Scholarly Music Editions as Graph: Semantic Modelling of the Anton Webern Gesamtausgabe

This paper presents a first draft of the ongoing research at the Anton Webern Gesamt- ausgabe (Basel, CH) to apply RDF-based semantic models for the purpose of a scholarly digital music edition. A brief overview of different historical positions to approach music from a graph-theoretical perspective is followed by a list of music- related and other RDF vocabularies that may support this goal, such as MusicOWL, DoReMus, CIDOC CRMinf, or the NIE-INE ontologies. Using the example of some of Webern’s sketches for two drafted Goethe settings (M306 & M307), a preliminary graph-based model for philological knowledge and processes is envisioned, which incorporates existing ontologies from the context of cultural heritage and music. Finally, possible use-cases, and the consequences of such an approach to scholarly music editions, are discussed

Scholarly Music Editions as Graph: Semantic Modelling of the Anton Webern Gesamtausgabe

This paper presents a first draft of the ongoing research at the Anton Webern Gesamtausgabe (Basel, CH) to apply RDF-based semantic models for the purpose of a scholarly digital music edition. A brief overview of different historical positions to approach music from a graph-theoretical perspective is followed by a list of music-related and other RDF vocabularies that may support this goal, such as MusicOWL, DoReMus, CIDOC CRMinf, or the NIE-INE ontologies. Using the example of some of Webern's sketches for two drafted Goethe settings (M306 & M307), a preliminary graph-based model for philological knowledge and processes is envisioned, which incorporates existing ontologies from the context of cultural heritage and music. Finally, possible use-cases, and the consequences of such an approach to scholarly music editions, are discussed

In their own words: using text analysis to identify musicologists' attitudes towards technology

A widely distributed online survey gathered quantitative and qualitative data relating to the use of technology in the research practices of musicologists. This survey builds on existing work in the digital humanities and provides insights into the specific nature of musicology in relation to use and perceptions of technology. Analysis of the data (n=621) notes the preferences in resource format and the digital skills of the survey participants. The themes of comments on rewards, benefits, frustrations, risks, and limitations are explored using an h-point approach derived from applied linguistics. It is suggested that the research practices of musicologists reflect wider existing research into the digital humanities, and that efforts should be made into supporting development of their digital skills and providing usable, useful and reliable software created with a ‘musicology-centred’ design approach. This software should support online access to high quality digital resources (image, text, sound) which are comprehensive and discoverable, and can be shared, reused and manipulated at a micro- and macro level

Embodied listening and the music of Sigur Ros

In 1990 Susan McClary and Robert Walser appealed for a musicology which could account for the effects of rock, or as they put it: ‘a greater willingness to try to circumscribe an effect metaphorically, to bring one’s own experience as a human being to bear in unpacking musical gestures, to try to parallel in words something of how the music feels’ (McClary and Walser 1990, 288-9). McClary and Walser were arguing for attempts to validate ‘physically and emotionally oriented responses to music’ (287), which they saw as crucial to any understanding of rock, but uncomfortable modes of response for musicology to deal with. Around the time of the McClary/Walser article, musicologists were questioning the body’s exclusion from discourse, and theorising ways in which it might be better integrated into musicological thought (Leppert 1993, Walser 1991). Since that time much scholarly work has been produced which interrogates the role of the body in musicking, work represented for instance by an examination of the idea of gesture (Gritten and King 2006, Davidson 1993). The bodies under examination in this discourse have been those of performers, but increasing attention is being focused on how performers experience the production of music. Fred Everett Maus has recently termed this approach an ‘analytical somaesthetics’, following Richard Shusterman (Maus 2010). This article uses facets of embodiment theory to interrogate the music of Icelandic band Sigur Rós, a group who seem to affect audience and critics alike in a way that is highly unusual for rock music. One of the questions their music poses echoes one that McClary and Walser asked in 1990, namely how we might account for the expressive effect of rock music. I will begin by theorising embodied listening, and accounting for how it might apply to rock music, before presenting readings of two Sigur Rós songs premised on interrogating how the listener is afforded opportunities for embodied participation

Linked Data for the Humanities: methods and techniques

So far, the impact of Linked Data in the Library and Cultural Heritage domain has been significant and testified by large scale efforts such as the one of Europeana. However, at a closer look, the impact of Semantic Web research on the Humanities has been discontinuous. Foundational techniques and methods developed by the SW community are still perceived as esoteric by many DH practitioners. In addition, more recent approaches have not been disseminated yet in the DH community. we propose a half-day tutorial on LD methods and techniques, to present the theoretical and technical foundations of Linked Data, to provide a reference collection of reusable tools to boost an effective adoption of LD in DH projects, and to showcase a set of innovative methods for extracting and linking data from texts

Linked Data Publication of Live Music Archives and Analyses

date-added: 2017-12-22 15:39:21 +0000 date-modified: 2017-12-22 15:53:18 +0000 keywords: Linked Data, Semantic Audio, Semantic Web, live music archive local-url: https://link.springer.com/chapter/10.1007/978-3-319-68204-4_3 bdsk-url-1: https://iswc2017.semanticweb.org/wp-content/uploads/papers/MainProceedings/221.pdf bdsk-url-2: https://dx.doi.org/10.1007/978-3-319-68204-4_3date-added: 2017-12-22 15:39:21 +0000 date-modified: 2017-12-22 15:53:18 +0000 keywords: Linked Data, Semantic Audio, Semantic Web, live music archive local-url: https://link.springer.com/chapter/10.1007/978-3-319-68204-4_3 bdsk-url-1: https://iswc2017.semanticweb.org/wp-content/uploads/papers/MainProceedings/221.pdf bdsk-url-2: https://dx.doi.org/10.1007/978-3-319-68204-4_3We describe the publication of a linked data set exposing metadata from the Internet Archive Live Music Archive along with detailed feature analysis data of the audio files contained in the archive. The collection is linked to existing musical and geographical resources allowing for the extraction of useful or nteresting subsets of data using additional metadata. The collection is published using a ‘layered’ approach, aggregating the original information with links and specialised analyses, and forms a valuable resource for those investigating or developing audio analysis tools and workflows

Boston University Messiaen Project, October 12 and 13, 2007

This is the concert program of the Boston University Messiaen Project international conference on Friday, October 12, and Saturday, October 13, 2007, at the College of Fine Arts, 855 Commonwealth Avenue. The conference featured lectures by Yves Balmer, Karin Heller, Stephen Butler Murray, Martin Lee, Andrew Shenton, Mark DeVoto, Wai Ling Cheong, Luke Berryman, Thomas Peattie, Peter Bannister, Vincent Benitez, Robert Sholl, Alexandre Abdoulvaev, Robert Fallon, Adam Gustafson, Douglas Shadle, Stephen Schloesser, Alexander Rehding, Sander van Maas, Ryan W. Dohoney, and David Cannata. Works performed on the concert on Saturday, October 13, 2007 in the Concert Hall were "Fantasie pour violon et piano by Olivier Messiaen, "Un reflet dans le vent" by O. Messiaen, "Ondine" by Claude Debussy, "Les fées sont d'exquises danseuses" by C. Debussy, "Brouillards" by C. Debussy, "Feuilles mortes" by C. Debussy, "La colombe" by O. Messiaen, "Deux romances de Paul Bourget" by C. Debussy, "Deux morceaux de soir" by C. Debussy, and "Poèmes pour Mi" by O. Messiaen. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund