This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artificial intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz.

This volume contains articles most of which present empirical studies in the field of systematic musicology. Contributions in particular deal with aspects of melody including modeling and computer-assisted analysis as well as with various issues in sound and music perception, musical acoustics and psychoacoustics. Topics range from loudness perception in ‘Techno’ music to sound radiation in classical singing styles, and from timbre research to wave field synthesis and room acoustics. One focus of this volume is on pop and rock music, another is on ethno and folk music. In addition to empirical investigations, theoretical and methodological issues are addressed including some fundamental concepts in ethnomusicology and folk music scholarship.

This volume presents essays on the theory, methodology, and disciplinary history of Systematic and Comparative Musicology as well as on concepts of current empirical research. Part 1 is devoted to Systematic Musicology which is viewed as a transdisciplinary approach to fundamental music research, on the one hand, and as a field of learning which is offered as an academic subject in universities, on the other. Part 1 also includes articles which illustrate modern research concepts many of which are based on experimental and other empirical methods as well as on computational and modelling approaches. The articles concern problems which range from acoustics and psychoacoustics to neuromusicology and music cognition. Part 2 addresses issues in Comparative Musicology and Ethnomusicology, for instance the relevance of comparative methods as applied to the study of non-western musical phenomena. Further, sound analysis combined with fieldwork as well as modelling based on ethnomathematical considerations are given special notice. Aspects of theory and disciplinary history are also covered in this section which moreover includes findings obtained from actual fieldwork.

This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artificial intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz.

Traditionsgema wei sich musikwissenschaftliche Forschung in Deutschland der schriftlich festgehaltenen Musik verpflichtet. Die Auseinandersetzung mit jenen Musikrichtungen, die im 20. Jahrhundert fur Millionen von Menschen immer groere Bedeutung bekommen haben-Unterhaltungs- und Tanzmusik, Rock, Pop und Jazz-wurde zwar schon von Guido Adler in seinem programmatischen Entwurf einer historischen und systematischen Musikwissenschaft eingefordert, aber nur zogerlich eingelost. Das allerdings darf nicht daruber hinwegtauschen, dass eine ernst zu nehmende Popularmusikforschung in Deutschland seit mittlerweile gut 40 Jahren existiert. So auch in Hamburg, wo im Rahmen musik-psychologischer, -soziologischer und -ethnologischer Arbeit die verschiedenen Formen der popularen Musik wie selbstverstandlich in die jeweiligen Forschungs-programme mit einbezogen worden sind. Der Band umfasst 18 Originalbeitrage von Personlichkeiten, die dem Hamburger Musikwissenschaftlichen Institut und der Systematischen Musikwissenschaft nahe stehen. In vier Themenblocken werden forschungsgeschichtliche Aspekte diskutiert, Musikanalysen vorgestellt, spezielle Hamburger Musikszenen beleuchtet und Fragen der Bewertung von popularer Musik angesprochen. Helmut Rosing: « Popularmusikforschung in Deutschland-von den Anfangen bis zu den 1990er Jahren-Martin Pfleiderer: Thinking in Jazz. Entwicklung und neuere Aufsatze der Jazzforschung-Peter Wicke: Popmusik in der Theorie. Aspekte einer problematischen Beziehung-Paul Riggenbach: Empirie-Domino. Empirische Popularmusikforschung in der BRD: ein Vergleich-Dietrich Helms: Musikwissenschaftliche Analyse popularer Musik?-Albrecht Schneider: Klanganalyse als Methodik derPopularmusikforschung-Werner Jauk: Pop: Mediatisierung und der dissidente Korper-Andre Matthias: Braveheart. Eine filmmusikalische Analyse-Britta Sweers: Die Fusion von traditioneller Musik, Folk und Rock-Beruhrungspunkte zwischen Popularmusikforschung und Ethnomusikologie-Susanne Binas: Pieces of Paradise-Technologische und kulturelle Aspekte der Transformation lokaler Musikpraktiken im globalen Kulturproze-Rainer Dollase/Katharina Woitowitz/Ariel Bieler/Arnd Ridder/Ina Kohnemann: Konformitat und Nonkonformitat musikalischer Praferenzen als Ausdruck sozialer Distinktion in multikulturellen Schulklassen zwischen dem 11. und 18. Lebensjahr-Werner Hoffmann: Broadcastinghouse/Musikhalle-Hamburg 36, der Anglo-German Swing Club-eine programmatische Skizze-Nikola Vatterodt/Philipp Brieler: Musical in Hamburg-Roger Behrens: Blumfeld mit Kante. Postrock und Diskurspop in der so genannten Hamburger Schule-Ursel Schlicht: « Ein Lebensgefuhl, mal anstrengend, mal wunderbar. Jazz und Gender-Zur aktuellen Situation von (Jazz-)Musikerinnen in Hamburg-Dietmar Schlumbohm: Was ist Musik im digitalen Zeitalter noch wert? Veranderungen der Nutzung, des Umgangs und des Wertes von Musik durch digitale Medien-Gunther Jacob: Archaologie des Hipnessverfalls-Martin Busser: Avantgardistische Aspekte der Popkultur.