Kontinuitäten und Brüche im Musikleben der Nachkriegszeit Projektteil III: Wissenschaftsgeschichte und Vergangenheitspolitik - Musikwissenschaft in Forschung und Lehre im frühen Nachkriegsdeutschland

在社会、政治以及文化和科学领域，1945年作为“零年”的转折点受到了质疑。我们的项目重点关注1945年至1955年德国战后早期音乐学领域的人物和主题的连续性和非连续性。只有广泛和系统地收集档案资源，才能为研究音乐学研究和教学提供必要的框架，因为它存在于这一时期的大学和机构中。收集和评估有关内部程序的信息，以及围绕战后音乐学主席评估的理由，将使音乐学历史的这一阶段更加透明。一个主要问题涉及音乐学在过去面对纳粹主义问题的方式，以及在去纳粹化阶段后失去立场的学者重新获得立场的策略。从1949年开始，每一个案例都受到了德国音乐学家网络和音乐学组织和机构的影响，这些组织和机构越来越独立。例如，音乐学主席职位的评估和人员配置问题，基本上是由同一批人决定的。我们研究项目的核心任务是对档案资源的获取、开发和处理。在第一阶段，我们系统地报道了德国的消息来源。下一阶段包括扩展我们的原始材料，包括瑞士和奥地利的德语区的音乐机构，以及中欧和东欧的选定国家-这些地区，直到1945年，属于“德意志帝国”，在1945年之前或之后一直是德国音乐学家的工作场所或影响他们。对1945年至1955年德语教学的系统重构和内容解码，也应与周边国家进行延伸。这些材料的示范处理将在具体的文章和四个计划的专著中进行。正准备出版两卷注释版，其中包括H.贝塞勒与J. Handschin， R. von Ficker， F. Blume， A. Schmitz的通信。文档卷将提供对不同类型源的洞察。宣传活动将包括展览和以音乐学家的作品为主题的各种讲座和独奏节目。在项目第二阶段结束时，将通过联机数据库提供全部原始材料。最后，我们将描述和定义从19世纪到21世纪德语地区音乐学的长期发展。将编制第一个系统地以来源为基础的学科综合百科全书，包括人物肖像和他们的研究，他们的联系和网络，机构和他们的转变，以及音乐学在社会文化发展中的整合。

In society and politics as well as in culture and science, the turning point of 1945 as 'Year Zero' has been called into question. Our project focuses on continuity and discontinuity of persons and subjects within the field of musicology in Germany during the early postwar period from 1945 to 1955. Only a widespread and systematic collection of archival sources will provide the necessary framework to study musicological research and teaching as it existed in universities and institutions during this period. Collection and evaluation of information regarding internal procedures as well as justifications surrounding the assessment of post-war musicology chairs will make this phase of musicological history more transparent. One main question involves the way musicology confronts the issue of nazism in its past, and the strategies by which scholars who had lost their positions regained them after the phase of denazification. Each case was influenced by the network of musicologists and musicological organizations and institutions founded in Germany, from 1949 onwards more and more separately. The question of assessment and staffing of musicological chair positions, for example, were descided largely by the same people.The core task of our research project is the acquisition, development and processing of archival sources. During the first phase we covered systematically the sources in Germany. The next phase involves extending our source material to include musicological institutions in German-speaking areas in Switzerland and Austria, as well as in selected countries in Central and Eastern Europe - areas which, until 1945, belonged to the 'Deutsches Reich', had been working place of German musicologists before or after 1945 or influenced them. Also the systematic reconstruction and content decoding of German teaching between 1945 and 1955 shall be extended with the neighbour countries. The exemplary processing of the materials will be done in specific articles and in four planned monographs. Two volumes are in preparation for the publication of an annotated edition containing the correspondence of H. Besseler with J. Handschin, R. von Ficker, F. Blume, A. Schmitz. A document volume will offer insight into different types of sources. Public relations activities will include a exhibition as well as different lecture recital programs featuring works composed by musicologists. The total source material will be made available by means of an online database at the end of the second phase of the project.Ultimately, we will describe and define the longue durée of musicology in German-speaking areas from the 19th until the 21st century. The first systematically source-based comprehensive encyclopedia of the discipline will be prepared, containing portraits of people and their research, their connections and networks, institutions and their transformations as well as the integration of musicology in sociocultural developments.