Chapters in this book

1. Frontmatter 1
2. Contents 5
3. Editor’s Note 7
4. An Introduction 9
5. “Living in a Material World,” Contemplating the Immaterial One—Musings on What Sounds Can Actually Tell Us, or Not 15
6. The (Re)Construction of Communicative Pasts in the Digital Age 31
7. The Narratological Architecture of Musical lieux de mémoire 51
8. Beethoven in 1970, Bernstein and the ORF: Cultural Memory and the Audiovisual 81
9. Women’s Voices in Radio 107
10. ‘Real Sound,’ Readymade, Handmade: Musical Material and the Medium Between Mechanization, Automation, and Digitalization as an Impression and Expression of Reality 119
11. Sonic Icons in A Song Is Born (1948): A Model for an Audio History of Film 151
12. The Production, Reception and Cultural Transfer of Operetta on Early Sound Film 169
13. The Address of the Ear: Music and History in Waltz with Bashir 183
14. “I’ve never understood the passion for Schubert’s sentimental Viennese shit”—Using Metadata to Capture the Contexts of Film Music 197
15. Connecting Research: The Interdisciplinary Potential of Digital Analysis in the Context of A. Kluge’s Televisual Corpus 217
16. Modelling in Digital Humanities: An Introduction to Methods and Practices of Knowledge Representation 241
17. Playing with a Web of Music: Connecting and Enriching Online Music Repositories 263
18. A Few Notes on the Auditive Layer of the Film 283
19. Afterword 287
20. List of Contributors 293