    MUSIK - Komposition
    MUSIK - Interpretation – instrumental
  • mdwrepo.correspondingAuthor
  • mdwrepo.publisher.location
    Wien
  • mdwrepo.subject.percentage
    50
    50
  • oaire.citation.volume
    1
  • oairecerif.author.affiliation
    University of Music and Performing Arts Vienna