Judith Irmela Haug

• Haug, Judith Irmela (2026). Circle Diagrams in the Music Theory of the Islamic World. In Muzzulini, Daniel (Eds.), The Art of Musical Diagrams. From Boethius to Albersheim and Beyond. Peter Lang Publishing Group. ISSN 9783034363556. p. 115–146. doi: 10.3726/b23428. Full text in Research Archive Show summary

  Arabic, Persian, and Ottoman Turkish music treatises feature a variety of diagrams and charts. In addition to instrument schematics and demonstrations of fret positions on the neck of the ʿūd, arc diagrams of Pythagorean origin are common. Constituting another major group of visuals, circle diagrams were used to demonstrate both rhythmic and melodic modes. They represent the sequence of beats in the cycle, their quality and quantity, as well as tonal relationships, the order of intervals within a scale, or transpositions. Concepts of cyclicity and circularity occupy such a central place that treatises carry the word edvār (“the circles”) in their title. Edvār is the plural of the Arabic dawr, meaning rotation, turn, or cycle, cf. Kitāb al-adwār (“Book of Circles”2) of Ṣafīaddīn al-Urmawī (d. 693/1294), the founder of the Systematist school. The writings of ʿAbdolqāder Marāġī (d. 838/1435) are another prominent example for this tradition. Concurrently, theorists of the Anatolian school such as Ḫıżır b. ʿAbdullāh (mid-ninth/fifteenth c.) or Yūsuf b. Niẓāmeddīn Ḳırşehrī (MS dated 873/1469) used circle diagrams to establish connections between melodic modes and extramusical concepts, especially astrology and humoral medicine. Focusing on the ninth/fifteenth to twelfth/eighteenth centuries, the contribution aims to trace the history and investigate the importance of circle diagrams in the music theory of the Islamic world, exploring their meanings and gaining an overview over this rich tradition.

