Department Of Musicology Research Articles

Ivo Stolařík's contribution to the research into the musical culture of northeast Moravia and Czech Silesia

Ivo Stolařík was certainly the most important researcher in the field of music-historical and ethnographic research in northeast Moravia and "Czech" Silesia. The authors of the study evaluate the lifelong contribution of this scholar to music history and folklore studies. Stolařík was the first (before the arrival of other musicologists in Ostrava in the second half of the 20th century, graduates of musicology from the universities in Brno or Olomouc, such as Vladimír Gregor, Miroslav Malura, Karel Boženek and others) to begin to systematically research the musical culture of the wider Ostrava region. This was firstly in the Department of Musicology of the Silesian Study Institute in Opava (from 1958 the Silesian Institute of the Czechoslovak Academy of Sciences) where he virtually laid the foundations for systematic research into the musical culture of the region. Stolařík was very active both in scientific publishing and in his other jobs, as Director of the Ostrava State Philharmonic (renamed the Janáček Philharmonic in 1971), A&R Specialist of the Supraphon record label in Prague, and before his retirement at the Wallachian Open Air Museum in Rožnov pod Radhoštěm. The paper also presents analytical probes into Stolařík's two most important monographs, Umělecká hudba v Ostravě 1918–1938 (Art Music in Ostrava 1918–1938) and Hrčava. Monografie goralské obce ve Slezsku (Hrčava. A Monograph of a Goral Village in Silesia).

Bratislava School of Musicology as a Centre of Slavic Way of Thinking in Scientific and Artistic Work

The purpose of the work is to highlight the history of the formation and development of the Department of Musicology at Comenius University in Bratislava from its foundation in 1921 to the present day. The research methodology consists in the application of the historical method to study musicology as an academic discipline in relation to the historical context and to present a holistic picture of its development; biographical studies to outline the figures of the Slovak general cultural and special musicological school. The scientific novelty of the work lies in the characterisation of the Bratislava School of Musicology, which in the nineteenth century became the centre of musicology in Slovakia, developing traditional musicological problems and the methodology and practice of modern musical research. Conclusions. The article highlights the development of musicology as an academic discipline at Comenius University in Bratislava, its national and European musical traditions, which led to the emergence of the Slovak school of musicology, founded by Dobroslav Orel. The activities of the Czech D. Orel led to the emergence of a galaxy of Slovak musicologists and music historians who were brought up on the principles of the educational and scientific methodology of European academic education. This was the first generation of musicologists to receive a thorough professional education of the European model in their homeland. As a result of the active interaction of scholars of several generations, the traditions of a powerful scientific centre, Bratislava, strong in its combination of Europeanist breadth of education and pro-Slavic patriotic focus of its professional activities, were formed. Key words: Department of Musicology at Comenius University in Bratislava, student, lecturer, musicology education, European academic education.

Jagellonian Tradition in Poland and Its Projection in the Structure of the University of Poznan (1922-2023)

The purpose of the article is to analyse the activities of the Department of Musicology of the University of Poznań in the line of the Jagiellonian tradition of Poland in the original refraction of the foundations of European academic musical education from its foundation (1922) to the beginning of the twenty-first century. The research methodology consists in the application of the biographical method (studying the life path of famous representatives of the Poznań school of musicology); the source study method (studying scientific works on the above-mentioned issues); and the musicological and analytical method to study a separate stylistic typology and historiographical achievements. The scientific novelty of the work lies in the identification of the cultural phenomenon of Jagiellonianism in connection with the peculiarities of the foundation and functioning of the Department of Musicology at the University of Poznań. Conclusions. The study helped to trace the path of formation of musicology as a science and academic discipline in Poznań in the line with the Jagiellonian tradition of Poland in the original refraction of the foundations of European academic musical education from its foundation (1922) to the beginning of the twenty-first century. The Department of Musicology headed by L. Kamienski was the only academic unit in Poland where research in the field of ethnomusicology was conducted. This department was the first in the country to launch musicological activities aimed to systematise the collection and process Polish folk music based on live material. A regional phonographic archive was founded at the department. The activities of L. Kamienski and A. Cybinski led to the emergence of a galaxy of Polish musicologists and music historians who were brought up on the principles of the educational and scientific methodology of European academic education. This was a generation of musicologists who received a thorough professional education of the European standard in their homeland.
 Key words: Jagiellonian cultural tradition, Institute of Musicology of Adam Mickiewicz University in Poznań, musicological education.

