Collaboration Perspectives for Folk Song Research and Music Information Retrieval: the Indispensable Role of Computational Musicology
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Chapter 2. Corpus-Based Musicology. 11
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A programmer's environment for music analysis Author(s) Ó Maidín, Donncha Seán Publication date 1995 Original citation Ó Maidín, D. S. 1995. A programmer's environment for music analysis. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1230585~S0 version http://dx.doi.org/10.13140/2.1.3387.2969 Access to the full text of the published version may require a subscription. Rights © 1995, Donncha S. Ó Maidín http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1629 from Downloaded on 2021-10-05T12:42:50Z A Programmer’s Environment for Music Analysis by Donncha Seán Ó Maidín, M.Sc., B.Mus. Submitted in May 1995 to The National University of Ireland for the degree of Doctor of Philosophy and revised in September 1995. This thesis was registered in The Department of Music, Faculty of Arts, University College, Cork, and was completed under the internal supervision of Professor David Cox and under the external examination of Professor Anthony Pople of the University of Lancaster. Copyright Donncha Ó Maidín 1995. scoreView. Table of Contents. ACKNOWLEDGEMENTS. IX CHAPTER 1. INTRODUCTION. 1 1.1 Overview. 1 1.2 Contribution of this Study to the Field of Corpus-Based Musicology. 3 1.3 Goals. 4 1.3.1 Informational Completeness. 4 1.3.2 Informational Objectivity. 5 1.3.3 Multi-Level. -
Music Information Retrieval and Musicology: What Do the Two Have in Common?
Music Information Retrieval and Musicology: What do the two have in common? Frans Wiering Information and Computing Sciences Utrecht University Musical Heritage, Oslo, 11 December 2010 1 Topic two disciplines Music Information Retrieval musicology what is the relationship? meaningful to musicology? implications for digital editions data-richness 2 1 Preliminary descriptions Music Information Retrieval (MIR) delivering the right (digital) music in answer to a user need right: matching the user’s taste, expertise, emotional state, activity, and cultural, social, physical and musical environment musicology understanding music in its context e.g. personal, social, economic, historical, theoretical MIR versus musicology delivery vs. understanding generic vs. specific 3 Music universe of music > 25,000,000 unique items individuals can recognise several 1000s of items different views of music object, digital or otherwise product work of art process in time mental process social phenomenon 4 2 MIR as a discipline emerged in 1960s (Kassler 1966), maturing since late 1990s definition (Downie 2004) a multidisciplinary research endeavor that strives to develop innovative content-based searching schemes, novel interfaces, and evolving networked delivery mechanisms in an effort to make the world’s vast store of music accessible to all contributing areas (Futrelle and Downie 2002) computer science, information retrieval audio engineering, digital sound processing musicology, music theory library science cognitive science, -
An Introduction to Music Studies Pdf, Epub, Ebook
AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology. -
Postdoctoral Research Fellowship in Computational Musicological Analysis
Postdoctoral Research Fellowship in Computational Musicological Analysis Job description A Postdoctoral Research Fellowship (SKO1352) in Computational Musicological Analysis is available at RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. RITMO is a Centre of Excellence funded by the Research Council of Norway. This interdisciplinary centre focuses on rhythm as a structuring mechanism for the temporal dimensions of human life. Methods from musicology, psychology, neuroscience, and informatics are combined to study rhythm as a fundamental property that shapes and underpins human cognition, behavior and cultural expressions. For more information, see www.uio.no/ritmo. All RITMO researchers are co-located and work in a unique interdisciplinary constellation, with world-leading competence in musicology, psychology and informatics. It is expected that all members of the center contribute to the general activities and collaborations within RITMO. The researchers have access to state-of-the-art facilities in sound/video recording, motion capture, eye tracking, physiological measurements, various types of brain imaging (EEG, fMRI), and rapid prototyping and robotics laboratories. More about the position The postdoctoral fellow will take part in the MIRAGE project, aimed at designing and implementing a comprehensive computational framework for music analysis. The objective is to generate rich and detailed descriptions of music, encompassing a large range of dimensions, including low-level features, mid-level structures and high-level concepts. The envisioned methodology consists of close interaction between automated music transcription and detailed musicological analysis of the transcriptions. Significant effort will be dedicated to the design of applications of value for musicology, music cognition and the general public. -
