Cologne contributions to music research
The Cologne Contributions to Music Research (KBMf) is one of the oldest still published music book series in Germany . It was founded in 1938 by the Cologne musicologist Theodor Kroyer as a primarily monographic series and has been published by Gustav Bosse Verlag , since 2004 under the name of Cologne Contributions to Musicology (KBMw).
The Cologne articles appear irregularly, sometimes in leaping years of publication, with 211 volumes under the old and so far 17 volumes under the new name (status: 2019). Outstanding research articles are published, mostly dissertations with the grades Summa cum laude or Magna cum laude by the Musicological Institute of the University of Cologne .
history
The series was founded in 1938 by the then emeritus musicologist Theodor Kroyer for publications of the Musicological Institute of the University of Cologne and opened with Willi Kahl's bibliography on the literature on Franz Schubert from 1828 to 1928. In 1941 Karl-Gustav Fellerer , whose own dissertation on German Gregorian chant appeared as volume 5 in the series, took over the editing. Due to the Second World War and the post-war period, the publication was interrupted after Volume 6, which was also published in 1941, until 1955. It was continued by Michael Schneider's dissertation on organ playing technique in Germany in the early 19th century . Fellerer remained the editor until 1971 and was replaced by his successor Heinrich Hüschen , who continued the series until 1984.
Due to the technical expansion of the musicological institute with the specialist areas of musical acoustics and systematic musicology by Jobst Fricke and music ethnology by Josef Kuckertz , more and more dissertations appeared in the series beyond the topics of historical musicology . Jobst Fricke founded the “Acoustic Series” within the KBMf, in which a total of 15 volumes appeared on topics from musical acoustics and systematic musicology. In addition, several edited volumes of symposia of the Cologne Institute were published in the series. Volumes 191 to 211 were published by Dietrich Kämper , who also worked at the institute .
From 2004 took Christoph von Blumroder and Frank Hentschel, the publication of the series and changed the series title, by the process-oriented concept of music research through more results-oriented of musicology replaced. The number of volumes was not continued. A reason for the new designation and counting has not been published. The Bosse-Verlag sees it as a continuation of the same series in which research articles by the Musicological Institute of the University of Cologne are published.
The Cologne contributions were initially published in Regensburg , and from 1993 onwards, due to the relocation of Gustav Bosse Verlag, to Kassel .
Volumes
Cologne contributions to music research
tape | Author, editor | title | Publishing year | annotation |
---|---|---|---|---|
1 | Willi Kahl | List of literature about Franz Schubert 1828–1928. | 1938 | |
2 | Eduard Groeninger | Repertoire studies on the polyphonic Notre Dame conductus. | 1939 | |
3 | Margarete Reimann | Investigations into the formal history of the French piano suite with special consideration of Couperin's “Ordres”. | 1940 | |
4th | Bernhardt Martin | Investigations into the structure of the "art of fugue". JS Bach | 1941 | |
5 | Karl Gustav Fellerer | German Gregorian chant in the Franconian Empire. | 1941 | |
6th | Michael Schneider | The organ playing technique of the early 19th century in Germany presented at the organ schools of the time. | 1941 | |
7th | Rudolf Ewerhart | The manuscript 322/1994 of the Trier City Library as a musical source. | 1955 | |
