Investigating Music Information Objects Lynnsey K Weissenberger
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Florida State University Libraries 2016 Investigating Music Information Objects Lynnsey K Weissenberger Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION INVESTIGATING MUSIC INFORMATION OBJECTS By LYNNSEY K WEISSENBERGER A Dissertation submitted to the School of Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Lynnsey Weissenberger defended this dissertation on March 25, 2016. The members of the supervisory committee were: Corinne Jörgensen Professor Co-Directing Dissertation Michelle M. Kazmer Professor Co-Directing Dissertation Pat Villeneuve University Representative Paul F. Marty Committee Member Richard J. Urban Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To James Kelly, who transformed the way I experienced music. iii ACKNOWLEDGMENTS I thank the members of my committee for their valuable and helpful feedback throughout this process, especially Dr. Michelle Kazmer for her tireless effort as my committee co-chair and guidance and encouragement as major professor throughout my doctoral program. I also thank Dr. Lynne Hinnant for her aptly-timed words of wisdom that continue to inform how I explain information problems. I wish to acknowledge and profusely thank my other co-chair, Dr. Corinne Jörgensen, for the many ways in which she contributed to my development as a scholar. Her continuous support, encouragement, and fierce belief in my work and abilities were vital to the completion of this huge task. Many thanks go to the music practitioners interviewed for this dissertation for sharing important concepts about their musical traditions so others might better understand them. This dissertation is dedicated to my husband, daughters, and my greater “musical family” both at FSU and throughout the U.S. Thank you for your love and support, and for the many hours of tunes - you inspired me and kept my creativity alive. iv TABLE OF CONTENTS List of Tables ............................................................................................................................... viii Abstract .......................................................................................................................................... ix 1. INTRODUCTION ......................................................................................................................1 1.1 Purpose .................................................................................................................................1 1.2 Problem Statement and Significance ...................................................................................3 1.3 Research Questions ..............................................................................................................4 1.4 Theoretical Framework ........................................................................................................5 1.5 Research Design and Approach ...........................................................................................6 1.5.1 Spradley and Ethnographic Interviewing ..................................................................7 1.6 Assumptions and Limitations ..............................................................................................7 1.7 Conclusion ...........................................................................................................................8 2. LITERATURE REVIEW .........................................................................................................10 2.1 Introduction ........................................................................................................................10 2.2 Music Information Retrieval ..............................................................................................10 2.2.1 Overview and History .............................................................................................11 2.2.2 User Studies ............................................................................................................12 2.2.3 Redefining the “User” .............................................................................................15 2.2.4 Downie’s Theoretical Framework ..........................................................................17 2.3 Representation and Documentation ...................................................................................18 2.3.1 Documents and Knowledge Organization ..............................................................19 2.3.1.1 Music-as-Information ................................................................................20 2.3.1.2 Oral Information ........................................................................................21 2.3.2 Representation .........................................................................................................23 2.3.2.1 Reflexive Representation ...........................................................................25 2.3.2.2 Music Information Objects ........................................................................26 2.3.2.3 FRBR and Music .......................................................................................27 2.4 A New Theoretical Framework .........................................................................................28 2.4.1 Representational Incompleteness ............................................................................28 2.4.2 Three Meta Classes .................................................................................................30 2.5 Potential Limitations ..........................................................................................................32 2.6 Conclusion .........................................................................................................................33 3. METHOD ..................................................................................................................................35 3.1 Introduction ........................................................................................................................35 3.1.1 Research Questions .................................................................................................35 3.2 The Ethnographic Approach ..............................................................................................36 3.2.1 Fieldnotes ................................................................................................................37 3.3 Research Design .................................................................................................................38 v 3.3.1 Population and Sampling ........................................................................................38 3.3.2 Procedures ...............................................................................................................40 3.3.2.1 Pretest .........................................................................................................40 3.3.2.2 Interviews ...................................................................................................41 3.3.2.3 Compensation ............................................................................................41 3.3.2.4 Consent and follow-up ...............................................................................41 3.3.3 Data Analysis ..........................................................................................................41 3.3.4 Confidentiality ........................................................................................................42 3.3.5 Instrument Design ...................................................................................................43 3.3.6 Data Management ...................................................................................................44 3.3.7 Validity and Reliability ...........................................................................................45 3.3.8 Benefits and Limitations .........................................................................................45 3.3.8.1 Benefits ......................................................................................................45 3.3.8.2 Limitations .................................................................................................46 3.3.9 Ethical Considerations ............................................................................................47 3.4 Conclusion .........................................................................................................................47 4. FINDINGS ................................................................................................................................49 4.1 Introduction ........................................................................................................................49 4.1.1 Overview .................................................................................................................49 4.2 Music Information Objects ................................................................................................50 4.2.1 Symbolic Meta-Class ..............................................................................................51 4.2.1.1 Character-based