Suggestions for Future Corpus-Based Text Painting Analyses: A Response to Strykowski

This commentary provides multiple suggestions for future research on text painting that have been inspired by Strykowski's (2016) quantitative analysis of height-related musical imagery. For example, musical features such as meter, harmony, and position may be incorporated to expand the scope of the research. The commentary concludes by referencing two additional corpora that may further benefit the quantitative study of text painting, namely, repertories that contain a dearth of word-painting, and an upcoming digital repository of Tasso-based madrigals

Online Database of Scores in the Humdrum File Format.

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Codificación manual mensural: de Humdrum a MEI

The recovery of musical heritage currently necessarily involves its digitalization, not only by scanning images, but also by the encoding in computer-readable formats of the musical content described in the original manuscripts. In general, this encoding can be done using automated tools based with what is named Optical Music Recognition (OMR), or manually writing directly the corresponding computer code. The OMR technology is not mature enough yet to extract the musical content of sheet music images with enough quality, and even less from handwritten sources, so in many cases it is more efficient to encode the works manually. However, being currently MEI (Music Encoding Initiative) the most appropriate format to store the encoding, it is a totally tedious code to be manually written. Therefore, we propose a new format named **mens allowing a quick manual encoding, from which both the MEI format itself and other common representations such as Lilypond or the transcription in MusicXML can be generated. By using this approach, the antiphony Salve Regina for eight-voice choir written by Jerónimo de la Torre (1607–1673) has been successfully encoded and transcribed.La recuperación del patrimonio musical en el momento actual pasa necesariamente por su digitalización, no sólo mediante la obtención de imágenes digitales, sino también por la codificación en formatos legibles por un ordenador del contenido musical descrito en los manuscritos originales. En general, esa codificación se puede realizar mediante herramientas automatizadas basadas en lo que se denomina Reconocimiento Óptico de Música (OMR por sus iniciales en inglés), o manualmente escribiendo directamente el código informático pertinente. La tecnología OMR todavía no está lo suficientemente madura como para extraer con buena calidad el contenido musical de imágenes de partituras, y aún menos de fuentes manuscritas, por lo que en muchos casos es más eficiente codificar las obras manualmente. Sin embargo, es totalmente tediosa la escritura en el formato más adecuado para realizar esa codificación actualmente, MEI (Music Encoding Initiative). Por ello proponemos un nuevo formato denominado **mens que permite escribir manualmente el código de manera rápida y sencilla, a partir del cual, además, somos capaces de generar tanto el propio formato MEI como otras representaciones habituales como son Lilypond o la transcripción en MusicXML. Usando este enfoque, se ha codificado y transcrito la antífona a ocho voces Salve Regina escrita por Jerónimo de la Torre (1607–1673).This work was supported by the Spanish Ministerio de Economía y Competitividad through Project HISPAMUS Ref. No. TIN2017-86576-R (supported by UE FEDER funds), and partially by the ISEA.CV 2017/2018 research grants

White Mensural Manual Encoding: from Humdrum to MEI

The recovery of musical heritage currently necessarily involves its digitalization, not only by scanning images, but also by the encoding in computer-readable formats of the musical content described in the original manuscripts. In general, this encoding can be done using automated tools based with what is named Optical Music Recognition (OMR), or manually writing directly the corresponding computer code. The OMR technology is not mature enough yet to extract the musical content of sheet music images with enough quality, and even less from handwritten sources, so in many cases it is more efficient to encode the works manually. However, being currently MEI (Music Encoding Initiative) the most appropriate format to store the encoding, it is a totally tedious code to be manually written. Therefore, we propose a new format named **mens allowing a quick manual encoding, from which both the MEI format itself and other common representations such as Lilypond or the transcription in MusicXML can be generated. By using this approach, the antiphony Salve Regina for eight-voice choir written by Jerónimo de la Torre (1607–1673) has been successfully encoded and transcribed

A Demonstration of Hierarchical Structure Usage in Expressive Timing Analysis by Model Selection Tests

