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Digital data on tangible and intangible cultural assets is an essential part of daily life, communication and experience. It has a lasting influence on the perception of cultural identity as well as on the interactions between research, the cultural economy and society. Throughout the last three decades, many cultural heritage institutions have contributed a wealth of digital representations of cultural assets (2D digital reproductions of paintings, sheet music, 3D digital models of sculptures, monuments, rooms, buildings), audio-visual data (music, film, stage performances), and procedural research data such as encoding and annotation formats. The long-term preservation and FAIR availability of research data from the cultural heritage domain is fundamentally important, not only for future academic success in the humanities but also for the cultural identity of individuals and society as a whole. Up to now, no coordinated effort for professional research data management on a national level exists in Germany. NFDI4Culture aims to fill this gap and create a usercentered, research-driven infrastructure that will cover a broad range of research domains from musicology, art history and architecture to performance, theatre, film, and media studies. The research landscape addressed by the consortium is characterized by strong institutional differentiation. Research units in the consortium's community of interest comprise university institutes, art colleges, academies, galleries, libraries, archives and museums. This diverse landscape is also characterized by an abundance of research objects, methodologies and a great potential for data-driven research. In a unique effort carried out by the applicant and co-applicants of this proposal and ten academic societies, this community is interconnected for the first time through a federated approach that is ideally suited to the needs of the participating researchers. To promote collaboration within the NFDI, to share knowledge and technology and to provide extensive support for its users have been the guiding principles of the consortium from the beginning and will be at the heart of all workflows and decision-making processes. Thanks to these principles, NFDI4Culture has gathered strong support ranging from individual researchers to highlevel cultural heritage organizations such as the UNESCO, the International Council of Museums, the Open Knowledge Foundation and Wikimedia. On this basis, NFDI4Culture will take innovative measures that promote a cultural change towards a more reflective and sustainable handling of research data and at the same time boost qualification and professionalization in data-driven research in the domain of cultural heritage. This will create a long-lasting impact on science, cultural economy and society as a whole. [ABSTRACT FROM AUTHOR]

The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work' and of the musical ‚text'. The outcome of this thought experiment which considers music as performative art, Beethoven's and other classical composers' own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition. [ABSTRACT FROM AUTHOR]

In creating a Hybrid Edition of Justine Favart's and Adolphe Blaise's Annette et Lubin, a ‹comédie en vaudevilles› that premiered in Paris at the Comédie-Italienne in early 1762, for the OPERA series, the authors explore new ways of editing opera by means of XML/Edirom technology. In the light of Patrick Sahle's account of edition as hypertext (chapter 'Edition als Hypertext' in Digitale Editionsformen, 2013), the paper focusses on the ‹timbre› indications inherent to the literary text, proposes an understanding of the ‹timbres› that is quite close to what we know as hyperlinks in the age of hypertext, and discusses, from a firmly pragmatic standpoint, the editors' handling of what one might regard as abundance of hyperlinks. Constructing a historical-critical edition implies, of course, all 'traditional' tasks of philological groundwork. But beyond this, today, defining the concept of and programming a vast number of digital links are part of an editor's core activities: editorially controlled representations of connections inherent to the text, both on the philological, and the historical level. [ABSTRACT FROM AUTHOR]

OPERA, established in 2009, seeks a new approach to editing musical stage works, different from the traditional complete works or musical monumental series, which were often centred on the composer as the sole creator of the musical stage work in all its aspects. Following recent developments in musical and textual criticism, in particular with regard to the author and the work-concept as well as to the discussion of musical genres and their historical context, OPERA emphasizes the notion of multiple authorship, e.g., of text and music. At the same time, OPERA argues for a collective view of musical, literary, and other sources, which are considered of equal value and treated with the same depth of textual criticism. The musical stage works of the European tradition to be edited, 21 in total, are grouped by OPERA into six modules according to the specific editorial issues they are connected with. They include traditional through-composed operas, but also genres such as ,Singspiel', operetta, drama with incidental music, melodrama, and ballet. OPERA editions are presented in the form of hybrid editions: The scores are published in printed volumes, while the text editions and critical reports are presented in an electronic format, which enables visualizing the sources, the Music Edition and the Text Edition, and establishing a comprehensive interlinking of the editions with the sources and the critical apparatus. For this purpose, OPERA uses the Edirom software tools, developed by the Edirom project at the University of Paderborn, which was modified according to the requirements of OPERA, especially for the incorporation of text editions. Among the features described here is a navigation tool which allows the user to call up and display synchronously any corresponding textual and musical units or objects. Likewise, one common critical apparatus comments on both the Text and Music Edition, and is accessible from either of the two directions. Case studies of two forthcoming editions demonstrate the handling of specific issues of textual criticism as well as practical programming and encoding strategies. The ‹come'die en vaudevilles› Annette et Lubin (Paris 1762) by Justine Favart and Adolphe Blaise illustrates the inseparability of musical and literary sources against the backdrop of the peculiarities of the genre. Ferdinando Pae..r's Italian opera Leonora (1804/09) serves as an example of variants applied by the author on different occasions, which, as a result, overturn the concept of a single definite version [ABSTRACT FROM AUTHOR]