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.

Physical modeling may be used to simulate the motion of a vibrating string under frictional excitation by a bow. This study compares the measured transient behavior of a bowed string with predictions from a physics-based simulation that assumes a finite-width bow, incorporates bow-hair compliance, considers the string's torsional motion, and utilizes an elasto-plastic friction model. The model is first evaluated by comparing simulated Guettler playability diagrams to a measured diagram obtained from a robot arm bowing a monochord. The playability regions are qualitatively similar, but some significant differences in the underlying waveforms are not captured. In order to improve the reconstructions of individual waveforms, inverse modeling is employed to derive parameter values for the elasto-plastic friction model, demonstrating the ability to generate accurate reconstructions of measured signal transients. The findings highlight the importance of accounting for variable friction coefficients that change with bow force and bow acceleration. This observation is consistent with prior research indicating that static and dynamic friction coefficients vary within a Guettler diagram.

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.

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.