8th | Grete Wehmeyer | Max Reger as a song composer: A contribution to the problem of the word-tone relationship. | 1955 | |
9 | Johannes Aengenvoort | Sources and studies on the history of the Graduale Monasteriense with special reference to the Graduale Monasteriense impr. 1536 (Alopecius print). | 1955 | |
10 | Helmut Kirchmeyer | Igor Stravinsky - Contemporary History in Personality Basics and requirements for modern construction technology. | 1958 | |
11 | Udo Unger | The piano fugue in the twentieth century. | 1956 | |
12 | Gudrun Busch | C. Ph. E. Bach and his songs. | 1957 | |
13 | Martin Blindow | The chorale accompaniment of the 18th century in the Protestant Church in Germany. | 1957 | |
14th | Joachim Roth | The polyphonic Latin litany compositions of the 16th century. | 1959 | |
15th | Gottfried Göller | Vincent von Beauvais OP (around 1194 to 1264) and his music treatise in the Speculum doctrinale. | 1959 | |
16 | Jobst Fricke | About subjective difference tones of the highest audible tones and the adjacent ultrasound in musical hearing. | 1960 | Acoustic row 1 |
17th | Friedhelm Onkelbach | Lucas Lossius and his music theory. | 1960 | |
18th | Annette Friedrich | Contributions to the history of the secular women's choir in Germany in the 19th century. | 1961 | |
19th | Khachi Khachi | The Dastgāh: Studies on New Persian Music . | 1962 | |
20th | - | - | - | did not show up |
21st | Ursula Eckart-Baker | French modernism from Claude Debussy to Pierre Boulez contemporary history as reflected in music criticism . | 1962 | |
22nd | Diether Rouvel | On the history of music at the Princely Waldeckschen Hofe in Arolsen. | 1962 | |
23 | Josef Kuckertz | Variation in shape in the Romanian colinden collected by Bartók . | 1963 | |
24 | Dieter Schulte-Bunert | The German Piano Sonata of the Twentieth Century a formal investigation of the German piano sonatas of the twenties. | 1963 | |
25th | Marion red sleeves | The musical concept of time since Moritz Hauptmann . | 1963 | |
26th | Franz Müller-Heuser | Vox humana a contribution to the investigation of the vocal aesthetics of the Middle Ages. | 1963 | |
27 | Horst Braun | Investigations into the typology of contemporary school and youth opera . | 1963 | |
28 | Michael Härting | The mass singing in the Braunschweiger Domstift St. Blasii (manuscript Lower Saxony State Archives in Wolfenbüttel VII B Hs 175). Sources and studies on the Lower Saxony choral history of the 13th and 14th centuries. | 1963 | |
29 | Monika Lichtenfeld | Investigations on the theory of twelve-tone technology with Josef Matthias Hauer . | 1964 | |
30th | Eckhard Maronn | Investigations into the perception of secondary sound qualities in the case of integer vibration relationships | 1964 | Acoustic row 2 |
31 | Hans-Jakob Pauly | The fugue in Dietrich Buxtehude's organ works . | 1964 | |
32 | Heinz Wagener | The accompaniment of Gregorian chant in the nineteenth century. | 1964 | |
33 | Jürgen Braun | The theme in the chamber music works of Maurice Ravel . | 1966 | |
34 | Hermann Josef Burbach | Studies on the music conception of Thomas Aquinas . | 1966 | |
35 | Jürgen Wetschky | The canon technique in the instrumental music of Johannes Brahms . | 1967 | |
36 | Werner Puetz | Studies of string quartet work with Hindemith , Bartók, Schönberg and Webern . | 1968 | |
37 | Hugo Berger | Investigations into the Psalm Differences. | 1966 | |
38 | Günther Thomas | Friedrich Wilhelm Zachow . | 1966 | |
39 | Hans Ossing | Investigations on the Antiphonale Monasteriense (Alopecius-Druck 1537); a comparison with the manuscripts of the Münsterland. | 1966 | |