Oper in Zwei Akten Von Ludwig Van Beethoven Conducted by Andreas Wolf, Di Rected by Jay Scheib, Sce Nic Design by Andrew Lieberman, Cos- Tumes by Ellen Hoffmann
FIDELIO Oper in zwei Akten von Ludwig van Beethoven Conducted by Andreas Wolf, Di rected by Jay Scheib, Sce nic Design by Andrew Lieberman, Cos- tumes by Ellen Hoffmann Choreinstudierung Jaume Miranda; Don Fernando Guido Baehr/Stefan Röttig – Don Pizarro Olafur Sigurdarson – Florestan Algirdas Drevinskas/Robert Künzli /Hans-Georg Priese – Leonore Claudia Iten – Rocco Hirsoshi Matsui / Ji í ř Sul enko – Marzelline Sofia Fomina /Elizabeth Wiles Jaquino Algirdas Drevin- ž skas/ Jevgenij Taruntsov Saarlaendisches Staatstheater, Saarbrücken, Germany Premiere: 29 January 2011 Jay Scheib | [email protected] | Selected Works | Page 13 Unter dem Namen »Fidelio« arbeitet Leonore in Män- FIDELIO nerkleidung in einem Gefängnis, um dort nach ihrem ver- Nur eine einzige Oper hat Ludwig van Beethoven missten Mann Florestan zu suchen. Ihr grausamer Verdacht bewahrheitet sich: Der namenlose Privatge- geschrieben. Diese jedoch ist ein Repertoire-Klassiker: fangene des Gouverneurs, zu dem niemand anderes als »Fidelio«, die Geschichte einer spektakulären Gefan- der Gefängnisdirektor Rocco Zugang hat, ist Florestan. genenbefreiung aus der Zeit der Französischen Revolu- Es gelingt Leonore, zu ihm vorzudringen und ihn im let- tion. Beethoven arbeitete von 1805 bis 1814 in zten Moment vor einem Anschlag des Gouverneurs zu verschiedenen Versionen an diesem französischen Stoff bewahren, der bei einer Inspektion des Ministers die Ent- aus dem Genre der »Rettungsoper«. Er stützte sich deckung des Gefangenen fürchtet. Die Machenschaften dabei auf »Léonore« von Pierre Gaveaux (1798). des Gouverneurs werden schließlich aufgedeckt. Jay Scheib | [email protected] | Additional Works | Page 14 Mikeah Ernest Jennings photographed by Carrie Mae Weems as George BELLONA DESTROYER OF CITIES Adapted and Directed by Jay Scheib based on Samuel R. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Music Theory - Why Bother? on Music Theory in Relation to Music Information Processing
Music Theory - Why bother? On Music Theory in relation to Music Information Processing Sven Ahlbäck, Doremir Music Research AB Prof. Royal College of Music, Stockholm 1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 765068. • My background There is no such • What is this about? thing as a conceptual • Why is this in the summer vacuum school? Agenda • No, this will not be a full course or crash course in Music Theory • Aim: introduce some issues, discuss basic concepts and give some overview • Today: Introduction to approaches in the field of music theory and the possible relevance for MIR • Thursday: Pitch and Tonality - Sven Ahlbäck • How to study a music culture: Indian Classical music, by Rafael Caro • Friday: Rhythm & Structure - Sven Ahlbäck Topics for the workshops in afternoon sessions are connected • Harmony • Melodic similarity • Rhythm An example manual learning task: Transcription using your built-in biological system listen sing notate what we sing notate what we hear 200 300 200 300 200 intervals in cents (1/100 semitone) (”anhemitonic pentatonic scale”) How did it really sound? Examples Equidistant pentatonic pitch set Court music Uganda Moçambique 240 240 240 240 Studies of tuning & perception (Cooke 1970, Wachsmann 1971 Kubik 1960, Valkare 2016 etc.) What happened? Ex. Tongoli Fumbo Adhola Music: Fur ber Tongoli harp So what’s the ground truth here? ”There are only semitones and whole tones” Our perception is influenced by music theoretical concepts We hear what we know How does this relate to MIR? If models we use model human cognition, and human cognition is related to concepts originating from music theory, it might not be out of the way to be know a little about it? You might want to contribute to knowledge about music. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
THE ROYAL OPERA La Scala Di Seta Gioachino Rossini 23 October at 7Pm; 24 October at 1Pm and 7Pm
THE ROYAL OPERA La scala di seta Gioachino Rossini 23 October at 7pm; 24 October at 1pm and 7pm ROSSINI’S LA SCALA DI SETA TO BE PERFORMED FOR THE FIRST TIME AT THE ROYAL OPERA HOUSE AS PART OF MEET THE YOUNG ARTISTS WEEK • Meet the Young Artists Week will run from 20–25 October 2014 • Generously supported by Oak Foundation This October, The Royal Opera’s Jette Parker Young Artists will present Rossini's sixth opera and masterpiece of comic timing La scala di seta for the first time at the Royal Opera House. This new production is staged by Australian director and Jette Parker Young Artist Greg Eldridge , in what will be his first staging of a full-length work for The Royal Opera. He is joined by designer Holly Pigott and lighting designer Warren Letton . Greg Eldridge ’s production will bring this early Rossini masterpiece to life in an elegant, classic production, which highlights the power of love at the centre of the piece. This production marks the Royal Opera House debuts of Australian soprano Lauren Fagan who will sing the role of Giulia, Australian baritone Samuel Dale Johnson as Dormont, British bass James Platt who will sing the role of Blansac, Ukrainian bass-baritone Yuriy Yurchuk as Germano and Scottish pianist Colin J. Scott. They are joined by Armenian soprano Anush Hovhannisyan as Lucilla and Portuguese tenor Luis Gomes as Dorvil. The orchestra is Southbank Sinfonia, conducted by Italian conductor and Jette Parker Young Artist Jonathan Santagada. For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media . -