• Haug, Judith Irmela (2024). “… quando il Gran Signore vuole la musica.” 17th-Century Europeans on Music and the Ottoman State. In Demirbaş, Tül & Scharrer, Margret (Ed.), Sounds of Power. Sonic Court Rituals In- and Outside Europe in the 15th–18th Centuries. Böhlau. ISSN 9783412528997. p. 103–122. doi: 10.7788/9783412528997. Full text in Research Archive
• Haug, Judith Irmela (2023). Osmanische Musik und die Kunst des Gedächtnisses. In Celestini, Federico & Lutz, Sarah (Ed.), Musikalische Schreibszenen / Scenes of Musical Writing. Brill | Fink. ISSN 9783770567140. p. 251–284. doi: 10.30965/9783846767146_011. Full text in Research Archive
• Haug, Judith Irmela (2023). “Representée avec beaucoup de succès”: Theater and the French Embassy in Constantinople. In Haug, Judith Irmela & Walsdorf, Hanna (Ed.), Music and Mirrored Hybridities. Cultural Communities Converging in French, German, and Turkish Stage Productions (17th–20th Century). Ergon-Verlag. ISSN 9783987400445. p. 195–220. Full text in Research Archive
• Haug, Judith Irmela (2023). “Nourishment of the Soul” – Music, Medicine, and Food in Ottoman Culture. Oriens. ISSN 0078-6527. 51, p. 38–70. doi: 10.1163/18778372-12340020. Full text in Research Archive
• Haug, Judith Irmela (2020). ʿAlī Ufuḳī’s Notation Collections as Sources for ʿĀşıḳ Culture and Literature. In Greve, Martin; Özdemir, Ulaş & Motika, Raoul (Ed.), Aesthetic and Performative Dimensions of Alevi Cultural Heritage. Ergon-Verlag. ISSN 9783956506406. p. 159–174. Full text in Research Archive
• Demiraj, Bardhyl & Haug, Judith Irmela (2020). Ein frühes Zeugnis altalbanischer Schriftkultur und Musik: Das Kompendium des ʿAlī Ufuḳī (nach ca. 1635). In Demiraj, Bardhyl (Eds.), Altalbanische Schriftkultur – aus der Perspektive der historischen Lexikographie und der Philologie der Gegenwart. Harrassowitz Verlag. ISSN 9783447113915. p. 220–238. Full text in Research Archive
• Haug, Judith Irmela (2019). Edition im Dialog: Das Kompendium des ʿAlī Ufuḳī (Istanbul, Mitte 17. Jahrhundert) in kritischer Edition und historischer Aufführungspraxis. Editio : Internationales Jahrbuch für Editionswissenschaft. ISSN 0931-3079. 33, p. 47–63. Full text in Research Archive
• Haug, Judith Irmela (2019). Geografische Perspektive: Auf welche Räume richtet sich die Historische Musikwissenschaft? In Hentschel, Frank (Eds.), Kompendium Historische Musikwissenschaft. Gegenstand – Geschichte – Methodik. Laaber-Verlag. ISSN 9783890077222. p. 35–47. Full text in Research Archive
• Haug, Judith Irmela (2019). Musical Exchange between Early Modern France and the Ottoman Empire. In Walsdorf, Hanna (Eds.), Ritual Design for the Ballet Stage. Revisiting the Turkish Ceremony in Molière’s Le Bourgeois gentilhomme (1670). Frank & Timme. ISSN 9783732903733. p. 247–274. Full text in Research Archive
• Haug, Judith Irmela (2018). Medical knowledge in ‘Alī Ufuḳī’s musical notebook (mid-17th century). Intellectual History of the Islamicate World. ISSN 2212-9421. 6, p. 117–143. doi: 10.1163/2212943X-00601009. Full text in Research Archive
• Haug, Judith Irmela (2018). Critical Edition as Retranslation: Mediating ʿAlī Ufuḳī’s Notation Collections (c. 1630–1670). In Gürçağlar, Şehnaz Tahir & Albachten, Özlem Berk (Ed.), Perspectives on Retranslation: Ideology, Method, and Paratexts. Routledge. ISSN 9780367518103. p. 107–128. Full text in Research Archive
• Haug, Judith Irmela (2017). Digitale Daten in den Transcultural Music Studies und der Historischen Ethnomusikologie. Musiktheorie. ISSN 0177-4182. 32, p. 364–380–364–380. Full text in Research Archive
• Haug, Judith Irmela (2017). Mündlich tradierte Musik, schriftliche Fixierung und kulturelle Rückkopplungen. In Haug, Judith Irmela; Freitag, Steffen; Geierhos, Michaela & Asmani, Rozbeh (Ed.), Unschärfe – Der Umgang mit fehlender Eindeutigkeit. Brill | Schöningh. ISSN 9783506788962. p. 71–92. Full text in Research Archive
• Haug, Judith Irmela (2016). Being More than the Sum of One’s Parts: Acculturation and Biculturality in the Life and Works of Alî Ufukî. Archivum Ottomanicum. ISSN 0378-2808. 33, p. 179–190. Full text in Research Archive
• Haug, Judith Irmela (2007). Hebräischer Text – Italienische Musik. Sprachbehandlung in Salomone Rossis Psalmvertonungen (1622/23). Archiv für Musikwissenschaft. ISSN 0003-9292. 64, p. 105–135. Full text in Research Archive

