Export von (Militär-)Musikinstrumenten von Berlin nach Zentral- und Südamerika um 1900

The article outlines the significance of Prussian military music of the 19th and early 20th centuries in an international context. It focuses on deliveries of musical instruments and sheet music by the Berlin company C. W. Moritz to Central and South America around 1900. The delivery lists of 1897/98 for the Colombian military bands show that they were equipped according to the Prussian model, which goes back to the ideas of Wilhelm Wieprecht. He reformed and standardised the Prussian military music system between the 1830s and 1860s, thus creating the basis for its success. The sheet music enclosed with the musical instruments gives an insight into the popular musical taste of the period around 1900, which was increasingly introduced to Central and South America. Future research will ask what impact such imports of music and musical instruments had on the development of music in Central and South America. (Vorlage)

"Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences. New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue. The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise. Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations. Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

"Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences. New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue. The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise. Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations. Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

Owner Bound Music: A study of popular sheet music selling and music making in the New Zealand home 1840-1940

<p>From 1840, when New Zealand became part of the British Empire, until 1940 when the nation celebrated its Centennial, the piano was the most dominant instrument in domestic music making and the home pianist an important feature of New Zealand’s musical landscape. Many home pianists had their collection of individual sheets of music bound into composite volumes (“owner bound volumes”). This study’s sample of over 100 owner identified owner bound volumes (OBVs) examines the cultural and commercial significance of music sellers and music owners. Beyond the sample of OBVs, the study draws on personal and business archives, newspapers, directories and local and family histories in exploring music making over the course of a century. During the 100-year span of the study the music seller facilitated access to popular music by acting as a conduit between those composing and publishing sheet music, and the individual playing the piano in their home. As well as being a study in commerce and culture, the study is also located within the field of print culture. Sheet music was the staple sold by the music seller and the study explores the availability, sale and “consumption” of sheet music. The wide range of businesses selling sheet music in New Zealand between 1840 and 1940 affirms music’s significance to print culture commercially, socially and culturally. This study examines the music seller’s and music owner’s role in domestic music making, and in particular, the distribution, ownership and longevity of the popular sheet music later bound into OBVs. Booksellers, newspapers and businesses selling all types of goods and services sold sheet music, but the biggest music sellers were the specialist music dealers who also sold musical instruments. Two of these, Begg’s (1861-1970) and the Dresden (1883-1936) achieved nationwide coverage and longevity. Often based in substantial and impressive premises, specialist music dealers occupied prominent positions in the main commercial streets of towns and cities. The study also explores the societal, cultural and commercial links between women, the piano and sheet music. Gender is a theme throughout as the amateur female pianist was the primary customer for composers, publishers and music sellers, and women were also piano teachers, “play over girls” in music shops, pianists for the silent movies and mothers eager for their children to learn the piano. The study identifies the owners of the OBVs, exploring the differences in their backgrounds between 1840 and 1940. Initially the daughters of the wealthy, the landed or the educated, by 1900 the owners of the OBVs were from a broader socio-economic span with fathers who were labourers, barmen and railway workers. The study relates home music makers to the desire for, and purchase of, pianos in the context of gentility and democratisation. Musical taste is explored through an analysis of the individual sheets within the OBVs. The bulk of music changing hands was “popular”, music of the moment, rather than “classical” or “serious”. In this sense the study is one of popular culture. The small number of locally composed and published pieces highlights the importance of global influences on popular music for the home in New Zealand. The advent of the gramophone and the radio, although lessening the dominance of the piano, led to music heard on these new technologies to be sold, music that had been recorded by soloists and groups, the latest “hits” from musicals and “the talkies” and songs promoted by favourite singers or bands. This study confirms the music seller’s place at the heart of a bustling commercial and cultural enterprise, supplying up-to-the-minute music for the piano which created lively home music making within the global popular music scene.</p>

Owner Bound Music: A study of popular sheet music selling and music making in the New Zealand home 1840-1940

