Die Musik Wolfgang Amadeus Mozarts fasziniert die Menschen, auch mehr als 200 Jahre nach seinem Tod. Neben einer anhaltenden Beliebtheit veränderte sich der Blick der Menschen auf den Komponisten im Lauf der Zeit: Ab dem 19. Jahrhundert wurde Mozart idealisiert bzw. heroisiert und heute vor allem auch kommerzialisiert.1 Dies spiegelt sich auch, wie Daniel Samaga untersucht,2 in dem Umstand wider, dass seit der ersten Hälfte des 19. Jahrhunderts bis in die Gegenwart zahlreiche Bühnenproduktionen über Mozarts Leben, seine Person oder seine Musik entstanden: Seine Kindheit, in welcher er als ›Wunderkind‹ viele Konzertreisen absolvierte, oder seine rätselhaften letzten Jahre inspirierten Dramatikerinnen und Dramatiker sowohl in der Vergangenheit als auch in der Gegenwart zu Theaterstücken. Mozart und Salieri (1830), das Versdrama von Alexander Puschkin, ist dafür ein Beispiel. Der russische Dichter stellte die Genialität Mozarts aus der Perspektive des italienischen Komponisten Antonio Salieri dar und fügte dem Lebenslauf Mozarts Wesentliches hinzu: Salieri vergiftet Mozart aus Neid. Dieses Sujet, welches in der Zeit der Etablierung der nationalen (russischen) Musikkultur entstand, wandelte sich zu einem quasi-biographischen Topos und wurde in den facettenreichen Darstellungen der Figur Mozart immer wieder aktualisiert

Vast amounts of publicly licensed classical music resources are housed within many different repositories on the Web encompassing richly diverse facets of information—including bibliographical and biographical data, digitized images of music notation, music score encodings, audiovisual performance recordings, derived feature data, scholarly commentaries, and listener reactions. While these varied perspectives ought to contribute to greater holistic understanding of the music objects under consideration, in practice, such repositories are typically minimally connected. The TROMPA project aims to improve this situation by interconnecting and enriching public-domain music repositories. This is achieved, on the one hand, by the application of automated, cutting-edge Music Information Retrieval techniques, and on the other, by the development of contribution mechanisms enabling users to integrate their expertise. Information within established repositories is interrelated with data generated by the project within a data infrastructure whose design is guided by the FAIR principles of data management and stewardship: making music information Findable, Accessible, Interoperable, and Reusable. We provide an overview of challenges of description, identification, representation, contribution, and reliability toward applying the FAIR principles to music information, and outline TROMPA's implementational approach to overcoming these challenges. This approach applies a graph-based data infrastructure to interrelate information hosted in different repositories on the Web within a unifying data model (a 'knowledge graph'). Connections are generated across different representations of music content beyond the catalogue level, for instance connecting note elements within score encodings to corresponding moments in performance time-lines. Contributions of user data are supported via privacy-first mechanisms that retain control of such data with the contributing user. Provenance information is captured throughout, supporting reproducibility and re-use of the data both within and outside the context of the project.

his paper investigates how two-port network theory as a means for system identification can be applied to the anal- ysis of brass instruments. A special focus is placed on the energy conversion efficiency as this is limited by inner damping, which receives much attention by expert players and makers of brasses. Theory suggests that a reconstruc- tion of the 2 x 2 matrix representing the network requires input impedance and transfer function for two different boundary conditions. Besides the normal case of free sound radiation, instruments are also analyzed with the bell closed by a spherical cap. For this purpose, a customized 3D-printed spherical cap was fabricated and attached to the bell. Four measured spectra and the passivity condition over-determine the set of system equations. It is shown how to take advantage of this freedom when analyzing wind instruments. Measurements and simulations of a trumpet and a trombone are presented and compared.

Recordings of musical practices are kept in various public institutions and private depositories around the world. They constitute valuable data for ethnomusicological research and are substantial for the world's musical heritage. At the moment, there are no commonly used systems and standards for organizing, describing or categorizing these data, which makes their use difficult. In this paper, we discuss the required steps to make them findable, accessible, interoperable and reusable (FAIR), and outline action items to reach these goals. We show solutions that help researchers to manage their data over the whole research lifecycle and discuss the benefits of combining technologies from information science, music information retrieval, and linked data, with the aim of giving incentives for the ethnomusicology research community to actively participate in these developments in the future.

Die Tao verfügen über ein ganzheitliches Musikkonzept, das unlösbar mit allen Lebensbereichen verwoben ist. Wei-Ya Lin untersucht die Singpraxis der Tao daher anhand von ethnomusikologischen sowie sozial- und kulturanthropologischen Methoden und Ansätzen und fragt: Wie haben die Geister den Tao in früheren Zeiten das Singen beigebracht und wie kommunizieren sie, wenn jemand ein Tabu bricht? Was hat Singen mit der Nutzung von Naturressourcen zu tun? Und wie verändert sich das musikalische Verhalten im Lauf der Zeit? Dabei wird deutlich, dass ein tieferes Verständnis soziokultureller Transformationsprozesse nur erfolgen kann, wenn man berücksichtigt, dass zwischen Liedern, Geistern und Tabus wechselseitige Beziehungen bestehen.

How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.