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• Haug, Judith Irmela & Walsdorf, Hanna (2023). Music and Mirrored Hybridities. Cultural Communities Converging in French, German, and Turkish Stage Productions (17th–20th Century). Ergon-Verlag. ISBN 9783987400445. 248 p. Full text in Research Archive
• Haug, Judith Irmela (2020). Ottoman and European Music in ʿAlī Ufuḳī’s Compendium, MS Turc 292: Analysis, Interpretation, Cultural Context. Volume 1: Edition. readbox unipress. ISBN 9783840502392. 512 p. Full text in Research Archive
• Haug, Judith Irmela (2020). Ottoman and European Music in ʿAlī Ufuḳī’s Compendium, MS Turc 292: Analysis, Interpretation, Cultural Context. Volume 2: Critical Report. readbox unipress. ISBN 9783840502408. 410 p. Full text in Research Archive
• Haug, Judith Irmela (2019). Ottoman and European Music in ʿAlī Ufuḳī’s Compendium, MS Turc 292: Analysis, Interpretation, Cultural Context. Monograph. readbox unipress. ISBN 9783840502118. 638 p. Full text in Research Archive
• Haug, Judith Irmela; Freitag, Steffen; Geierhos, Michaela & Asmani, Rozbeh (2017). Unschärfe – Der Umgang mit fehlender Eindeutigkeit. Brill | Schöningh. ISBN 9783506788962. 180 p. Full text in Research Archive
• Haug, Judith Irmela (2010). Der Genfer Psalter in den Niederlanden, Deutschland, England und dem osmanischen Reich (16.–18. Jahrhundert). Musikantiquariat Dr. Hans Schneider. ISBN 9783795213008. 664 p. Full text in Research Archive

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• Vendrix, Philippe; Ahrendt, Rebekah; Haug, Judith Irmela & Lartillot, Olivier (2026). COST Action EarlyMuse 2022-2026. Six Reports on Musicology in Europe. doi: 10.5281/ZENODO.22337344. Full text in Research Archive Show summary

  This volume gathers the six reports produced between 2025 and 2026 within COST Action CA21161, A New Ecosystem of Early Music Studies (EarlyMuse), the first COST Action ever devoted to historical musicology. Running from September 2022 to October 2026, the Action brought together close to three hundred researchers from some forty countries in five working groups: Education, Sources, Publications, Performances and Policies. Each report was drafted, discussed and published separately, with its own editorial team, corpus, method and primary audience. Assembled here, they describe a single object from six angles: not "early music" as a repertory, but the ecosystem in which musical scholarship is now produced: the departments and conservatoires that train and employ musicologists, the doctoral frameworks that certify their work, the libraries and archives that hold the sources, the digital infrastructures and computational tools that mediate access to them, the European funding architectures that decide which questions become fundable, and the professional and public worlds in which musical knowledge circulates. The six reports cover: musicology as data science and heritage science; the mapping of musicology in European higher education and research institutions; musicology and artificial intelligence; historical musicology and European research infrastructures and initiatives (EOSC, ECCCH/ECHOES, the Data Space for Cultural Heritage, DARIAH, E-RIHS); doctoral-level artistic research in music; and musicology within Horizon Europe co-funded partnerships, notably Resilient Cultural Heritage and the emerging Virtual Worlds partnership. Taken together, they document a growing mismatch between the intellectual vitality of the field and the fragility of the structures through which it is taught, documented, funded and made visible. Recurrent findings include the statistical invisibility of musicology in OECD, Eurostat and UNESCO classifications; the institutional cost of methodological pluralism; and the claim that the field is under-positioned rather than under-qualified for the European agendas now being written. The volume is neither a state of the art nor a synthesis nor a manifesto, but a handover document, a description of the terrain, closing with recommendations addressed to institutions, national funders, European bodies, learned societies and individual researchers.

• Philippe, Vendrix,; Rebekah, Ahrendt,; Haug, Judith Irmela & Lartillot, Olivier (2026). Musicology and Artificial Intelligence. doi: 10.5281/zenodo.20639784. Full text in Research Archive Show summary

  This report provides an overview of Artificial Intelligence in European musicological research, addressed to musicologists, librarians, archivists, curators, educators, research-policy officers, infrastructure coordinators, and tool developers. Moving from conceptual foundations to institutional implications, it maps the affordances and limitations of AI-based models and tools for the discipline, while situating them within the European normative landscape defined by the ALLEA European Code of Conduct for Research Integrity, the EU Artificial Intelligence Act, and the UNESCO Recommendation on the Ethics of Artificial Intelligence. The six complementary sections successively address: (1) methodological foundations, clarifying notions of model, tool, and critical posture, and surveying audio-, image-, encoding-, and language-model-based applications such as automatic music transcription, optical music recognition, score-audio alignment, automated analysis, reconstruction, and LLM prompt­ing; (2) data infrastructure, covering FAIR/CARE governance, ontologies and persistent identifiers, European federated infra­structures, auditory digital twins, and risks of fragmentation, representational bias, quality variability, and copyright; (3) a continuation of the disciplinary stakes involved in source and corpus processing; (4) musicological education in the age of AI, including curricular redesign, AI literacy, and design models such as the Two-Lane Approach; (5) professional practices and responsibilities, examining scholarly credibility, intellectual property, academic integrity frameworks, cultural and creative industry collaborations, institutional and legal risks, gender equality, and lessons from organised labour; and (6) best practic­es, articulating methodological pluralism against technological determinism and formalising principles of ethical reflexivity, human oversight, explainability, reproducibility, and accountability.