16Th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)
applied sciences Meeting Report 16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain) Lorenzo J. Tardón 1,* , Isabel Barbancho 1,* , Ana M. Barbancho 1 , Alberto Peinado 2, Stefania Serafin 3 and Federico Avanzini 4 1 ATIC Research Group, Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 2 Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 3 Multisensory Experience Lab., Aalborg University Copenhagen, 2450 Copenhagen SV, Denmark; [email protected] 4 LIM–Laboratorio di Informatica Musicale, Department of Computer Science, University of Milan, 20133 Milan, Italy; [email protected] * Correspondence: [email protected] (L.J.T.); [email protected] (I.B.) Received: 5 June 2019; Accepted: 9 June 2019; Published: 19 June 2019 Abstract: The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28–31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25–28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc. 1. Summer School 1.1. Arduino and Audio David Cuartielles Malmö University, Sweden The Arduino and audio workshop looks at possible ways to create inter- active sound production machines using Arduino boards. -
The Compleat Musicologist?
Towards the compleat musicologist? Prof. Nicholas Cook, FBA Professorial Research Fellow, Royal Holloway, University of London & Director, AHRC Research Centre for the History and Analysis of Recorded Music [Invited talk at ISMIR 2005] I We stand at a moment of opportunity. It's an easy thing to say. We stood at a moment of opportunity around 1980, in terms of the relationship between music theory and psychology: each discipline had good reasons for being interested in the other—for psychologists because music is a complex, culturally embedded activity that is open to quantitative analysis, for music theorists because empirical methods allowed them to ground and develop work that until then had been basically speculative. The opportunity was realized and the result was a gain for both partners. A new subdiscipline developed, but strongly linked to its parent disciplines and with new insights and ways of working that fed back into both. Obviously I wouldn't be saying this if I didn't think there was a similar opportunity today for musicologists in relation to music information science. I'm choosing my words carefully because the interdisciplinary interface I'm talking about here is more complicated than the music theory/psychology one of the 1980s. On the music side I'm talking about musicology in the broad sense that includes theory, ethnomusicology, and the rest. On the information science side I'm talking about a range of empirical and computational work that draws on and feeds back into computer science, cognitive science, acoustic engineering and I don't know how many other subdiscipines. -
An Overview of Hindustani Music in the Context of Computational Musicology
AN OVERVIEW OF HINDUSTANI MUSIC IN THE CONTEXT OF COMPUTATIONAL MUSICOLOGY Suvarnalata Rao* and Preeti RaoŦ National Centre for the Performing Arts, Mumbai 400021, India * Department of Electrical Engineering, Indian Institute of Technology Bombay, IndiaŦ [email protected], [email protected] [This is an Author’s Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Journal of New Music Research, Volume 43, Issue 1, 31 Mar 2014, available online at: http://dx.doi.org/10.1080/09298215.2013.831109 [dx.doi.org]] ABSTRACT ludes any key changes, which are so characteristic of Western music. Indian film music is of course an excep- With its origin in the Samveda, composed between 1500 - tion to this norm as it freely uses Western instruments 900 BC, the art music of India has evolved through ages and techniques including harmonization, chords etc. and come to be regarded as one of the oldest surviving music systems in the world today. This paper aims to Art music (sometimes inappropriately described as clas- provide an overview of the fundamentals governing Hin- sical music) is one of the six categories of music that dustani music (also known as North Indian music) as have flourished side by side: primitive, folk, religious, practiced today. The deliberation will mainly focus on the art, popular and confluence. The patently aesthetic inten- melodic aspect of music making and will attempt to pro- tion of the art music sets it apart from other categories. It vide a musicological base for the main features associated is governed by two main elements: raga and tala.