«Прекрасен мир во всех его обмерах…». Заметки о Международной научной конференции «Музыкальная композиция: нарратив vs архитектоника»

The article is devoted to the International scientific conference "Musical com­po­si­tion: narrative vs. architectonics" was held at Gnesin Russian Academy of Music from April 18 to 20, 2023. Scientific event was organized by the Analytical musicology department and dedicated to the 150th anniversary of the birth of E. F. Gnesina. The relevance of the stated issues and the wide geographical range of presentations, as well as the originality of positions and viewpoints, ensured the novelty of this intellectual project and attracted great interest from the scientific community. The focus of the speakers was on the phenomenon of musical composition, which was examined through the prism of the concepts of "narrative" and "architectonics". The overview of the conference presentations highlights the presentations of L. O. Akopyan and representatives of the St. Petersburg scientific school A. A. Denisov and P. N. Gordeev. They were highly appreciated by the author of the article, confirming their scientific value and significance in contemporary musicology.

Lehrer-Schüler-Verhältnisse und Diskussionen um die Nachfolge Jacques Handschins am Basler Lehrstuhl für Musikwissenschaft

Based upon recently discovered letters between Paul Sacher and Manfred Bukofzer as well as some sources from Jacques Handschin’s archive, this article reexamines an important moment in the history of musical life in Basel: the autumn of 1955 and the search for a new head of the Basel musicology department, which became one of the centres of international musicology in the post-war era.

ПРОТОКОЛ ОБГОВОРЕННЯ ВІДКРИТИХ УРОКІВ ВОЛОДИМИРА ГОШОВСЬКОГО

Lviv archives contain a lot of valuable materials that shed light on the history of the development of musical-folkloristic studies in Halychyna. One of such documents is the Protocol of one of the meetings of the Musicology Department of the Lviv Con- servatory dated January 18, 1966 (hereinafter referred to as the Protocol) below. It is interesting because it contains a transcript of a detailed discussion of two open lessons by Volodymyr Hoshovsky on the subject “Folk music”. This large document, covering 9 full pages of typescript, for a long time remained the main source of information about the pedagogical activity of the scientist in 1961– 1969. This branch of V. Hoshovsky’s activity is quite well covered in ethnomusico- logical literature, especially thanks to the recent publication of the student lecture notes of course by V. Hoshovsky from “Folk music”. However, the appearance of this source does not detract from the information value of the Protocol. Although it dis- cusses the details of only two lessons, this document simultaneously demonstrates not only the “what”, but also the “how” V. Hoshovsky taught, how the students perceived the material, and, importantly, how his colleagues present in open classes evaluated the work of the scientist. It is through their flattering or critical statements that one can see the picture of the contemporary state of ethnomusical science and pedagogy, as well as the difficult socio-political context in which V. Hoshovsky had to work. The protocol contains many interesting and diverse details related to both the material delivered at the lectures and the urgent problems of teaching folk music dis- ciplines of that time, such as: insufficient hours, lack of a textbook, etc. In general, this archival source has not only significant scientific and methodological value for a wide range of ethnomusicologists – theorists and historians of musical folkloristics, but also is of considerable interest as a realistic document of its era. The document is submitted in full, preserving all linguistic and stylistic features and punctuation of the original with minor editorial appendices in the latches. On the right is the page number of the manuscript. Keywords: Volodymyr Hoshovskyy, Stanislav Liudkevych, teaching folk music disciplines, Lviv Conservatory.