• Haug, Judith Irmela (2026). “Med Sang og Skrig” – Listening to the Othered North. Full text in Research Archive Show summary

  With this contribution, I wish to turn attention towards how majority Europeans the late 16th to the mid-19th century CE perceived and described the sound of the circumpolar regions and its othered indigenous populations, namely the Sámi of modern-day Norway, Sweden, Finland, and Russia, and the Inuit of Kalaallit Nunaat/Greenland and Nunavut in today’s Canada. Not only considering musical expression – characteristically drumming and chanting – but including the sounds of language, animals, and nature, the aim is to trace the lines of the auditory image that was presented to majority European readers in a geopolitical context characterized by exploration, colonialism and Christianization. The question is how circumpolar populations were construed as heathens to be saved, barbarians to be civilized, unfortunates to be pitied, “noble savages” to be admired, or a mixture of all this, and how those constructions relate to the othering of sound and silence. The main sources were authored by churchmen Catholic (Francesco Negri, 1701) and Protestant (Hans Egede, 1738–44), explorers (Martin Frobisher, 1578), natural historians (Leopold von Buch, 1810), travelers (Giuseppe Acerbi, 1802), or scholars who never even set foot in the region (Johannes Schefferus, 1673). Descriptions of drumming and chanting both of Inuit angakkut and Sámi noaiddit recur. In this context, sound and spirituality were othered at the same time, as connotations of “heathenish” practices and “sorcery” were seldom far. Another aspect is the line between song and scream (Hans Egede’s “sang og skrig”) or between sound and noise that determines how othering is reified in the definition of an auditory phenomenon’s quality. Is song – the Sámi joik and the Inuit drum dance song – being perceived as song or as something belonging to a different sphere? And how is that different sphere defined and explained?

• Haug, Judith Irmela (2026). «I heard in my sleep a strange singing, screaming and noise» – Sounding in the Polar Night. Full text in Research Archive
• Philippe, Vendrix,; Rebekah, Ahrendt,; Haug, Judith Irmela & Lartillot, Olivier (2025). Musicology as Data Science and Heritage Science. doi: 10.5281/zenodo.17913186. Full text in Research Archive Show summary

  This collective guide explores the transformative intersections of musicology with data science and heritage science in theEuropean context. It positions musicological research as both a model for and contributor to broader cultural heritage, analyzingits tangible and intangible dimensions. The report  reviews advances in research infrastructures, including the European Open Science Cloud, ECHOES, and E-RIHS, highlighting challenges and opportunities for integrating music into transnational heritage frameworks. It surveys the complexity of music data — notation, audio, metadata, and visual sources — and emphasizes standardized methods for cataloging and preservation. The text critically assesses legal, policy, and technical barriers to digitizing and reusing musical materials, advocating for legal reforms and open science principles. New publication paradigms are proposed, leveraging digital tools to expand access and impact. The role of musicologists in public engagement, education, and fostering research communities is underscored as crucial for sustainability. Best practices and collaborative models link musicological data to broader digital humanities and preservation strategies. Ultimately, the guide calls for active participation in European policy and research networks to enhance musicology’s role in shaping and disseminating cultural heritage for future generations.