© 2018 Technical Committee on Control Theory, Chinese Association of Automation. Analysing expressive timing in performed music can help machine to perform various perceptual tasks such as identifying performers and understand music structures in classical music. A hierarchical structure is commonly used for expressive timing analysis. This paper provides a statistical demonstration to support the use of hierarchical structure in expressive timing analysis by presenting two groups of model selection tests. The first model selection test uses expressive timing to determine the location of music structure boundaries. The second model selection test is matching a piece of performance with the same performer playing another given piece. Comparing the results of model selection tests, the preferred hierarchical structures in these two model selection tests are not the same. While determining music structure boundaries demands a hierarchical structure with more levels in the expressive timing analysis, a hierarchical structure with less levels helps identifying the dedicated performer in most cases

Editing Italian Madrigals in the Digital World: The Tasso in Music Project

Despite the interdisciplinary nature of the Italian madrigal—a genre in which poetry and music often stand on equal footing—critical editions of this repertoire tend to focus primarily on the musical text, devoting limited attention to the often-complex philological tradition of the poems set to music. Likewise, most critical editions are devoted to the works of a single composer—as opposed to settings of the same poetry by multiple composers—and thus offer a rather segmented perspective on the repertoire, which is not conducive to the study of musical traditions and to comparative analysis. This paper proposes a new model for critical editions of this repertoire, one in which musical and poetic texts are devoted equal attention. To do so, we will provide an overview of a digital project that follows this model, namely the Tasso in Music Project (www.tassomusic.org), showing how it draws on both musical (Humdrum, MEI) and textual (TEI) encoding systems to render the interdisciplinary nature of its repertoire

Encoding Polyphony from Medieval Manuscripts Notated in Mensural Notation

This panel submission for the 2021 Music Encoding Conference brings together five short papers that focus on the making of computer-readable encodings of polyphony in the notational style – mensural notation – in which it was originally copied. Mensural notation was used in the medieval West to encode polyphony from the late thirteenth to sixteenth centuries. The Measuring Polyphony (MP) Online Editor, funded by an NEH Digital Humanities Advancement Grant, is a software that enables non-technical users to make Humdrum and MEI encodings of mensural notation, and links these encodings to digital images of the manuscripts in which these compositions were first notated. Topics explored by the authors include: the processes of, and the goals informing, the linking of manuscript images to music encodings; choices and compromises made in the development process of the MP Editor in order to facilitate its rapid deployment; and the implications of capturing dual encodings – a parts-based encoding that reflects the layout of the original source, and a score-based encoding. Having two encodings of the music data is useful for a variety of activities, including performance and analysis, but also within the editorial process, and for sharing data with other applications. The authors present two case studies that document the possibilities and potential in the interchange of music data between the MP Editor and other applications, specifically, MuRET, an optical music recognition (OMR) tool, and Humdrum analysis tools

Next Steps for Measuring Polyphony: A Prototype Editor for Encoding Mensural Music

Poste

Entry of Human Papillomavirus Type 16 by Actin-Dependent, Clathrin- and Lipid Raft-Independent Endocytosis

Infectious endocytosis of incoming human papillomavirus type 16 (HPV-16), the main etiological agent of cervical cancer, is poorly characterized in terms of cellular requirements and pathways. Conflicting reports attribute HPV-16 entry to clathrin-dependent and -independent mechanisms. To comprehensively describe the cell biological features of HPV-16 entry into human epithelial cells, we compared HPV-16 pseudovirion (PsV) infection in the context of cell perturbations (drug inhibition, siRNA silencing, overexpression of dominant mutants) to five other viruses (influenza A virus, Semliki Forest virus, simian virus 40, vesicular stomatitis virus, and vaccinia virus) with defined endocytic requirements. Our analysis included infection data, i.e. GFP expression after plasmid delivery by HPV-16 PsV, and endocytosis assays in combination with electron, immunofluorescence, and video microscopy. The results indicated that HPV-16 entry into HeLa and HaCaT cells was clathrin-, caveolin-, cholesterol- and dynamin-independent. The virus made use of a potentially novel ligand-induced endocytic pathway related to macropinocytosis. This pathway was distinct from classical macropinocytosis in regards to vesicle size, cholesterol-sensitivity, and GTPase requirements, but similar in respect to the need for tyrosine kinase signaling, actin dynamics, Na+/H+ exchangers, PAK-1 and PKC. After internalization the virus was transported to late endosomes and/or endolysosomes, and activated through exposure to low pH