40 | Peter Fuhrmann | Investigations into sound differentiation in the modern orchestra. | 1966 | |
41 | Hanspeter Krellmann | Studies on Ferruccio Busoni's arrangements | 1966 | |
42 | Kurt-Erich Eicke | The dispute between Adolph Bernhard Marx and Gottfried Wilhelm Fink over the theory of composition. | 1966 | |
43 | Rudolf Heinemann | Investigations into the reception of serial music . | 1966 | |
44 | Erwin Hardeck | Investigations into the piano songs of Claude Debussy. | 1967 | |
45 | Eckart Wilkens | Artists and Amateurs in the Persian Santoor Game : Studies on Creative Skills in Iranian Music. | 1967 | with booklet |
46 | Gerhard Schulte | Investigations on the phenomenon of pitch impression with different vowel colors. | 1967 | Acoustic row 3 |
47 | Siegfried Gmeinwieser | Girolamo Chiti 1679-1759; an investigation into church music in S. Giovanni in Laterano. | 1968 | |
48 | Bernward Wiechens | The composition theory and the church music of Padre Martini | 1968 | |
49 | Mohammad Taghi Massoudieh | Āwāz-e-Šur for forming melodies in Persian art music | 1968 | |
50 | Udo Sirker | The development of the wind quintet in the first half of the 19th century. | 1968 | |
51 | Josef Eckhardt | The cello schools of JJF Dotzauer , FA Kummer and B. Romberg . | 1968 | |
52 | Herbert Douteil | Studies on Duranti's “Rationale divinorum officiorum” as a source of church music | 1969 | |
53 | Ute Jung-Kaiser | The music philosophy of Thomas Mann | 1969 | |
54 | Klaus Wolfgang Niemöller | Studies on music care and music lessons in German Latin schools from the end of the Middle Ages to around 1600. | 1969 | |
55 | Martin Weyer | The German organ sonata from Mendelssohn to Reger . | 1969 | |
56 | Hubert Kupper | Statistical investigations into the mode structure of Gregorian chant. | 1970 | |
57 | Dorothea Beckmann | Language and music in Anton Webern's vocal works are the construction of expression. | 1970 | |
58 | Hermann Richard Busch | Leonhard Euler's contribution to music theory. | 1970 | |
59 | Barbara Schwendowius | The solo viol music in France from 1650 to 1740, | 1970 | |
60 | Ulrich Müller | Investigations into the structure of the sounds of the clarin and valve trumpet . | 1971 | Acoustic row 4 |
61 | Jan Reichow | The development of a melody model in the genus Sikāh. | 1971 | |
62 | Hans Peter Komorowski | The “invention” in 20th century music. | 1971 | |
63 | Theo Hundt | Bartók's compositional technique in piano works. | 1971 | |
64 | Ulrich mask | Charles Ives in his chamber music for three to six instruments. | 1971 | |
65 | Rudolf Klinkhammer | The slow introduction to instrumental music of the Classical and Romantic periods, a special problem in the development of the sonata form. | 1971 | |
66 | Jürgen Oberschelp | The public musical life of the city of Bielefeld in the 19th century. | 1972 | |
67 | Dieter Gutknecht | Investigations into the melody of the Huguenot psalter. | 1972 | |
68 | Brigitte Petrovitsch | Studies in music for solo violin 1945–1970. | 1972 | |
69 | Werner Düring | Erlkönig settings: a historical and systematic investigation. | 1972 | |
70 | Arsenio Garcia-Ferreras | Juan Bautista Cabanilles : his life and work. (The tientos for organ) | 1973 | |
71 | Manfred Reiter | The twelve-tone technique in Alban Berg's opera Lulu . | 1973 | |
72 | Hans-Jürgen Winterhoff | Analytical studies on Puccini's " Tosca ". | 1973 | |
73 | Volker Bungardt | Josef Martin Kraus (1756-1792); a master of the classical piano song. | 1973 | |
74 | Hubert master | Investigations into the relationship between text and setting in Carlo Gesualdo's madrigals . | 1973 | |
75 | Detlef Altenburg | Studies of the history of the trumpet in the age of clarin music: 1500 - 1800 | 1973 | |
76 | Gerhard Heldt | The German post-romantic violin concerto from Brahms to Pfitzner (origin and form). | 1973 | |
77 | Hans Joachim Zingel | Playing the harp in the baroque era. | 1974 | |
78 | Gisela Blees | The Cello Concerto around 1800 an examination of the cello concerts between Haydn's op.101 and Schumann's op.129. | 1973 | |
79 | Ludolf Lützen | The Violoncell-Transkriptionen Friedrich Grützmacher Investigations into the transcription in perspective and handling of the 2nd half of the 19th century. | 1974 | |
80 | Wolfgang Voigt | Investigations into the formation of formants in the sounds of the bassoon and dulcians . | 1975 | Acoustic row 5 |
81 | Rodolf Vogler | The music magazine " Signals for the musical world ": 1843 - 1900. | 1975 | |
82 | Hans Reinhard Biock | For assessing the intonation of context-related successive intervals. | 1975 | Acoustic row 6 |
83 | Andreas Imhoff | Investigations into the piano works of Bernd Alois Zimmermann (1918-1970). | 1976 | |
84 | Friedemann Spleen | A cappella theory and musical humanism with August Eduard Grell . | 1976 | |
85 | Klaus Velten | Schönberg's instrumentations of Bach and Brahms works as documents of his understanding of tradition. | 1976 | |
86 | Stefanie Tiltmann-Fuchs | Othmar Schoeck's song cycles for voice and orchestra Studies on the relationship between words and sounds. | 1976 | |
87 | Marion Salevic | Setting the Psalms of David to music in the 20th century. Studies in the German-speaking area. | 1976 | |
88 | Raymund Weyers | Arthur Schopenhauer's Philosophy of Music. | 1976 | |
89 | Norbert Jers | Igor Stravinsky's late twelve-tone works: (1958 - 1966). | 1976 | |
90 | Gothard Bruhn | On the Audibility of Chimes : Investigations into the Residual Sound Problem . | 1980 | Acoustic row 7 |
91 | Hans Knoch | Orpheus and Eurydice the ancient legend in the operas of Darius Milhaud and Ernst Krenek . | 1977 | |
92 | Bernd Wegener | César Franck's harmony | 1976 | |
93 | Ursula Lienenlüke | Songs by Richard Strauss based on contemporary poetry. | 1976 | |
94 | Helmut Giesel | Studies on the symbolism of musical instruments in the literature of the ancient and medieval Church: (from the beginnings to the 13th century). | 1978 | |
95 | Peter Päffgen | Lute and lute playing in the first half of the 16th century. Observations on the construction and playing technique. | 1978 | |
96 | Michael Trapp | Studies on Stravinsky's " Story of the Soldier " (1918): on the idea and impact of musical theater in the 1920s. | 1978 | |
97 | Monika Fürst-Heidtmann | The prepared piano of John Cage . | 1979 | |
98 | Klaus Fischer | The psalm compositions in Rome around 1600: (approx. 1570 - 1630). | 1979 | |
99 | Ingeborg Dobrinski | The solo piece for flute in the first half of the 20th century. | 1981 | |
100 | Gabriele M. Steinschulte | The Ward Movement studies for the realization of the church music reform Pope Pius X in the first half of the 20th century. | 1979 | |
101 | Ulrich Tank | Studies of Esterházy court music from around 1620 to 1790. | 1981 | |
102 | Karl-Otto Plum | Investigations into Heinrich Schenker's voice guidance analysis. | 1979 | |
103 | Jerko Martinić | Glagolitic chants of Central Dalmatia. | 1978 | |
104 | Gerd Laube-Przygodda | The Old Testament and New Testament musical praise of God in reception by Christian authors of the 2nd to 11th centuries. | 1980 | |
105 | Martin Weber | The orchestral works of Rudolf Kelterborn . | 1980 | |
106 | Erika Weber-Ansat | Arnold Mendelssohn (1855 - 1933) and his services to the renewal of Protestant church music. | 1981 | |
107 | Ulrich Thieme | Studies on the youthful work of Arnold Schönberg's influences and changes. | 1979 | |
108 | Antonio A. Bispo | Catholic church music in the province of São Paulo at the time of the Brazilian Empire: (1822 - 1889). | 1980 | |
109 | Fritz Butzbach | Studies for the Piano Concerto No. 1, F sharp minor, Op. 1 by SV Rachmaninov . | 1979 | |
110 | Demetre Yannou | The "History of Music" (1715) by Bonnet and Bourdelot. | 1980 | |
111 | Eckhardt van den Hoogen | Franz Schreker's orchestral works in their time were analytical studies. | 1981 | |
112 | Lothar Prox | Structural composition and structural analysis contribute to Wagner research. | 1986 | |
113 | Ansgar Jerrentrup | Development of rock music from the beginning to the beat. | 1981 | |
114 | Miho Demovic | Music and musicians in the Republic of Dubrovnik (Ragusa) from the beginning of the XI. Century to the middle of the XVII. Century. | 1981 | |
115 | Bernd Enders | Studies on the transparency and intonation assessment of chords. | 1981 | Acoustic row 8 |
116 | Angelus Seipt | César Franck's symphonic poems. | 1981 | |
117 | Gudrun Stegen | Studies on structural thinking in new music . | 1981 | |
118 | Ernst-Joachim Danz | Objectless Art Investigations into the musical aesthetics of Friedrich von Hausegger. | 1981 | |
119 | Michael Fütterer | The madrigal as instrumental music: attempt to reinterpret the Cinquecento madrigal in terms of performance and the history of ideas. | 1982 | |
120 | Ulrich Mehler | Dicere and cantare: on musical terminology and performance practice of medieval sacred drama in Germany. | 1981 | |
121 | Carola Schormann | Studies on the music history of the city of Lüneburg in the late 18th and 19th centuries. | 1982 | |
122 | Paul Terse | Studies on the use of the concert grand in the opera orchestra from around 1930 to around 1970. | 1982 | |
123 | Frank Reinisch | The French oratorio from 1840-1870. | 1982 | |
124 | Norbert Dreßen | Language and music with Luciano Berio . | 1982 | |
125 | Ludger Lohmann | Studies on articulation problems with keyboard instruments of the 16th - 18th centuries. | 1982 | |
126 | Dietlind Möller | Investigations into the symbolism of the musical instruments in Sebastian Brant's ship of fools . | 1982 | |
127 | Leticia Varela-Ruiz | The Music in the Lives of the Yaqui : Contributing to the Study of the Tradition of a Mexican Ethnic Group. | 1982 | |
128 | Christof Hagemeister | The formal scheme of the sonata in Russian instrumental music around 1800. | 1982 | |
129 | Jochen Arbogast | Style-critical studies on the piano works of the Thomaskantor Johann Kuhnau (1660 - 1722). | 1983 | |
130 | Barbara Engelbert | Wystan Hugh Auden (1907-1973); his aesthetic approach to opera and his work as a librettist . | 1983 | |
131 | Josef Dahlberg | Studies on the sacred choral music of Heinrich Lemacher (1891–1966) with special consideration of its liturgical function. | 1983 | |
132 | Armindo Borges | Duarte Lobo (156? - 1646); Studies on the life and work of the Portuguese composer. | 1986 | |
133 | Birgit Heusgen | Studies of Gustav Mahler's adaptation and addition to Carl Maria von Weber's opera fragment ' The Three Pintos '. | 1983 | |
134 | Lutz Werner Hesse | Studies on the work of the composer Ralph Vaughan Williams . | 1983 | |
135 | Helmut Fleinghaus | The music vision of Erasmus of Rotterdam . | 1984 | |
136 | Walter Haass | Studies of the “L'homme-armé” masses of the 15th and 16th centuries. | 1984 | |
137 | Helga Schauerte-Maubouet | Jehan Alain (1911–1940): the organ work; a monographic study. | 1983 | |
138 | Bernd Scherers | Studies of organ music by César Franck's students. | 1984 | |
139 | Reinhard Josef Sacher | Music as theater. Tendencies to transgress boundaries in music from 1958–1968. | 1985 | |
140 | Manuel Gervink | The symphony in Germany and Austria in the period between the two world wars. | 1984 | |
141 | Dieter Braun | Sound structures and their psychoacoustic evaluation in Zinken . | 1984 | Acoustic series 9, 2 volumes |
142 | Irmgard Knechtges-Obrecht | Robert Schumann in the mirror of his late piano works. | 1985 | |
143 | Peter Ludwig | Studies of the motets of the students of Palestrina. | 1986 | |
144 | Horst Walter | Joseph Haydn - Tradition and Reception. | 1985 | |
145 | Britta Schilling-Wang | Virtuoso piano music of the 19th century using the example of Charles Valentin Alkan , (1813–1888). | 1986 | |
146 | Matthias Green | Rudolf Mauersberger , Studies on Life and Work. | 1986 | |
147 | Slavko Topić | Church hymns of the Bosnian Catholics. | 1986 | |
148 | Hans Wolfgang Schneider | Instrumental funeral music in the 19th and early 20th centuries presented on 18 piano compositions between 1797 and 1936. | 1987 | |
149 | Klaus Dieter Hüschen | Studies of the motets of Ernst Pepping | 1987 | |
150 | Klaus Wolfgang Niemöller, Vsevolod P. Zaderack | International Dmitri Shostakovich Symposium Cologne 1985 | 1986 | Editing volume |
151 | Ralf Krause | The church music by Leonardo Leo (1694 - 1744); a contribution to the musical history of Naples in the 18th century | 1987 | |
152 | Rosemarie Tüpker | I sing what I can't say On the morphological foundation of music therapy . | 1988 | Acoustic row 10 |
153 | Ulrike Kapeller | Research on John Sturt's Lute book. | 1988 | |
154 | Hans-Joachim Wagner | Study on “ Boulevard Solitude - lyrical drama in 7 images” by Hans Werner Henze . | 1988 | |
155 | Klaus Wolfgang Niemöller; Wulf Konold | Between the Generations, report on the Bernd Alois Zimmermann Symposium Cologne 1987 | 1989 | Editing volume |
156 | Helen F. Samson | The contemporary art music of the Philippines in the field of tension between national heritage and European influence. | 1989 | |
157 | Rolf Klein | The theory of intervals in German music theory of the 16th century. | 1989 | |
158 | - | - | - | did not show up |
159 | Ulrich Bartels | Vowel and instrumental aspects in the music theory literature of the 1st half of the 17th century. Studies of musical performance practice in Germany during the early baroque period. | 1989 | |
160 | Mohamed El-Khodary | Investigations into the design of the rhythm and the relationship between norm and realization, illustrated by three interpretations of Chopin's polonaise in A major . | 1989 | Acoustic row 12 |
161 | Esmat Abbas | Tonal properties of the double bass , spectral analysis and historical investigations into the construction and the sound. | 1989 | Acoustic row 13 |
162 | Albert Richenhagen | Studies on the music conception of Hrabanus Maurus | 1988 | |
163 | Anna Czekanowska | Studies on the national style of Polish music. Research on Polish music from the Middle Ages to the 2nd half of the 20th century. | 1990 | |
164 | Klaus Wolfgang Niemöller; Manuel Gervink | Report on the International Symposium "Charles Ives and the American Music Tradition to the Present" | 1988 | Editing volume |
165 | Klaus Wolfgang Niemöller; Bram Gätjen; Manuel Gervink; Jobs Peter Fricke | The language of music: Festschrift for Klaus Wolfgang Niemöller's 60th birthday on July 21, 1989: on behalf of all colleagues at the Musicological Institute of the University of Cologne. | 1989 | Editing volume |
166 | Richard Lorber | The Italian cantatas by Johann David Heinichen : (1683 - 1729); a contribution to the history of music at the Dresden court in the first half of the 18th century. | 1991 | |
167 | Lutz Glasenapp | The guitar as an ensemble and orchestral instrument in new music with special consideration of the works of Hans Werner Henze. | 1991 | |
168 | Anselm Hartmann | Art and Church Studies of Franz Liszt's mass work. | 1991 | |
169 | O-Yeon Kwon Kim | The theory and practice of intonations in traditional Korean music as measured by the vaulted board zithers Kŏmun'go and K'ayagŭm. | 1992 | Acoustic row 14 |
170 | Yukiko Sawabe | New Music in Japan from 1950 to 1960: Styles and Composers. 1992 | ||
171 | Ortrud Kuhn-Schliess | Classicist tendencies in Maurice Ravel's piano works. | 1992 | |
172 | Gero Schliess | Igor Stravinsky's early songs. | 1992 | |
173 | Mahmud Abdel-Aziz | Form and content in the cello works by Dmitri Schostakowitsch. | 1992 | |
174 | Regina Brandt | Religious basics in Frank Martin's work . | 1992 | |
175 | Klaus Wolfgang Niemöller | Report on the International Symposium " Sergej Prokofjew - Aspects of his Work and Biography" Cologne 1991 | 1992 | |
176 | Dietmar Juergens | The mass compositions of Friedrich Kiel . | 1992 | |
177 | Bram Gätjen | The sound of the harpsichord historical, acoustic and instrumental studies. | 1995 | Acoustic row 11 |
178 | Arno Semrau | Studies on the typology and poetics of opera in the first half of the 19th century. | 1993 | |
179 | Hermann Muller | On the theory and practice of indeterminate music, performance practice between experiment and improvisation. | 1994 | |
180 | Wolfgang Auhagen | Experimental studies on the auditory tonality determination in melodies | 1994 | Acoustic row 15 |
181 | Thomas Giebisch | Take-off as a compositional principle with Charles Ives . | 1993 | |
182 | - | - | - | did not show up |
183 | Susanne Cramer | Johannes Heugel (approx. 1510–1584 / 85): Studies on his Latin motets. | 1994 | |
184 | Stefan Einsfelder | On the musical dramaturgy of Giuseppe Verdi's Otello . | 1994 | |
185 | Julia van Hees | Luigi Dallapiccola's stage work Ulisse Investigations into the work and its genesis. | 1994 | |
186 | Andreas Puetz | From Wagner to Scriabin . | 1995 | |
187 | Monika Maria Burzik | Source studies on European plucked instrument forms, method problems, art historical aspects and questions of naming. | 1995 | |
188 | Klaus Wolfgang Niemöller, Uwe Pätzold, Kyo-chul Chung | “Lux oriente” encounters of cultures in music research; Festschrift for Robert Günther on his 65th birthday. | 1995 | Editing volume |
189 | Susanne Gutsche | The choir at Beethoven investigates the role of the choir in orchestral works from the Bonner Cantatas to the 9th Symphony. | 1995 | |
190 | Lorenz Luyken | "- to create a world out of nothing -": Studies on the dramaturgy in Jean Sibelius' late symphonic work . | 1995 | |
191 | Isabel Eicker | Children's plays addressed to children and albums composed on the theme of childhood in 19th century piano literature. | 1995 | |
192 | Mi-yŏng Kim | The ideal of simplicity in song from the Berliner Liederschule to Brahms. | 1995 | |
193 | Kerstin Schüssler | Frank Martins Musiktheater a contribution to the history of the opera in the 20th century. | 1996 | |
194 | Udo Rademacher | Vocal work on the threshold of new music: Studies on Alexander Zemlinsky's piano song . | 1996 | |
195 | Martin Grempler | Rossini e la patria Studies on the life and work of Gioachino Rossini against the backdrop of the Risorgimento. | 1996 | |
196 | Franz Müller-Heuser | Vox humana a contribution to the investigation of the vocal aesthetics of the Middle Ages. | 1997 | |
197 | Norbert Brendt | The piano suite between 1850 and 1925. | 1997 | |
