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Bibliographie des Musikschrifttums The Bibliographie des Musikschrifttums (Bibliography of Music Literature, BMS) was created in 1936 by our predecessor institution, the Staatliches Institut für deutsche Musikforschung (State Institute for German Music Research) in Berlin, in order to establish a co

Correspondence of the Second Viennese School This multivolume series containing the complete correspondence of the Viennese School gives researchers and the general public access to one of the most important collections of sources for the history of twentieth-century music. Letter from Arnold Schönb

Technical drawings Link to SIM-shop (in German) Contact Shop Email

CDs/DVDs Link to SIM-Shop (in German) Contact Shop Email

Books Link to SIM-Shop (in German) Contact Shop Email

The Virtual Concert Hall This page is still under construction. Contact Dr. Hans-Joachim Maempel Head of Department III +49 30 254 81 141 Email CV Publications Maempel Horn, 2017: The Virtual Concert Hall Support

Discology SIM pursues discology research based on the premise that radio, records and compact discs are not just media for transmitting and storing music but, like musical instruments, are media of music itself. Edison cylinder from the sound recording collection of the SIMPK library. Photograph by

Studio Technology Studio technology accounts for a large part of the technical equipment used in music transmission, including sound transducers (e.g., microphones and loudspeakers); equipment for switching, mixing, distributing, transmitting and amplifying audio signals (e.g., patch panels, mixing

Sound design and aesthetics Those involved in the transmission of music must make decisions that affect the reproduction of music in general and the reproduction of its sound, in particular. When reproducing an original music performance, one can distinguish three objectives in relation to sound aes

The History of the SIMPK and its Predecessor Institutions The project “The History of the Staatliches Institut für Musikforschung and its Predecessor Institutions” was conceived and carried out by the Musicological Documentation Department and funded by Germany’s Federal Commissioner for Culture and