ПРОТОКОЛ ОБГОВОРЕННЯ ВІДКРИТИХ УРОКІВ ВОЛОДИМИРА ГОШОВСЬКОГО

Lviv archives contain a lot of valuable materials that shed light on the history of the development of musical-folkloristic studies in Halychyna. One of such documents is the Protocol of one of the meetings of the Musicology Department of the Lviv Con- servatory dated January 18, 1966 (hereinafter referred to as the Protocol) below. It is interesting because it contains a transcript of a detailed discussion of two open lessons by Volodymyr Hoshovsky on the subject “Folk music”. This large document, covering 9 full pages of typescript, for a long time remained the main source of information about the pedagogical activity of the scientist in 1961– 1969. This branch of V. Hoshovsky’s activity is quite well covered in ethnomusico- logical literature, especially thanks to the recent publication of the student lecture notes of course by V. Hoshovsky from “Folk music”. However, the appearance of this source does not detract from the information value of the Protocol. Although it dis- cusses the details of only two lessons, this document simultaneously demonstrates not only the “what”, but also the “how” V. Hoshovsky taught, how the students perceived the material, and, importantly, how his colleagues present in open classes evaluated the work of the scientist. It is through their flattering or critical statements that one can see the picture of the contemporary state of ethnomusical science and pedagogy, as well as the difficult socio-political context in which V. Hoshovsky had to work. The protocol contains many interesting and diverse details related to both the material delivered at the lectures and the urgent problems of teaching folk music dis- ciplines of that time, such as: insufficient hours, lack of a textbook, etc. In general, this archival source has not only significant scientific and methodological value for a wide range of ethnomusicologists – theorists and historians of musical folkloristics, but also is of considerable interest as a realistic document of its era. The document is submitted in full, preserving all linguistic and stylistic features and punctuation of the original with minor editorial appendices in the latches. On the right is the page number of the manuscript. Keywords: Volodymyr Hoshovskyy, Stanislav Liudkevych, teaching folk music disciplines, Lviv Conservatory.

History of establishment of the Musicology Department of the Adam Mickiewicz University in Poznan

The purpose of the article is to analyze the activity of the Department of Musicology of the Adam Mickiewicz University in Poznan from its foundation in 1922 to the beginning of the XXI century. The methodology consists of applying the historical-system method - to study the problems of musicology as an academic discipline in close connection with the socio-historical context and reproducing a holistic picture of its development, as well as biographies - to outline the figures of Polish general and special musicological school. The scientific novelty of the work lies in the coverage of the Poznan School of Musicology, which covers traditional musicological issues and develops a methodology for new interdisciplinary research in the humanities. Conclusions. The formation of musicology as a discipline at the Adam Mickiewicz University in Poznan took place on the basis of the European music-educational tradition. The article emphasizes the importance of this process of organizational experience and methodological position of German musicology and departments of musicology of Lviv and Jagiellonian universities.

The integration of cultures: music of the people of Kazakhstan

The article is devoted to the consideration and study of the creativity of the most prominent representatives of the musical art of national ethnic groups, the role of the Assembly of the People of Kazakhstan, the identification of various criteria for the relationship of ethnic groups living in the territory of the Republic of Kazakhstan, the peculiarities of their life, way of life, spheres of life, their relationship and views on the modern State, created by the first President of the Republic of Kazakhstan – Nursultan Nazarbayev. The core of the projects completed in the period from 2012 to 2017 includes not only historical facts and materials found from the State Archives, Central Scientific Library and the National Library of the Republic of Kazakhstan, but also an overview of active participation in many events related to the Assembly of the People of Kazakhstan, to the 20th and 25th anniversaries of the Assembly of the People of Kazakhstan, associated with the considered ethnocultural centers and representatives of certain ethnic groups. Through the media, participation in international scientific and practical conferences, previously unknown facts of the studied ethnic groups were highlighted, and their relationship with the main population of the republic, their contribution to the multinational culture of Kazakhstan, which in turn confirms the prudent, orderly, and wise policy of Elbasy (The Head of the State). The authors use the following methods in the study: historical-chronological, source study, analytical, comparative, and interviewing. Since 2012, in Kazakh musicology, the musical heritage of ethnic groups inhabiting Kazakhstan has been studied. A unique opportunity for a full-fledged study of their work is presented thanks to the activities of the Assembly of the People of Kazakhstan and systematic state policy, under the leadership of the First President. In 2017, the second book, entitled "The Historical Significance of the Assembly of the People of Kazakhstan in Interethnic Cultural Integration", was published, which became a fruitful result of the research project in 2015–2017. This book is a kind of continuation of the series, which began in the previous collective monograph "The Musical Art of the People of Kazakhstan", which was published at the end of 2014 and has undergone extensive testing not only among professionals, but also among fans of the musical culture of multinational Kazakhstan. Such research projects, which were not previously carried out in the domestic humanitarian science, are significant and in demand, since before their appearance in domestic musicology there were only separate reports on the activities of cultural centers, articles in the media and on Internet sites, a brief analysis of the work of specific masters in publications devoted to the study of the history of musical art of numerous national cultures. They give only fragmentary ideas about the art of the ethnic groups in question. The relevance and insufficient elaboration of these problems served as the basis for the study "The historical significance of the Assembly of the People of Kazakhstan in interethnic cultural integration", carried out by the Department of Musicology of the M. Auezov Institute of Literature and Art of the Committee of Science of the Ministry of Education and Science of the Republic of Kazakhstan. The implementation of such a complex and significant topic for the national musical art, coverage of the activities of large cultural centers of different ethnic groups, and much more makes it possible to determine the contribution of each of them to the history of Kazakhstan's development and outline ways to preserve the traditional folklore heritage and identity. In this regard, these projects are relevant and socially and politically significant at the state level.

