Topografija i klasifikacija digitalne muzikologije

How does one make sense of the rapidly growing array of resources for musicologists online? In part, the answer depends on what specific interests are topical in the local environment. User needs vary widely. This contribution examines some organization issues in large repositories that available without cost in Europe and North America. Obstacles to finding sites with relevant material are many and generally parallel those familiar from using physical libraries.Područje digitalne muzikologije proširilo se vrlo brzo, ali i ponešto nepravilno. Povremeno se doima poput izobličenoga stabla ili karte za tumačenje – s ubrzanim rastom malenoga područja koje odjednom postaje vrlo krupno (optičko skeniranje izvora odgovarajuć je primjer tog fenomena) nakon čega uskoro dolazi do ubrzanog rasta u nesrodnom području. Mnogi digitalni projekti suočeni su s velikim brojem tehničkih problema koje je potrebno rješiti prije nego što se išta može uspješno predstaviti javnosti. Pregledom nekih od najpoznatijih i najkorištenijih digitalnih projekata (ViFaMusik, e-codices, Gallica, Gaspari Online, rana glazba, DIAMM i RISM) vidimo da ovise o opsežnoj suradnji te da i imaju povijest široke suradnje koja je u podlozi njihovih digitalnih napora. Prava inovacija koja više ovisi o digitalnim mogućnostima koje nisu bile dostupne prije deset godina uključuje Josquin Research Project, Beethoven Werkstatt i web-stranicu Machaut Society sa svojim Mirador preglednikom detalja u rukopisima. Kao online alat, RISM Manuscript Inventory uzoran je primjer križanja starih i novih metoda istraživanja. On objedinjuje informacije sakupljene tijekom desetljeća od strane knjižničara u preko šezdeset zemalja. Trenutno nudi više od milijun zapisa, te visoko kvalitetne bibliografske podatke zajedno s nedavno razvijenim alatima za pretraživanje glazbe. Stotine ljudi i znatna financijska sredstva učinili su njihovo trenutno djelovanje mogućim. Stavljanje RISM-a na mrežu (od 2011.) pretvorilo ga je iz ezoteričnog akronima u resurs koji naširoko konzultiraju izvođači i znanstvenici. Ne možemo znati što digitalnu muzikologiju čeka u budućnosti. Ipak, samo površan pregled prethodno nedostupnih primarnih izvora ponuđenih na web-stranicama brojnih nacionalnih knjižnica obećava da će poljuljati mnoga ustaljena znanja o glazbenoj prošlosti. Generacije i generacije udžbenika i monografija oslanjale su se na najbolje dostupne sekundarne izvore kada nije bilo pristupa primarnim izvorima. Za stotine tema više nije potrebno oslanjati se na sekundarne izvore. Primarnim izvorima od ranih napjeva do djela iz dvadesetog stoljeća lako je pristupiti preko mreže. Pristup tim izvorima duboko će promijeniti znanstveno istraživanje uklanjanjem furnira bezbrojnih slojeva akademske proze i otkrivanjem onoga što je glazba prošlosti doista bila. Pitanja interpretacije neće nestati, ali poboljšani pristup može im olakšati procjenu. (Priča o repertoarima izvan europskih umjetničkih glazbenih tradicija različita je samo u pojedinostima: izvori su vjerojatno dostupni kao audio ili video datoteke i često nema opširne ostavštine ranih spisa koju bi se propitivalo.) Svi izvori navedeni u ovom članku dostupni su bez naknade ili drugih zapreka

End-to-End Neural Optical Music Recognition of Monophonic Scores

[EN] Optical Music Recognition is a field of research that investigates how to computationally decode music notation from images. Despite the efforts made so far, there are hardly any complete solutions to the problem. In this work, we study the use of neural networks that work in an end-to-end manner. This is achieved by using a neural model that combines the capabilities of convolutional neural networks, which work on the input image, and recurrent neural networks, which deal with the sequential nature of the problem. Thanks to the use of the the so-called Connectionist Temporal Classification loss function, these models can be directly trained from input images accompanied by their corresponding transcripts into music symbol sequences. We also present the Printed Images of Music Staves (PrIMuS) dataset, containing more than 80,000 monodic single-staff real scores in common western notation, that is used to train and evaluate the neural approach. In our experiments, it is demonstrated that this formulation can be carried out successfully. Additionally, we study several considerations about the codification of the output musical sequences, the convergence and scalability of the neural models, as well as the ability of this approach to locate symbols in the input score.This work was supported by the Social Sciences and Humanities Research Council of Canada, and the Spanish Ministerio de Economia y Competitividad through Project HISPAMUS Ref. No. TIN2017-86576-R (supported by UE FEDER funds).Calvo-Zaragoza, J.; Rizo, D. (2018). End-to-End Neural Optical Music Recognition of Monophonic Scores. Applied Sciences. 8(4). https://doi.org/10.3390/app8040606S8

The Teatro Sant'Angelo : cradle of fledgling opera troupes

Many smaller theaters of the mid-eighteenth century were established in conjunction with the establishment of Italian traveling troupes. Several troupes were formed by musicians active at the Teatro Sant'Angelo, Venice. Although Vivaldi was not personally involved in any of the troupes, the musical imprint of his operas was strong in the mix of pastiches that served several Central European venues. The musical evidence of these performances is almost entirely lost, but the troupes are traceable through libretti. The degree to which the Teatro Sant'Angelo contributed both troupe leaders and troupe musicians stands out among all theaters in Northern Italy. The reach of its musicians, particularly those of the Madonis family, extended to Belgium, France, Hesse, Bavaria, Saxony, Bohemia, Moravia, Poland, and Russia

09051 Abstracts Collection -- Knowledge representation for intelligent music processing

From the twenty-fifth to the thirtieth of January, 2009, the Dagstuhl Seminar 09051 on ``Knowledge representation for intelligent music processing\u27\u27 was held in Schloss Dagstuhl~--~Leibniz Centre for Informatics. During the seminar, several participants presented their current research, and ongoing work and open problems were discussed. Abstracts of the presentations and demos given during the seminar as well as plenary presentations, reports of workshop discussions, results and ideas are put together in this paper. The first section describes the seminar topics and goals in general, followed by plenary `stimulus\u27 papers, followed by reports and abstracts arranged by workshop followed finally by some concluding materials providing views of both the seminar itself and also forward to the longer-term goals of the discipline. Links to extended abstracts, full papers and supporting materials are provided, if available. The organisers thank David Lewis for editing these proceedings

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism