The commonly-understood conception of Italian keyboard intavolatura as a species of tablature notation carries with it certain implications: that intavolatura shares a basic affinity with lute and figure-based keyboard notational systems; that it is a ‘finger notation’, designed to transmit information necessary for the mechanical actions of playing, but not for voice leading and polyphonic detail; that its functioning was predicated upon a particular set of notational conventions or laws. The identification of intavolatura as a distinct notational system has been primarily established through a reading of Diruta’s treatise Il Transilvano – our most complete historical source describing intavolatura and the process of intabulating music in it – and through the volumes of keyboard music printed by 16th-century houses such as Gardano, Vincenti, and Verovio. However, not fully examined to this point has been conceptualizations of intavolatura on the part of scribes working on the Italian peninsula, mainly because there hasn’t been a thorough examination of extant intabulations in manuscript. An examination of these intabulations further supports the conceptual framing of intavolatura as a system of conventions – a system that was tacitly understood by scribes as well as printing houses. An investigation into scribal habits further highlights the functioning of intavolatura as a kind of lute tablature for keyboard that used mensural notation in place of figures. At the same time, the use of mensural notation allowed for instances in which scribes use intavolatura as a kind of ‘partitura’, ignoring its conventions and rules in order to show the original voice leading of the polyphonic model. In their very divergence from intavolatura convention these instances further solidify the systematic conception of intavolatura; at the same time, they also show that scribes were aware of the possibility of bypassing the rules for the sake of showing polyphonic detail.

This collection of accompanying materials aims to provide teachers in higher education and professional development contexts with a variety of ideas to integrate the content of the publication "Handbuch Musikvermittlung" into their own teaching and to offer students and practitioners stimulating reflection opportunities.

Die vorliegende Sammlung von begleitenden Materialen zielt darauf ab, Lehrenden im Hochschul- und Weiterbildungskontext vielfältige Möglichkeiten aufzuzeigen, wie ein Transfer von Inhalten der Publikation "Handbuch Musikvermittlung" in die eigene Lehre gelingen kann und Impulse für anregende Reflexionsanlässe für Studierende und Praktiker_innen zu bieten.

Das Machtgefüge in differenzierten demokratischen Gesellschaften kann nicht bloß so verstanden werden, dass bestimmte Personengruppen Macht über andere ausüben. In sozialen Netzwerken, ob im Sinne von Szene, Feld, System oder Dispositiv, entsteht (nach Hannah Arendt) Macht unweigerlich im Kommunizieren und gemeinsamen Handeln von Menschen. Das komplexe Netzwerk der Neue-Musik-Szene, bestehend aus Akteur_innen, Institutionen, Diskursen und Artefakten, im Verbund mit den kulturpolitischen Rahmenbedingungen, muss als sich ständig in Bewegung befindliches Gebilde verstanden werden, in dem die unterschiedlichsten Handlungen, Strategien und Widerstände aufeinandertreffen. Machtbeziehungen sind "definiert durch eine Form von Handeln, die nicht direkt und unmittelbar auf andere, sondern auf deren Handeln einwirkt.“ (Michel Foucault)

This study investigates the influence of string properties on bowed string attack playability. To assess the attack playability of different string types, a variety of bow forces and bow accelerations were chosen to excite the strings and measure the transient response under different bowing control parameters. The experimentally obtained playability maps of transient duration as function of bow force and acceleration (Guettler diagram) were obtained with a robotic bowing machine, from four different types of cello G2 strings. Results indicate variations in playability across string types, suggesting that string properties impact attack duration.

Neue Musik konfrontiert uns mit ungewohnten Klängen und zwingt uns so, unser Verhältnis zur Welt zu hinterfragen. Sie rüttelt auf und ist somit immer auch politisch, so die gängige These. Am Beispiel von Helmut Lachenmann, einem der prominentesten Komponisten der Gegenwart, macht Lena Drazic Texte über Neue Musik zur Grundlage einer Diskursanalyse, die deren politischen Versprechungen auf den Grund geht. Daran zeigt sie, dass insbesondere in der Strömung des »Kritischen Komponierens« Werte wie Demokratie, Niederschwelligkeit oder Herrschaftskritik beschworen werden, der Zugang zum Neue-Musik-Betrieb hingegen maßgeblich von Bildungs- und Klassenprivilegien abhängt.

Antonio de Cabezón (1510–1566), as a musician in the service of the Spanish royal court, held a really prominent position that allowed him to come into contact with musicans and players of very diverse origins, not only in Spain but also in Italy, Austria, Germany, the Netherlands and England. In this paper, an overview of his work is presented in the context of European music of his time, together with comments on aspects of the interpretation and meaning of this repertory in the light of historical sources.

The invention and widespread dissemination of music in tablature was one of the great novelties and a key factor in the proliferation of solo instrumental music during the 16th century. An alternative to mensural notation, tablature offered systems of writing music better suited to polyphonic instruments, particularly keyboards and plucked strings such as lute, guitar, and vihuela. Tablatures emerged in a variety of forms that used the letters, numbers and conventional mensural symbols, and many aspects were shared between the notations devised for keyboards and plucked strings. Although we recognise specific idiomatic styles associated with individual instrument types, there is also a significant amount of music that shares common features and that can be performed on diverse instruments. This was recognised by Spanish musicians such as Luis Venegas de Henestrosa whose tablature published in 1557 was advertised as being for ‘tecla, harpa y vihuela’. This paper explores the idea of interchangeability associated with such tablatures, and a range of issues extending from the particularities of the Venegas book and its emulation by Cabezón in 1578, beyond national borders to consider the nature of tablature across notation styles, and instrumental practice in distinct regions of Europe.