Kako učiniti muzikologiju dostupnijom uz pomoć radija?

This article presents the Croatian Music Alphabetarium of Croatian Radio, one of the numerous music broadcasts of Croatian Radio's Third Program (HR3), the only specialized publicradio station for culture in Croatia, as a case study of a (seemingly successful) attempt to make scholarly musicological texts (in the form of radio speech) more accessible. The results of Croatian radio market research published in 2015 speak in favour of the possibility of making scientific musicological texts more accessible to the general public with the help of radio. These results were compared and supplemented with the results of the German survey from 2006, which clarify the expectations of German classical music listeners, and thus helps us understand the Croatian classical music listeners' expectations, which have not been researched in our country so far. The Croatian research also reveals that Croatian listeners are willing to listen to a speech for up to half an hour if they arc interested in the topic, what encourages us to present and argue for the publication of scholarly musicological texts on the radio. Furthermore, the Croatian research reveals that our case study broadcast deals with two out of the fourteen most interesting topics for the Croatian listeners - cultural heritage and contemporary culture. The Croatian musicologists who studied musicology and music journalism are well media educated, and thus willing to publish their texts not only in professional and scientific journals but also on HR3. In order for that to happen the HR3 editors, who are accomplished musicologists and journalists, have to demonstrate their willingness as well as their superiors to broadcast scholarly musicological texts. Since the foundation of the Croatian Radio Third program (in 1964) and the Department of Musicology in Zagreb (in 1970), named Department of Musicology and Music Journalism in the period between 1977 and 1994, these conditions had been met until the outbreak of the COVID-19 pandemic. During that period (1964-2020) HR3 regularly broadcasted scholarly musicological texts, and in the last eight years IIR3 has produced as many as two weekly broadcasts and two monthly broadcasts with scholarly musicological texts. The pandemic has given rise to the negative trend of reducing speech in classical music broadcasts, but hopefully not for long. © 2021 Croatian Musicological Society. All rights reserved.

TWENTY YEARS OF DEVOTION TO ART: THE HISTORY OF THE GIRLS’ CHOIR “LIRA” AT IVAN FRANKO LVIV NATIONAL UNIVERSITY

In this article, we will discuss the eStablishment and 20 years of accomplishments of one of the moSt accomplished amateur Student ensembles of Ivan Franko Lviv National University, national women youth choir Lira. This is the firSt complete account of the activities and accomplishments of the ensemble, famed in not only Ukraine but the reSt of the continent. Lira was firSt founded in 1999 as a choir of the philology department of Lviv National University before becoming a university wide ensemble in 2004 to include both undergraduate and graduate Students from all departments. Oksana Melnychuk, senior teacher of the department of Musicology and Choir Conducting, is the creative leader and conductor of Lira since 2000. The choir frequently participates in an array of university programs and events, and performs at many more local and regional cultural events. Lira has produced hundreds of concerts, and their intriguing and diverse repertoire continues to spiritually enrich the performers and the audience alike. Besides the concerts, Lira is a participant and laureate of many regional, national and international feStivals and competitions. Ukrainian choral music performed by Lira was heard in Poland, Czechia, AuStria, Greece, Belgium, and the Netherlands. In the course of its exiStence, the collective significantly expanded and diversifiedof spiritual music, numerous arrangements of folk songs, and original works of European and Ukrainian classical and contemporary composers. The collective’s creations include a printed collection of choral pieces “Lira Sings” and three audio albums: Giovanni BattiSta Pergolesi’s “Stabat Mater”, “Lira Sings – Women Youth Choir”, and “Taras Shevchenko’s Lyrics”. The lateSt collective’s album, “Taras Shevchenko’s Lyrics”, is dedicated to the 200th anniversary of the birth of Taras Shevchenko, and is a joint work of the choir and the eSteemed Ukrainian actor and professor Bohdan Kozak. Lira participants continue to sing in other adult amateur and professional groups, even after graduation. Despite the never ending turnaround of participants due to it being a Students only choir, Lira always amaze their liSteners with the higheSt levels of artiStic talent and creativity.

