Abstract
This paper investigates the musical aesthetic of the Singbewegung in relation its belief structures, but also in regard to some performance specifics. This in turn throws light on the necessity of investigating historically-informed performance practice not only from the point of view of older musical traditions, but also as a response to Romanticism, in order to gain a better understanding of our current practice. It was originally presented on 23 November 2014 as part of the "Reworkings" symposium held at the Schola Cantorum Basiliensis.