<p>From 1840, when New Zealand became part of the British Empire, until 1940 when the nation celebrated its Centennial, the piano was the most dominant instrument in domestic music making and the home pianist an important feature of New Zealand’s musical landscape. Many home pianists had their collection of individual sheets of music bound into composite volumes (“owner bound volumes”). This study’s sample of over 100 owner identified owner bound volumes (OBVs) examines the cultural and commercial significance of music sellers and music owners. Beyond the sample of OBVs, the study draws on personal and business archives, newspapers, directories and local and family histories in exploring music making over the course of a century. During the 100-year span of the study the music seller facilitated access to popular music by acting as a conduit between those composing and publishing sheet music, and the individual playing the piano in their home. As well as being a study in commerce and culture, the study is also located within the field of print culture. Sheet music was the staple sold by the music seller and the study explores the availability, sale and “consumption” of sheet music. The wide range of businesses selling sheet music in New Zealand between 1840 and 1940 affirms music’s significance to print culture commercially, socially and culturally. This study examines the music seller’s and music owner’s role in domestic music making, and in particular, the distribution, ownership and longevity of the popular sheet music later bound into OBVs. Booksellers, newspapers and businesses selling all types of goods and services sold sheet music, but the biggest music sellers were the specialist music dealers who also sold musical instruments. Two of these, Begg’s (1861-1970) and the Dresden (1883-1936) achieved nationwide coverage and longevity. Often based in substantial and impressive premises, specialist music dealers occupied prominent positions in the main commercial streets of towns and cities. The study also explores the societal, cultural and commercial links between women, the piano and sheet music. Gender is a theme throughout as the amateur female pianist was the primary customer for composers, publishers and music sellers, and women were also piano teachers, “play over girls” in music shops, pianists for the silent movies and mothers eager for their children to learn the piano. The study identifies the owners of the OBVs, exploring the differences in their backgrounds between 1840 and 1940. Initially the daughters of the wealthy, the landed or the educated, by 1900 the owners of the OBVs were from a broader socio-economic span with fathers who were labourers, barmen and railway workers. The study relates home music makers to the desire for, and purchase of, pianos in the context of gentility and democratisation. Musical taste is explored through an analysis of the individual sheets within the OBVs. The bulk of music changing hands was “popular”, music of the moment, rather than “classical” or “serious”. In this sense the study is one of popular culture. The small number of locally composed and published pieces highlights the importance of global influences on popular music for the home in New Zealand. The advent of the gramophone and the radio, although lessening the dominance of the piano, led to music heard on these new technologies to be sold, music that had been recorded by soloists and groups, the latest “hits” from musicals and “the talkies” and songs promoted by favourite singers or bands. This study confirms the music seller’s place at the heart of a bustling commercial and cultural enterprise, supplying up-to-the-minute music for the piano which created lively home music making within the global popular music scene.</p>

Tiio, Roosi, Liiso ja Toomas – maakeelseid luuletusi avaldanud Eestimaa autorite otsinguil