«...Поддержка есть во всем». Интервью с И.П. Сусидко

Irina P. Susidko, Full Professor, Doctor of Art Studies, Head of the Analytical Musicology Department at the Gnessins Russian Academy of Music, is one of the leading musicologists in Russia. She is a Chair of the Academy’s Dissertation Council. She supervises graduate theses and doctoral dissertations. She also leads a range of international research projects: an online journal Contemporary Musicology and two regular conferences — Opera in Musical Theater: History and Present Time and Musical Composition. Musical Composition was initiated by professors of the Analytical Musicology Department. The conference focuses on current issues in studying music, its internal canons, the development history of its idiom and material, as well as state of the art in the technique of musical composition. The goal of the research forum Opera in Musical Theater is to explore opera as a synthetic phenomenon in all its multiple dimensions: music, poetry and literature, scenography, vocal performance, and the director’s vision. In her interview, Irina Susidko spoke about the conferences taking place in 2021 and new opportunities that opened up for the Academy due to its victory in the “Priority 2030” program.

«Каждый педагог — творец науки и образования» (Интервью с И.С. Стогний)

Irina S. Stogniy is Doctor of Art Studies and Full Professor of the Analytical Musicology Department at the Gnesin Russian Academy of Music. She is also Editor-in-Chief of the journal Uchenye Zapiski of the Gnesin Russian Academy of Music . Prof. Stogniy is the leader and a regular participant of international research projects in musicology. She is the author of a series of research papers focusing on important theoretical issues in musicology. Among them is the monograph Connotation in Musical Texts (2013). Prof. Stogniy developed a new elective course Musical Semiology for musicologists and composers. The course is delivered in higher music education institutions. She is also the author of a number of educational programmes. The interview focused substantively on the projects initiated and lead by Prof. Stogniy. They include two research conferences: Semantics of the Musical Language and Christian Images in Art. In her interview, Prof. Stogniy shared her teaching experience with the former students and now teachers of the Gnesin Russian Academy of Music: Olga O. Moskvina and Svetlana A. Pavlova.

In memoriam Bruno Nettl

With Bruno Nettl’s passing on 15 January this year, the world of ethnomusicology lost one of its major figures, a scholar who significantly contributed to its affirmation as an academic field worldwide, and who inspired and kept supporting generations of ethnomusicologists on their way to new heights. His lectures at the University of Ljubljana’s Faculty of Arts in 2007 raised lots of interest among the professors and students; at that occasion, he presented the Department of Musicology his collection of abstracts. Musicological Annual lost a respected member of its International Advisory Board and the author of the article “What Are the Great Discoveries of Your Field? Informal Comments About the Contributions of Ethnomusicology,” published in 2015. Nettl’s crossdisciplinary scholarship provides a broad and multi-layered picture of both selected musics and of ethnomusicology as a discipline.

How to make Music Research Open?

In this episode, we talk about Music Research, and how it is to practice open research within this field. Our guest is Alexander Jensenius, Associate Professor at the Department of Musicology - Centre for Interdisciplinary Studies in Rhythm, Time and Motion (IMV) at the University of Oslo. He is also behind MusicLAb, an event-based project where data is collected, during a musical performance, and analyzed on the fly. The aim of MusicLab is to explore new methods for conducting research, research communication, and education. Rather than keeping the entire research process closed, MusicLab wants to share the data with the public, and show how it can be analyzed.
 The host of this episode is Erik Lieungh.
 This episode was first published 27 December 2019.

Pedagoška delatnost Vesne Mikić

This paper focuses on the teaching work of Vesna Mikić, PhD (1967-2019), full professor at the Department of Musicology of the Faculty of Music in Belgrade. Considering that she was tied to this institution throughout most of her professional career, the paper will offer an outlook on the curricula of the subjects which she taught over the years, and an attempt to shed light on her approach to teaching and to the subject matter she taught. In addition, the paper will focus on her work as a mentor, and attempt to pinpoint a number of aspects that connected her work as a scholar, pedagogue and mentor.

