Edition with comment of the correspondence between Heinrich Besseler and Jacques Handschin (1925-1954)

海因里希·贝塞勒和雅克·汉德申在1925年至1954年(汉德申去世的前一年)之间的通信代表了音乐学历史和科学史的独特文献。这两位音乐史学家到目前为止的持续效力在该学科中是独一无二的。它反映了两位研究者对中世纪音乐来源的不懈努力，b)在历史建构上的不同方法，以及c)1933和1945年前后当代史上不同的思想和文化政治定位。贝塞勒严格遵循他在哥廷根的老师弗里德里希·路德维希的语言学道路，汉德申受到埃里希·冯·霍恩伯斯特和罗伯特·拉赫曼的影响，一直寻求将音乐民族学概念纳入其中。随着纳粹夺取权力(所谓的Machtübernahme)，科学越来越多地融入世界政治(也发生在两位研究人员的个人环境中：Hornbostel和Lachmann被驱逐，Besseler将他的学生Manfred Bukofzer送到巴塞尔的Handschin，但当Handschin要求Besseler为Otto GomBosi写一封专家意见信时，他以政治原因拒绝了。这些信件还阐明了科学传播的一些重要问题，例如1930年慕尼黑阿道夫·桑德伯格教授的更替或1936年巴塞罗那举行的国际地球物理研究理事会大会。最后，这次交流清楚而生动地反映了战后初期德语音乐学的状况。通信是音乐学史和当代史的中心来源；它在这两个方面都受到了密切关注，但到目前为止只摘录了。

The correspondence between Heinrich Besseler and Jacques Handschin from 1925 to 1954 (the year before Handschin's death) represents a unique documentation of the history of musicology and the history of science. The continuous effectiveness of these two historians of music up to the present time is unique within the discipline. It reflects a) the constant efforts of both researchers to interpret the sources of mediecal music, b) different methodological approaches in the construction of history, and c) different ideological and culturalpolitical positioning in the Contemporary History before and after 1933 and 1945. Besseler has followed the strict philological path of his teacher in Goettingen, Friedrich Ludwig, and Handschin, influenced by Erich von Hornbostel and Robert Lachmann, has pursued the inclusion of musicethnological concepts. With the Nazi's seizure of power (so called Machtübernahme), the integration of science into the world politics is increasingly taking place (also in the personal environment of both researchers: Hornbostel and Lachmann were expelled, Besseler placed his student Manfred Bukofzer to Handschin in Basel, but when Handschin asked Besseler to write an expert opinion letter for Otto Gombosi he refused for political reasons. The correspondence illuminates also some important points of science communication, e.g. the replacement of professorship of Adolf Sandberger in Munich in 1930 or the congress of the IGMW in Barcelona in 1936. Finally, the exchange is a clear and lively reflection of the situation of the German-speaking musicology in the early post-war period. The correspondence is a central source of the history of musicology and the Contemporary History; it was closely attended to terms of both aspects but up to now only in excerpts.