Carola Finkel

Hochschule für Musik und Darstellende Kunst, Musicology, Faculty Member

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Dr. Carola Finkel is Head of Archive at the "Deutsches Musikgeschichtliches Archiv" (DMgA) in Kassel. 2017–2023 she was Research Associate in the DFG project "Giovanni Pierluigi da Palestrina: catalogue of works. Online-database and critical presentation of the sources." (Frankfurt University of Music and Performing Arts). She is also lecturer in musicology at the Frankfurt University of Music and Performing Arts.
In Aug/Sep 2017 she had a scholarship at the Herzog August Bibliothek Wolfenbüttel (Ernest August Jayme’s Recüeil de Contre Dances) and in Jan/Feb 2015 at the Casa di Goethe in Rome (Scandinavian composers in Rome).
She wrote her PhD thesis about the symphonie’s of the Swedish composer Kurt Atterberg.
The main focus of her research is dance and court culture in the 17th and 18th century, Giovanni Pierluigi da Palestrina and music in the Nordic countries. She is also an active baroque dancer.

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Peter Ackermann und Carola Finkel: Verzeichnis der Werke Giovanni Pierluigi da Palestrinas. Online-Datenbank mit textkritischer Darstellung der Quellen.

http://www.palestrina-wv.uni-mainz.de/ Available soon If you require information on Palestrina'... more

Carola Finkel (Ed.): Palestrina und seine Zeit – Traditionelle und digitale Forschungsperspektiven. Bericht zum Symposium anlässlich der Verabschiedung von Prof. Dr. Peter Ackermann vom 23.–23. April 2021. Dresden 2023.

Stefanie Acquavella-Rauch Digitality between Authorship and Music Editions Wohl kaum eine andere ... more Stefanie Acquavella-Rauch Digitality between Authorship and Music Editions Wohl kaum eine andere ästhetische Kategorie war in den letzten Jahrzehnten so stark von Paradigmenwechseln betroffen wie die der Autorschaft, wobei der Wandel von strukturalistischen zu dekonstruktivistischen und postmodernen Perspektiven Kunst und Wissenschaft gleichermaßen betraf. Positionen wie die vom 'Tod des Autors' oder-als Reaktion darauf-dessen Reetablierung prägten und prägen künstlerische Vorstellungen ebenso wie analytische Herangehensweisen an musikalische Werke. 1 As Susanne Kogler summarizes, various concepts of authorship have been discussed over the past six decades in the humanities as well as in other disciplines like law studies. 2 As much as authorship is being defined through the structural relation between the author as writer and creator, and their 'text' or creation, when thinking about the relationship between editors, authors and the created 'text' especially Uwe Wirth's text Der Tod des Autors als Geburt des Editors comes into mind. In his concept of 'editorial framing' the roles of authors are widened, he combines Michel Foucault's and Roland Barthes' ideas with paratextual and hypertextual aspects as they were discussed by George P. Landow and Simone Winko: 3 Während Winko-vor dem Hintergrund der These von der Rückkehr des Autors-den Schluss einer Verdopplung des Autorbegriffs zieht-einmal der Autor als Verfasser, zum 1 "Probably no other aesthetic category has been as affected by paradigm shifts in recent decades as that of authorship, with the shift from structuralist to deconstructivist and postmodernist perspectives affecting art and academia alike. Positions such as that of the 'death of the author' or-in reaction to this-its re-establishment have shaped and continue to shape artistic ideas as well as analytical approaches to musical works.

Carola Finkel

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