• Haug, Judith Irmela (2025). The Tent of the Eye, Illuminated. Oriental(ist) Imagery and Schubert’s Interpretation. doi: https:/www.oeaw.ac.at/kis/archiv/archiv-jahrestagungen. Full text in Research Archive Show summary

  This contribution explores darkness as an element of otherness that offers identification, unfamiliarity that offers inspiration, and seclusion that offers safety. Western Europeans in Schubert’s time perceived the “Orient” as a distinct sphere (albeit not invariably dark in the negative sense) that differed from lived reality for most and offered a canvas for all kinds of imagination. Increased translation and research improved readers’ access to the literatures of the Islamic world and allowed poets to draw inspiration that went beyond pure imagination of a mysterious Other. Friedrich Rückert played a considerable part in this development, both as a translator and as an author whose poems were set to music by several lieder composers. After setting Suleika I and II (op. 14/1 and op. 31, 1821; Marianne von Willemer in Goethe’s West-östlicher Divan), Schubert reacted immediately to Rückert’s Oestliche Rosen with Sei mir gegrüßt (op. 20/1). In 1823, op. 59 followed with four settings of translated or “oriental”-inspired texts by Rückert and August von Platen, among them Du bist die Ruh. Schubert is not commonly discussed as an Orientalizing composer, and Du bist die Ruh is not an Orientalist composition in the usual sense. Schubert’s approach to the material does not readily fit the established categories of 19th-century musical Orientalism, but a deep reading of Du bist die Ruh reveals how his individual understanding and interpretation of an Oriental(ist) text is nevertheless traceable in his music. One decisive instance for this is the movement with which Schubert lifts the harmonic structure into a different sphere to illuminate the striking image of the “Augenzelt”, Ḥāfeẓ’s ravāq-e manẓar-e čašm, (“porch of the pupil of the eye”). Ultimately, we may ask whether Schubert understood love as a place of protection and sensory deprivation removed from everyday life, like a closed eye or a dark dervish cell.

• Haug, Judith Irmela (2025). Performing an Early Mediterranean. Repertoires and Historicities. doi: https:/indicodb.uv.es/ims2025/. Full text in Research Archive Show summary

  The Mediterranean not only challenges musicologists to explore innovative research trajectories that go beyond traditional disciplinary boundaries, it also inspires musicians to cross-cultural artistic collaboration. Adding aspects of performance and music business to a discussion of the Early Mediterranean as a musicological thought model, the focus of the paper is on the market segment of cross-cultural projects in Early Music and Historically Informed Performance Practice. I am investigating how such projects combine notions of “Early-ness” and “Mediterranean-ness”. Taking two case studies from Puglia – “Oriamu pisulina”, a song in the grecanico minority language, and “Tu bella ca lu tieni lu pettu tunnu”, a sequence of stornelli – as a starting point, I set out to investigate how Mediterranean “folk” repertoire is co-opted into the sphere of Historically Informed Performance Practice, and to demonstrate how concepts of earliness (as temporal otherness) and “Mediterranean folk” (as spatial and/or cultural otherness) converge. The circumstance that temporal, spatial, and cultural otherness is usually perceived from the vantage point of a Western now necessitates reflection on the imbalance of historicities that comes into being if notated and dateable Western European repertoires are combined with so-called “traditional” repertoires from supposedly ancient oral transmission. When used to evoke soundscapes of the past, “traditional” musics can end up deprived of their own historical locations. The Early Mediterranean as a thought model hence also invites discussions on how history is documented, measured and explained differently in different cultures, and of how earliness tends to be defined on the basis of European understandings of music history.

• Haug, Judith Irmela (2024). The Living and the Notated: Issues of Historicity and Tradition in Cross-Cultural Early Music Performances. Full text in Research Archive
• Haug, Judith Irmela (2024). Voice, Ink, and Memory: The Workings of Ottoman Song Text Collections. Full text in Research Archive
• Haug, Judith Irmela (2024). The Early Mediterranean: Meanings and Challenges of a Musicological Thought Model. Full text in Research Archive
• Haug, Judith Irmela (2023). Rückert‘s Augenzelt: Oriental Scholarship, Orientalist Imaginations, and the German Lied. Full text in Research Archive Show summary