According to Recke and Napiersky, the first poems in Estonian from the pen of a woman were allegedly published in 1779, in the sheet music book Oden und Lieder in Musik gesetzt by Andeas Traugott Grahl, a private tutor in the Governorate of Estonia, but unfortunately it is not preserved. More luckily another sheet music book by him, Lieder und Handsachen für das Klavier und den Gesang, published in Leipzig in 1784, was available to the researchers before World War II. Two poems by Estonian ladies were published there: Tio, tassane ja helde and Liesole. A variant of the Tio-poem (the so-called Rosi-poem) was published in 1787 in the 5th volume of the reader Lesebuch für Ehst- und Livland by Friedrich Gotthilf Findeisen in Oberpahlen (Põltsamaa) in Livonia, and a year later, in 1788, in a longer version in the German literary magazine Der Teutsche Merkur. To the latter, the poem was mediated by Christian Hieronymus Justus Schlegel, a private tutor in Estonia from 1780 to 1782, and then pastor, who left Estonia in 1783. However, he did not ascribe the Rosi-poem to an Estonian lady, but to a gentleman, von Tiesenhausen of Saus, who wrote the poem on the occasion of the passing of his wife. There are several manors called Saus or Sauß in Estonia. Traditionally the Rosi-poem has been ascribed to Ber(e)nd Heinrich von Tiesenhausen of Groß-Sauß (Sausti or Kaarepere). But there was another manor called Sauß (Sauste) near Wesenberg (Rakvere), which belonged to captain Hans Wen(t)zel(l) von Tiesenhausen from 1779 to 1781. Based on several sources, this paper brings forth arguments to support the thesis that the gentleman, von Tiesenhausen, mentioned by Schlegel was actually Hans Wenzel von Tiesenhausen. This man was probably also identical with the captain von Tiesenhausen, whom Grahl has named as his employer in the subscription call of the Lieder und Handsachen. According to Professor Gustav Suits, Grahl acted as a private tutor somewhere near Wesenberg. The paper also suggests that H. W. von Tiesenhausen was the author of the poem Der Client an seinen Sachwalter, published in the muses almanac Estländische poetische Blumenlese for 1780. Earlier this poem has been ascribed to Johann Georg von Tiesenhausen from Northern Latvia. Dirk Sangmeister has guessed that the Albrechts who published the almanac mentioned the name Wesenberg on the cover of the first issue of their periodical (for 1779) in honour of the owner of the Wesenberg manor, judge Jakob Johann von Tiesenhausen and his family, with whom Sangmeister believes the Albrechts stood in a cordial relationship as Sophie Albrecht dedicated several poems to a certain Ottilie von Tiesenhausen. The last one lets us know that on the 9th of June 1781, the news of the death of her beloved friend had reached Sophie Albrecht. The date 9th of June 1781 (due to calendar differences actually 11 days later) can also be found in the archival materials concerning H. W. von Tiesenhausen – on this day his bankruptcy proceedings were started. Already in January 1781 he had sold Sauß; in March 1781 his other manor – Tuddo (Tudu) – was sold too; these are likely the two manors mentioned in his German poem. The bankruptcy proceedings were evoked by a lawsuit, initiated in March 1780 by J. J. von Tiesenhausen, who from 1774 to 1780 rented his Wesenberg manor to his second cousin Hans Wenzel. From 1779 the latter had difficulties in paying the rent. As at the time of the publication of Estländische poetische Blumenlese it was H. W. von Tiesenhausen who was living in the manor of Wesenberg, the recipient of the poems by Sophie Albrecht was very likely his wife. Neither the given nor the maiden name of this woman or her birth date and the exact death date are preserved. H. W. von Tiesenhausen mentions his wife without her name in his report to the court, Demüthigste Anzeige und Unterlegung der wahren Umstände meines gegenwärtigen unglücklichen und betrübten Schicksaals (The humblest report and interpretation of the true circumstances of my current unhappy and sad fate), signed 26 June 1781. It appears that his wife really died shortly before the composing of the report. Frau Capitainin Tiesenhausen has also been mentioned three times in the birth register of the Wesenberg church in 1777 as a godparent, one of the cases being as godmother of a girl, whose mother was the sister of G. W. von Schwengelm, the employer of mister Schlegel, who mediated the Rosi-poem to the Teutsche Merkur! The paper also presumes that the ladies mentioned by Grahl could have been translators and guesses who these women were, but as we lack confirmed proof, the investigation must continue.

The Other Otto Dresel: Public and Private Musical Identities in a German-American ‘Forty-Eighter’ and his Family, c. 1860–1880

This essay explores the musical life of a German-American ‘Forty-Eighter’ and his family, with particular attention to their domestic musical preferences as reflected in five surviving sheet-music albums. Otto Dresel, easily confused with the far more prominent German musician of the same name who settled in Boston, was a gifted amateur whose public musical activities, both choral and instrumental, typified those of many German arrivals of that generation. This was a largely male realm of affirmative, expansive ideals; here the stress was on civic virtues, happy fraternal bonds, and the celebration of German musical culture as an elevating force in America. The family albums suggests that the music he shared with his wife and children at home in Columbus, Ohio, served quite different purposes. It was performed intimately, in an often melancholy and even mournful mode that reflected the need for personal consolation and was thus more in keeping with typical Victorian attitudes toward the domestic, womanly sphere. Evidence about the troubled course of Dresel's life helps us understand his growing need to take refuge in his home and family as well as in music that helped him and his loved ones deal – for a time, at least – with deepening feelings of regret, failure and loss. This marked contrast between the public and private sides of the Dresels’ musical lives points to a need for greater attention to the distinctive character and functions of intimate family music-making in nineteenth-century America, especially during the years of widespread disillusionment and cultural reorientation that followed the Civil War.

Real-Time Music Following in Score Sheet Images via Multi-Resolution Prediction

The task of real-time alignment between a music performance and the corresponding score (sheet music), also known as score following, poses a challenging multi-modal machine learning problem. Training a system that can solve this task robustly with live audio and real sheet music (i.e., scans or score images) requires precise ground truth alignments between audio and note-coordinate positions in the score sheet images. However, these kinds of annotations are difficult and costly to obtain, which is why research in this area mainly utilizes synthetic audio and sheet images to train and evaluate score following systems. In this work, we propose a method that does not solely rely on note alignments but is additionally capable of leveraging data with annotations of lower granularity, such as bar or score system alignments. This allows us to use a large collection of real-world piano performance recordings coarsely aligned to scanned score sheet images and, as a consequence, improve over current state-of-the-art approaches.