Granados through the Rolls: The Presence of Enrique Granados in the Spanish Pianola Market

This article examines the presence of Enrique Granados’s music in the Spanish pianola market, both for metronomic and reproducing rolls. The analyzed material comes from several digitization and cataloging projects carried out by the Musicology Department Research Group at the Universitat Autònoma de Barcelona. These projects include the study of the main Spanish collections, such as the National Library of Spain (2016), the Music Museum of Barcelona (2014), the National Library of Catalunya (2012) and several private collections, which started in 2017 and are still in progress at the moment. The quantitative analysis on the volume of works by Granados published by the main companies in the sector, allows us to learn about the presence of the Catalan composer in a music market, now practically forgotten, that had a massive impact during the beginning of the twentieth century. On the other hand, by comparing these data from the catalogs with the results of our research on institutional and private collections, we can venture some aspects about the relationship between supply and demand in this particular context. What we present is, therefore, a first approach to the Iberian market of the pianola focusing on the figure of one of its central composers.

Adventures of a Ballad Hunter by John A. Lomax

Reviewed by: Adventures of a Ballad Hunter by John A. Lomax Michael Lee Adventures of a Ballad Hunter. By John A. Lomax. Austin: University of Texas Press, 2017. ix + 275 pp. Illustrations, index. $18.95 paper. Enthusiasts of the American folksong owe a heavy debt to John A. Lomax (1867–1948), who devoted his formidable energies crisscrossing the country recording people singing folk-songs. [End Page 218] His labors culminated in folding nearly 10,000 recordings he made between 1908 and 1942 into the Archive of American Folksongs at the Library of Congress. In 1947 Lomax wrote his memoir, Adventures of a Ballad Hunter. This important account of his efforts has been out of print since 1972. The University of Texas Press now offers it in a handsome new paperback edition. The first half of the book offers a detailed and engaging account of Lomax’s work largely spent in the Great Plains. His story begins in the Bosque Valley, Texas, where the author grew up. Lomax initially describes the songs he learned as a small child from passing cowboys encamped near his home, at revival meetings, and informally taught to him by Nat, a formerly enslaved youth who was employed by Lomax’s father. Lomax “came to love Nat with the fierce strength and loyalty of youth.” Yet one page later, the reader learns rumors of Nat’s murder at age twenty-one. Such vivid characters appear, sing, and then disappear on every page of this memoir. Some of Lomax’s encounters are heartbreaking, many are funny, and all invest Lomax’s memoir with a wealth of humanity. Lomax shares the gradual professionalization of his work from early rejection by indifferent English professors to his amateur efforts at song collection leading to his embrace by influential Harvard faculty who supported his work financially. Throughout Lomax’s chronicle, a tone of amateur enthusiasm prevails. His account of how he popularized the song “Home on the Range” best illustrates this quality of the book. Lomax’s travels took him to San Antonio in 1908 where he consulted with a former trail cook turned saloonkeeper only after the man had a day to sober up. Upon sobriety’s return, the man sang this Great Plains classic beneath a mesquite tree as Lomax made a cylinder recording. Eventually Lomax’s memoir takes him to the American South with special emphasis on segregated prisons where his African American sources, most notably Lead Belly, provide Lomax with a wealth of important folksong material. Lomax preserved the voices of Americans from fading and along the way captures a bygone era when Americans sang for one another and for themselves. This memoir illustrates the urgency of songs in the lives of a diverse people. Michael Lee Musicology Department University of Oklahoma Copyright © 2019 Center for Great Plains Studies, University of Nebraska–Lincoln

Jubilej Katedre za muzikologiju Fakulteta muzičke umetnosti u Beogradu

The article sheds light on the work of the Department of Musicology at the Faculty of Music, on the occasion of its jubilee the 70 th anniversary of its foundation. The purpose of the text is to point out the changes that its concept of studying musicology has undergone over the years and introduce its teaching staff and their work in research and teaching. Special attention is devoted to the Departments activities in publishing.

Spatio-Temporal Analysis of Early Printed Music using Interactive Maps – A Templating Approach

Spatio-temporal visualization tools are powerful for communicating and analysing spatial data as well as for generating new insights from this data. This applies not only to geography-related disciplines but also to other subjects. In this paper, we look at the results of a cross-domain cooperation between geoinformatics and musicology at Salzburg University. The aim is to develop a task-oriented, spatio-temporal web mapping solution to provide visual support for communicating and analysing the production of the first printed music in German-speaking countries from the 15th to the middle of the 16th centuries. The approach behind this interdisciplinary cooperation, the prototypical web maps as well as the results of a short exploratory online survey are introduced to assess how this spatio-temporal approach is evaluated by representatives of the musicology department. The paper also shows the added value of using spatio-temporal visualization methods to gain new insights into the world of early printed music.