Predgovor

V vročičnem vzponu interdisciplinarnih prizadevanj se znanstveni zborniki, revije in konference, pa tudi projektne in ostale institucionalne tvorbe čedalje pogosteje odmikajo od izrecne disciplinarne zamejitve. Svoj prostor čedalje pogosteje odpirajo projektom večdisciplinarnih raziskovalnih skupin, a kljub temu »tisti, ki delujejo v eni disciplini, ne vedo vselej, kaj se dogaja v nekaterih drugih.« Tokratna številka Muzikološkega zbornika je namenjena osvetlitvi povezovalnih aspiracij sodobnega muzikološkega raziskovanja, zlasti dejavnosti na področju računalniško podprtega raziskovanja glasbe

Zgodovina in izzivi digitalne etno/muzikologije v Sloveniji

Procese razumevanja glasbe kot niza pojavov, ki so tesno povezani z IT praksami iskanja glasbe v slovenski raziskovalni skupnosti, skiciramo s treh osnovnih vidikov: etnomuzikološkega, bibliotekarskega (bistvenega, ko se glasbi približamo računalniško) in IT. Članek ocenjuje doprinos teh perspektiv k razumevanju glasbe, in predlaga, da tri obravnavane perspektive niso poljubne

Globally, songs and instrumental melodies are slower, higher, and use more stable pitches than speech: a registered report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech

Discovering Patterns in Slovene Lied In-between the World Wars: Kogoj, Osterc, Škerjanc

Magistrsko delo se ukvarja z vprašanjem vzorcev v slovenskem medvojnem samospevu. Raziskava vključuje 83 skladb treh ključnih skladateljev takratnega časa – Marija Kogoja (1892–1956), Lucijana Marijo Škerjanca in Slavka Osterca (1895–1941). Sprva je orisano glasbeno-zgodovinsko ozadje žanra in vseh treh avtorjev, ki pripomore k lažjeum razumevanju rezultatov. Temu sledi računalniška glasbena analiza zastavljenega korpusa. Prva ustvarjena računalniška koda, pisana v jeziku Python (z uporabo music21), ki se ukvarja z (meta)podatkovnimi bazami celotnega korpusa, korpusa posameznih skladateljev ter s posameznimi skladbami. Analiza pri tem upošteva šestnajst različnih parametrov. V nadaljevanju besedilo z metodo iskanja n-gramov obravnava melodične in tri različne ritmične vzorce. Po splošnem pregledu vzorcev se osredotoči na petnajst notnih primerov. Nabor samospevov je izbran tako, da tudi v svoji okrnjenosti izrišejo določene poteze vsakega izmed skladateljev. Na koncu so podani vsebinska sinteza, ovrednotenje računalniškega modela in predlogi za nadaljnje raziskovanje.Centred topic of my master’s thesis is music patterns in Slovenian lied in-between the two World wars. The research sets its fundamental focus to three central composers of the time – Marij Kogoj (1892–1956), Lucijan Marija Škerjanc (1900–1973) and Slavko Osterc (1895–1941). Firstly, the thesis establishes musically-historical groundwork which mainly serves as a mediator between the gathered results and their interpretation. This is followed by a digital analysis of music notation which consists of two preeminent frames, both executed in Python language with music21. First model carries out corpus (meta)data processing through sixteen different parameters. N-gram analysis method establishes the second model. It returns series of melody patterns (music intervals) and three different types of rhythmic patterns. Both are commented separately and then compared. This method includes a selection of five music pieces per author. The thesis concludes its findings with content synthesis, evaluation of established computational model and encourages further research within the observed topic

The Games We Play: Exploring The Impact of ISMIR on Musicology

International audienceThroughout history, there has consistently existed a period of time and spatial separation between the creation of new knowledge and technology and their adaptation for widespread implementation. The article delves into how musicology and computational music research interact and exchange their approaches. Specifically, it focuses on a study of ten years' worth of papers from the International Society for Music Information Retrieval (ISMIR) from 2012 to 2021. Over 1000 citations of ISMIR papers were reviewed, and out of these, 51 later works published in musicological venues drew from the findings of 28 ISMIR papers. Final results reveal that most contributions from ISMIR rarely make their way to musicology or humanities. In spite of this, the paper highlights four examples of successful knowledge transfers between the fields and discusses best practices for collaborations while addressing potential causes for such disparities. In the epilogue, we address the interlaced origins of the problem as stemming from new media or language, institutional restrictions, and the inability to engage in multidisciplinary communication

Adding context to content improves pattern matching: A study on Slovenian folksongs

Pattern matching is a widely spread topic in MIR and related fields. It commonly aims to provide insights into repetitive instances in or across different kinds of music or cultures. The paper presents a study on the analysis of folksongs using symbolic music representation, including both music content and its contextual information. We release a corpus of 400 monophonic Slovenian tunes with structure, contour, and implied harmony annotations. We show that certain descriptors, such as contour types and harmonic ``stability'', depend on phrase position in tune. We propose a time and space-efficient algorithm based on suffix arrays and bit-vectors to match both music content (melodic sequence) and music context (descriptors). We show that pattern-matching queries combining melody and descriptors are more precise for classification tasks. We emphasize the importance of collaborative dynamics between content and context, as well as stress that not all research questions require the same amount of details. Consequently, our approach is encouraging computational music analysis to become more flexible. Lastly, the study aims to promote knowledge of Slovenian folksong

Globally, songs and instrumental melodies are slower, higher, and use more stable pitches than speech: a registered report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: 1) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and 2) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six pre-registered predictions, five were strongly supported: relative to speech, songs use 1) higher pitch, 2) slower temporal rate, and 3) more stable pitches, while both songs and speech used similar 4) pitch interval size, and 5) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech