Materiality and Knowledge. The Aesthetics of the Music Archive as an Institution.

历史录音档案是知识的场所。这种知识同时是通过包含它们的声音对象的物质性的一部分来构建的，它驻留在它们所产生和代表的知识的顺序中，以及它们既代表又是其中一部分的机构中。考虑到并建立在批评档案理论的最新发展基础上，本项目认为，声音档案与当代音乐实践和话语的相关性及其潜在影响不仅通过它们所提供的历史叙事实现，而且通过它们独特的审美获得。这种独特的审美在这里被理解为使材料“S”发音、预演和知识等级秩序的表现具有可感知性的效果。以这种方式使知识的顺序变得可感知并不是通过单一的档案材料实现的。相反，这种排序是通过档案结构化进行的，这赋予了档案一种特定的形式，而这种形式又可以成为语义和象征意义上的费用。同时，档案馆对自己进行标签和分类，并将自己构建为一种结构，从而出现一种自我参照的内部档案结构。这导致了一种特定于档案的传播模式，与其他审美形式一样，具有情感潜力。这种独特的档案美学及其对整个音乐学的深远分析潜力是拟议研究项目的重点。具体地说，这需要对包含北印度拉嘎音乐的各种档案进行系统分析。范·兰斯维尔德的藏品储存在乔治·奥古斯特大学哥廷根音乐系，是“S核心分析材料”项目。在项目结束时，学术上高度相关的收藏品将可供未来研究使用。在理论层面上，这个跨学科、开创性的研究项目考察了声音档案作为知识场所的特殊和异常强大的细节。

Historical sound recording archives are places of knowledge. This knowledge is simultaneously constructed through and part of the materiality of the sound objects that contain them, and it resides in the order of knowledge that they produce and represent as well as in the institutions that they both stand for and are a part of. Considering and building on recent developments in critical archival theory, this project argues that the relevance of sound archives for and their potential influence on contemporary musical practices and discourses are not only achieved through the historical narrative that they afford, but are also attained through their distinctive aesthetic.This distinctive aesthetic is here understood as those effects that make the material"s articulation, prefiguration, and manifestation of a hierarchical order of knowledge sense-able. Making orders of knowledge perceptible in this way does not happen through singular archival material. Rather, such ordering happens through archival structuring, which gives archives a specific form that can, in turn, become semantically and symbolically charged. Simultaneously, the archive labels and categorizes itself and builds itself as a structure so that a self-referential, inner-archival structure emerges. This results in an archive-specific mode of transmission that, like other aesthetic forms, has affective potential. This distinctive archival aesthetic and its far-reaching analytical potential for musicology at large are the focus of the proposed research project. Concretely, this entails the systematic analysis of various archives containing North Indian raga music. The van Lamsweerde collection, stored at the Musicological Department at the Georg August University Göttingen, is the project"s core analytical material. At the end of the project, a highly academically relevant collection will be accessible for future research. On a theoretical level, this transdisciplinary, pioneering research project examines the exceptional and exceptionally powerful specifics of sound archives as locations of knowledge.