198 | Charlotte Reinke | The polyphonic lamentations from their beginnings to around 1550. | 1997 | |
199 | Huei Ming Wang | Beethoven's violoncello sonatas and violin sonatas. | 1997 | |
200 | Robert Nemecek | Investigations into the early piano work of Pierre Boulez . | 1998 | |
201 | Christian Detig | German art German nation: the composer Max von Schillings | 1998 | |
202 | Jing-Mao Yang | The “Grieg motif” for recognizing Edvard Grieg's personal style and musical thinking . 1998 | ||
203 | Gero Vehlow | Studies in the history of music for harmonium . | 1998 | |
204 | Markus Buchmann | Personal Style in Jazz Improvisation: Studies on Oscar Peterson | 1999 | |
205 | Anna Ficarlella | The Late Style Category in 19th and 20th Century Piano Music: Studies on the Piano Practice by Ferruccio Busoni | 1999 | |
206 | Henning Eisenlohr | Composition as a decision-making process: Studies on the problem of form and content, illustrated using the example of Elliot Carter's "Trilogy for oboe and harp" (1992). | 1999 | |
207 | Susanne Starke | From “dubbio tonale” to “chiarificazione definitiva” the path of the composer Alfredo Casella. | 2000 | |
208 | Guido Brink | The final movements in Mozart's concerts. | 2000 | |
209 | Jörg Igor Hillebrand | Igor Markevitch : life, work and compositional work. | 2000 | |
210 | Beate Thiemann | The symphonies of Gian Francesco Malipieros . | 2001 | |
211 | Paul Schendzielorz | Studies in instrumental music by Gideon Klein . The Prague and Theresienstadt years in the context of music and contemporary history | 2002 |
Cologne contributions to musicology
tape | Author, editor | title | Publishing year | annotation |
---|---|---|---|---|
1 | Thomas Manfred Braun | Karlheinz Stockhausen's music in the focus of aesthetic judgment | 2004 | |
2 | Georg Sachse | Speech melodies, mixed sounds, breaths | 2004 | |
3 | Matthias Corvin | Form concepts of the overture from Mozart to Beethoven | 2005 | |
4th | Roland Pfeiffer | The Opere buffe by Giuseppe Sarti (1729–1802) | 2007 | |
5 | Karsten Lüdtke | Con la sudetta sprezzatura | 2006 | |
6th | Raphael Graf von Hoensbroech | Felix Mendelssohn Bartholdy's unfinished oratorio Christ | 2006 | |
7th | Christiane Strucken-Paland | Cyclical principles in the instrumental works of César Franck | 2009 | |
8th | Susanne Dinse | The idea of the popular in eighteenth-century music is illustrated by Joseph Haydn's symphonies | 2008 | |
9 | Marcus Chr. Lippe | Opera on the move: genre concepts in German-language music theater around 1800 | 2007 | Editing volume |
10 | Christian Reinke | The musical thought and comprehensibility as central music-theoretical concepts of Arnold Schönberg | 2007 | |
11 | Simone Galliat | Musical theater in upheaval | 2009 | |
12 | Katerina Grohmann | Karlheinz Stockhausen. Opera WEDNESDAY from LIGHT | 2010 | |
13 | Julian Caskel | Developing repetition | 2010 | |
14th | Franziska Schuler | Play as a compositional principle in György Kurtágs Játékok ( Games ) | 2011 | |
15th | Younjung Lee | "XII Burlesque for Piano" (1832/33) | 2011 | |
16 | Wolfram Steinbeck, Christoph Blumröder, Julio von Mendívil | Self-reflection in music / science: presentations at the Cologne Symposium 2007 | 2011 | Editing volume |
17th | Iryna Krytska | Karlheinz Stockhausen's PIANO PIECE XI (1956) | 2015 |
Individual evidence
- ↑ Work supervised by Jobst Fricke. Website of the University of Vienna. Retrieved May 5, 2019
- ^ Cologne contributions to music research at WorldCat . Retrieved May 5, 2019
- ^ Cologne contributions to Gustav-Bosse-Verlag . Retrieved May 5, 2019
Web links
Cologne contributions to music research at the German National Library