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LP-34: Cultural Heritage, Art/ifacts and Institutions
11:00am - 12:30pm
Session Chair: Mia Ridge
Location:Schele Maagd 40 pax
Patterns of Early Modern Authorship: Using Metadata as Historical Record
Mark J. Hill, Tanja Säily
University of Helsinki, Finland
This paper makes use of complex bibliographic metadata – the English Short Title Catalogue (ESTC) – to create a dataset which is analysed with quantitative tools in a way allowing for novel insights into historical perceptions of authorship and the structural backdrop for them. In doing this it demonstrates the relevance of both these tools and datasets for humanistic research.
The Quotable Musical Text in a Digital Age: Modeling Complexity in the Renaissance and Today
Richard Freedman1, David Fiala2, Micah Walter3
1Haverford College, United States of America; 2Université de Tours, France; 3Harvard University, United States of America
We will report on recent developments in the encoding, representation, and citation of musical scores in a digital environment. Our work centers on an important but neglected corpus of sixteenth-century music (the Imitation Mass) in which composers adapted, quoted, and transformed pre-existing works as the basis of long cyclic settings of the Catholic Mass. The aural and textual resonances of these works are of intrinsic interest from a cultural standpoint. But of primary importance in the context of the Digital Humanities is the challenges of representing the complex musical connections in a durable, collaborative environment. We do this through various open-source technologies, above all the Music Encoding Intiative (which brings to musical scores what the TEI does for literary and historical documents). The CRIM Project (Citations: The Renaissance Imitation Mass) inaugurates a new kind of quotable text for a digital age, with wide application in musicology, and beyond.
Digging Into Pattern Usage Within Jazz Improvisation (Pattern History Explorer, Pattern Search and Similarity Search)
Frank Höger, Klaus Frieler, Martin Pfleiderer
University of Music “Franz Liszt” Weimar, Germany
The paper presents three novel user interfaces for investigating melodic patterns in jazz improvisation. Patterns are of particular interest for the analysis of improvisation styles, the oral transmission of musical language, the practice of improvisation, and the psychology of creative processes. Currently, the interfaces work with 456 manually transcribed jazz solos of the Weimar Jazz Database. The Pattern History Explorer allows for the examination of a set of 653 of the most common patterns within this database. The Pattern Search interface is a general two-staged pattern search in the Weimar Jazz Database that allows for extracting audio and score snippets. The Similarity Search application allows for exploring variants of a certain pattern according to established similarity measures. All applications could be easily transferred to other music corpora, too. They aim both at jazz researchers and at a wider audience of jazz teachers, students, and fans.