  In Oriental studies, Friedrich Rückert is a translator and scholar, but musicologists know him as an author whose poems were set to music by the foremost composers of the German Lied. The intersections of those two aspects of Rückert’s personality – the creative and the scholarly – are the starting point for this paper. Set to music by Franz Schubert, Clara and Robert Schumann, or Gustav Mahler, Rückert’s poems occupy an important place in the history of the Lied. The first poem from Oestliche Rosen (1822) was composed already in the same year by Schubert (Sei mir gegrüßt), followed, among others, by the outstanding Du bist die Ruh in 1823. In this song, Schubert lifts the harmonic structure with a small move into entirely different spheres to illuminate the striking image invented by Rückert, “Augenzelt”. Oestliche Rosen, a collection of poetry inspired by engagement with Ḥāfeẓ and Rūmī, shows clear traces of their form, expression, and content (Bobzin 1988 und 2006). Imagery such as the omnipresent rose and jasmine or the “Schenkin” (sāqī) leapt out of his and Hammer-Purgstall’s translations into Rückert’s own poems. In the later Liebesfrühling that received much attention by the Schumanns, the formal and contentual inspiration is also perceptible. One question is where to locate Rückert between Orientalist and Orientalizing poetry, and whether this tension translated into musical settings (Osthoff 2000; Aderhold 2002; Gramit 2003). The paper follows the trace of Rückert’s imagery along a chain of transfers and interpretations across continents and centuries.

• Haug, Judith Irmela (2023). Ottoman Multi-Text Manuscripts as Sources for Music Historiography – Methodological Considerations and Practical Issues. Full text in Research Archive
• Haug, Judith Irmela; Rendón, Karin Cuellar & Battioni, Isabelle (2023). Panel: Diversity in the Early Music Field. Full text in Research Archive
• Haug, Judith Irmela (2022). Jean Calvin, A tous chrestiens. In Wald-Fuhrmann, Melanie & Wörner, Felix (Ed.), Lexikon Schriften über Musik: Vol. 2. Musikästhetik in Europa und Nordamerika / Music aesthetics in Europe and North America. Verlag J. B. Metzler. ISSN 9783476025401. p. 173–175. Full text in Research Archive Show summary

  Während Textlexika in anderen Fächern schon lange existieren, fehlt ein entsprechendes Arbeitsinstrument für die große Fülle des Musikschrifttums noch immer. Dabei sind Texte über Musik neben den Kompositionen und Praktiken selbst die wohl wichtigste Quellengruppe der Musikgeschichte und stellen überdies einen zentralen Zugang zum ästhetischen wie kompositionspraktischen Verständnis der komponierten Musik dar. Das Lexikon ist dreibändig angelegt. Es erschließt, beschreibt und kommentiert musik-bezogene Texte seit der Antike. Der erste Band widmet sich vor allem musiktheoretisch akzentuierten Schriften. Die Bände zwei und drei bleiben den mehr musikästhetisch relevanten Texten vorbehalten. Eine Besonderheit des Projektes besteht darin, dass hier erstmals auch Texttypen bedacht werden, die weit über den üblichen Kanon in lexikalischen oder enzyklopädischen Publikationen hinausreichen, soweit sie musikästhetisch bzw. musikphilosophisch relevante Fragestellungen beinhalten. Berücksichtigt werden unter anderem belletristische Texte, Kompositionslehren, Instrumental- und Gesangsschulen, Texte der künstlerischen Selbstvergewisserung von Komponisten sowie Texte aus den Bereichen von Ritus und herrschaftlicher Repräsentation. Erstmalig werden dabei auch außereuropäische Schriften einbezogen. Damit werden auch Texte berücksichtigt, die bislang nur in abgegrenzten Diskursen eine Rolle spielen, aber geeignet erscheinen, das Corpus an zentralen Musiktexten durch Neuentdeckungen zu erweitern und für Neuinterpretationen zu öffnen. Flankierend zum Buchprojekt ist – in einem zweiten Schritt – eine digitale Edition der wenig oder gar nicht bekannten Texte vorgesehen, die im Lexikon kommentiert werden.

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