Musikantiquariat und Verlag Hans Schneider


1958 fügte Hans Schneider seinem 1949 gegründeten Musikantiquariat einen musikwissenschaftlich ausgerichteten Verlag hinzu. Lag anfangs der Schwerpunkt in der Herausgabe wichtiger Quellen zur Musikgeschichte als Faksimiles, sind nach und nach auch etliche wissenschaftliche Buchreihen hinzugekommen. So arbeitet der Verlag unter anderem mit etablierten musikwissenschaftlichen Institutionen im deutschsprachigen Raum zusammen. Schwerpunkte im Verlagsprogramm sind musikbibliographische Arbeiten, Musikinstrumentenkunde, Musikgeschichte, Studien zum Musikverlagswesen sowie Reprints wesentlicher Quellen zur Verlags- und Musikgeschichte.

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Peer-Review at the FWF: All funded books pass through an independent academic peer review process prior to publication. Either the FWF or the publisher handle the peer review process. The FWF asks for at least one written review from an international renowned expert outside of Austria. In cases where the publisher itself handles the peer review process, the publisher has to ask for at least two peer reviews meeting the requirements of the FWF. This means: Reviews must not be carried out by persons who may have or may be suspected to have a conflict of interest with regard to the authors, editors or other persons involved in the publication. Reviewers are considered to have a conflict of interest in cases where they might benefit personally or financially from the approval or rejection of the application. The same applies to cases where reviewers have worked at the same research institution, published or cooperated with the applicant or another person involved in the publication in the last five years, or where the reviewers have fundamental differences of scholarly opinion or close professional and/or personal relationships with the applicant or another person involved in the publication. Scholars who work in Austria must not be called in as reviewers. Peer reviews must be meaningful and comparable with reviews obtained by the FWF. Publishers could only conduct the peer review by themselves if they have an international peer review process for the selection of publications. The review process must be described in a transparent manner on the web site of the publisher.

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Das Wiener Klavier bis 1850

Authors: --- ---
ISBN: 9783795212438 Year: Pages: 284 Seiten DOI: 10.26530/OAPEN_437162 Language: German
Publisher: Musikantiquariat und Verlag Hans Schneider Grant: Austrian Science Fund - D 3932
Added to DOAB on : 2013-03-27 11:49:00

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The presented book, the amplified proceedings of the symposium "Das Wiener Klavier 1850", held at Neue Burg (Vienna) in 2003 combines as regards content recent organological and biographical research, answers questions concerning the original-instrument performance of the romantic period and focuses on technological features in the making of the Viennese pianoforte. In the 2nd half of the 18th century Vienna became the European centre of production of pianofortes whereas the typical Viennese pianoforte-sound, evolved from special technological and constructional parameters, acted as a stimulant on composers and interprets. Many instrument makers - some of them originally German - working and living in Vienna contributed to this uplifting evolution with their innovative work for the Austrian Court or simply as civic craftsmen. A quite impressive amount of material about their biographies and contracts was investigated and is an integral part of the publication. With the beginning of the 19th century firms in Paris and London were of utmost importance for the pianoforte industry. Broadwood and Erard for instance in an international terrain and started an early mass-production of instruments based on the English action. Beside these instruments the Viennese pianoforte with its German action could not easily compete with. The book contains the analysis of the manufacturing techniques of the Viennese pianoforte and of the company organisations respectively the corporate structures of the comparatively small businessmen in the Austrian region and the Hapsburg Crown lands particularly with regard to the interactions between the Viennese, German and Italian workshops. Moreover the variants in aesthetic design and development of the Viennese pianofortes until the time by 1850 are pointed out and results of recent dendrochronological research of instruments preserved by renowned collections are published in this book.

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