Musical Taste and Publishers' Policies. Developments of Musical Repertoire and Canonization Mirrored by Sales Data of Leipzig Music Publishing Houses (ca. 1830–1930)

至少从世纪开始，莱比锡城就成为了国际音乐生活的重要平台。众多相互交织的音乐机构和高密度的全球出版社是这一发展的重要因素。直到今天还发挥着规范作用的全球音乐市场的供求就是从这个池中汲取的。然而，迄今为止，很少有人探索音乐曲目和音乐品味的演变机制以及由此产生的经典化过程，特别是没有从经验证据中系统地进行研究。这就是我们项目的目标，从三大音乐出版社的贸易状况的广泛记录数据中汲取（C。F. Peters，Friedrich Hofmeister，Rieter-Biedermann）.将使用定量和定性方法对这一数据库进行评价。基于这些材料，19世纪和世纪初的音乐市场将超越其个别演员的个人偏见，并与全新类型的研究问题进行审查。这些问题不仅涉及私人音乐制作的历史（很难用其他方法来阐明），而且还涉及公共音乐生活中各个部门之间的相互作用：销售结果、公开表演和评论如何相互影响？某些作曲家，流派或合奏类型在某些时候流行;他们遇到了繁荣时期造成的普遍偏好？为了回答这些和类似的问题，在项目运行期间收集的经济数据将与更多不同来源的数据相结合，以拓宽我们对19世纪和20世纪初音乐生活的视角，特别是通过探索日常音乐生活历史的基本面。该项目的成果之一将是一个广泛的数据库，为学术研究提供开放获取的研究定量材料。这一数据库将在项目运行期间的一次专题讨论会上进行初步审查，并将通过一份专题论文处理上述问题，这将标志着项目的完成和主要的学术成果。该项目的设计基于莱比锡音乐和戏剧大学音乐学系“费利克斯·门德尔松·巴托尔迪”和萨克森州图书馆-德累斯顿州立大学图书馆之间的合作，并与萨克森州档案馆-莱比锡州档案馆密切合作。高等教育机构和提供科学基础设施的机构的资源的这种组合为方法上最新的项目提供了基础，该项目产生新的研究成果，并使这些成果及其基础数据（可重复）用于长期承诺。

Since at least the 19th century, the city of Leipzig became an internationally significant platform of musical life. The multitude of mutually intertwined musical institutions and the high density of publishing houses with global outreach were important factors for this development. Supply and demand of a worldwide musical market that has a normative function until today drew from this pool. However, the mechanism of the evolution of musical repertoire and musical taste and resulting canonisation processes have seldom been explored hitherto and have especially not been examined in systematic ways drawing from empirical evidence. This is what our project aims at, drawing from extensive documented data on the trade situation of three major music publishing houses (C. F. Peters, Friedrich Hofmeister, Rieter-Biedermann). This pool of data is to be evaluated using both quantitative and qualitative methods. Based on this material, the musical market of the 19th and early 20th century will be examined beyond the personal biases of its individual actors and with completely new types of research questions. Such questions not only concern the history of private music making (on which it is hard to shed light on with other methodologies), but also interplays between various sectors of public musical life: How did selling results, public performances and critical reviews affect each other? Were certain composers, genres or ensemble types in vogue at certain times; did they encounter boom times resulting from general predilections? To answer such and similar questions, the economic data gathered during the project's runtime will be contextualized with a further body of diverse sources in order to broaden our perspective of musical life during the 19th and early 20th century especially by exploring fundamentals of a history of everyday musical life. Among the project's results will be an extensive database providing a collection of quantitative material for research that will be provided open access for scholarly research. This pool of data will be initially examined during a symposium during the project's runtime as well as by a monograph dealing with the above-stated questions that will mark the project’s completion and main scholarly outcome. The project's design rests upon a cooperation between the Department of Musicology of the Leipzig University of Music and Theatre "Felix Mendelssohn Bartholdy" and the Saxon State Library – State and University Library Dresden in close association with the Saxon State Archives – Leipzig State Archives. Such a combination of resources from an institution of higher education and institutions that provide scientific infrastructure provides the basis for a methodologically up-to-date project that generates new research findings and makes these findings and their underlying data (re)usable with long-term commitment.