Modern Methods for Musicology: Prospects, Proposals, and - download pdf or read online

By Tim Crawford, Lorna Gibson

Written by means of top specialists, this quantity offers either an image of the realities of the way ICT is at the moment getting used in musicology in addition to customers and recommendations for a way it may be fruitfully utilized in the longer term. via its insurance of issues spanning content-based sound searching/retrieval, sound and content material research, markup and textual content encoding, audio source sharing, and track popularity, this e-book highlights the breadth and inter-disciplinary nature of the subject material and offers a beneficial source to technologists, musicologists, musicians and track educators through facilitating the id of necessary objectives to be accomplished utilizing expertise and powerful interdisciplinary collaboration.

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Additional info for Modern Methods for Musicology: Prospects, Proposals, and Realities (Digital Research in the Arts and Humanities)

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This is extended in common scientific parlance to mean ‘mathematically independent’. 25 Even if the performance was made from the same roll this is still true: the acoustics of the room in which the performance was given are lost. , ‘A Framework for the Evaluation of Music Representation Systems’. 27 Nattiez, Fondements d’une sémiologie de la musique. 14 Modern Methods for Musicology task, there is a ‘lowest level of interest’ – that is, a level of detail below which further detail is unimportant.

There is an unresolved philosophical issue here: is it actually meaningful to reason about a time-based art such as music at a level where the basis of time is abstracted away? ) it onto a particular time base as we do so? Perhaps a more generally important application of temporal logic in music representation is at the meta-level with respect to the musical surface: denoting information about the music, rather than denoting the music itself. In this context, for example, it may be useful to abstract information to the extent of saying that one event appears before another without saying exactly when or by how much; but, again, it is always possible to do this in terms of a time-line using existential quantification,48 even if an exact date or time is unknown.

The principal contribution of a digital critical edition of Ockeghem’s chanson would be to allow direct access to the sources through a third dimension of the edition, rather than indirect access only, through the apparatus. A second contribution would be to make it possible to upload a new source (or reconstruction of a source) to the existing edition. Finally, the mass (and other arrangements of ‘Ma bouche rit’) could be linked to the edition in such granularity that the user can see how they relate to the model.

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