Music history on stage: constructions of the musical past in musical theatre

无论是莫扎特还是披头士、玛琳·迪特里希、斯特拉迪瓦里的小提琴、里曼的音乐词典--音乐史上的人物、事件、作曲、实践甚至学术文本都在音乐剧中呈现了数百年。这些舞台活动通过明确提到音乐历史题材，将音乐、戏剧和历史叙事结合在一起。手头的项目系统地研究了这个史学音乐剧从1750年左右开始到现在的情况。通过详细阐述音乐历史知识生产的基本维度，形成了集艺术、科学和日常生活于一体的音乐史学新概念。它将知识描述为一种社会文化协商过程，揭示了声音与感觉、动作与叙事、理论与实践之间的互动。该项目的最初想法是，人们在舞台上创造和体验音乐历史，作为事件中历史的呈现。这种情景的、中间媒介的音乐史展示与目前的书面或电影方法有很大不同。当试图捕捉非语言知识，特别是声学知识对于音乐历史知识的重要性时，它特别有用。同时，这一仍在继续的实践显示了非学术音乐史的过去和现在的影响，以及它与学术史学的密切相互依存。这些主要假设源于申请者在研究语料库、音乐剧中历史或虚构音乐家的表现以及一般音乐中的历史表现方面的初步工作。它们结合了历史音乐学、声音研究和史学历史的方法，并将在当前的项目中进行历史和系统的测试和具体说明。在音乐剧的层面上，该项目首先询问历史音乐剧如何讲述其故事-使用作曲、解释、表演、文字或图像-以及人们如何体验这一点。由于其研究重点是音乐史，该项目特别关注声音和听觉在这一背景下的作用。在史学层面上，该项目使用史学音乐剧来比较学术界内外的音乐史，并分析不同媒体上的音乐史学技术。因此，该项目希望扩大知识的概念，充分考虑到音乐历史知识的声音和日常生产水平。与此同时，它试图确定其关于音乐史学媒介和对象之间关系的发现是否可以应用于其他艺术，以及在多大程度上可以应用于其他艺术。舞台上的音乐史为艺术知识史开辟了新的视角。

Be it Mozart or the Beatles, Marlene Dietrich, Stradivari's violin, Riemann's dictionary of music - figures, events, compositions, practices and even scholarly texts from the history of music have been represented in musical theatre for hundreds of years. These stage events combine music, theatre and historical narrative by explicitly referring to music historical subjects. The project at hand examines this historiographical musical theatre systematically from its beginnings around 1750 to the present day. By detailing essential dimensions of the production of music historical knowledge it develops a new conception of music historiography integrating art, science and everyday life. It describes knowledge as a sociocultural process of negotiation revealing interactions between sound and sense, action and narrative, theory and practice.The initial idea of the project is that people create and experience music history on stage as a representation of history in the event. This situational, inter-medial display of music history differs widely from current written or cinematic approaches. It is particularly useful when trying to capture the importance of non-verbal knowledge, especially acoustic knowledge, for music historical knowledge. At the same time, this still on-going practice shows the past and present impact of non-academic music history and its close interdependency with scholarly historiography. These leading hypotheses arise from the applicant's preliminary work on the research corpus, on representations of historical or fictional musicians in musical theatre as well as on the representation of history in music in general. They combine approaches of historical musicology, Sound Studies and the history of historiography and will be historically and systematically tested and specified in the current project.On the level of musical theatre the project starts by asking how historiographical musical theatre tells its stories - using composition, interpretation, performance, words or images -, and how people experience this. As its research focus is music history, the project concentrates especially on the role of sound and hearing in this context. On the level of historiography the project uses historiographical musical theatre to compare music history in- and outside of the academic world and to analyse techniques of music historiography in different media. Thus, the project wants to enlarge the concept of knowledge taking sound and everyday levels of the production of music historical knowledge adequately into account. At the same time, it seeks to determine whether and to what extent its findings on the relationship between medium and object of music historiography can be applied to other arts. Music history on stage thus opens new perspectives for the history of knowledge of the arts.