By Tim Crawford, Lorna Gibson
Written through top specialists, this quantity presents either an image of the realities of ways ICT is at the moment getting used in musicology in addition to customers and suggestions for a way it may be fruitfully utilized in the longer term. via its assurance of issues spanning content-based sound searching/retrieval, sound and content material research, markup and textual content encoding, audio source sharing, and tune reputation, this booklet highlights the breadth and inter-disciplinary nature of the subject material and offers a worthwhile source to technologists, musicologists, musicians and song educators by way of facilitating the identity of priceless targets to be accomplished utilizing know-how and potent interdisciplinary collaboration.
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Extra resources for Modern Methods for Musicology: Prospects, Proposals, and Realities (Digital Research in the Arts and Humanities)
The important distinction is between merely using the syntax of XML (or other representation, for that matter) and using its inference capabilities. If we merely use the syntax, we gain few, if any, of the advantages of the system, but nevertheless import all the extra work and complication it implies, which then raises the question of why we bother to use it at all. The upshot of XML’s restriction to trees is that the advantages of using the language can only be applied to a simplistic subset of musical markup, without adding non-uniform extra features (such as the ‘milestone markup’ mentioned above).
37 Plato, The Republic, trans. L. J. Vaughan (Ware: Wordsworth Editions, 1997). 38 Audi, R. ), The Cambridge Dictionary of Philosophy, 2nd edn (Cambridge: Cambridge University Press, 1999), p. 416. 39 For example, a blue cube and a red cube held in the same orientation are indistinguishable by comparison only of their shadows. Computer Representation of Music in the Research Environment 17 As such, coreference takes on the status of a common-usage ‘identity’ function: we might say that the performed note (acoustic domain) we have just heard (auditory domain) is a particular note on a stave (graphemic domain); in the view espoused in this and the previous sections, this actually means the three domainspecific representations corefer to the abstract musical entity that is a note in the context of the piece being performed.
The last abstractly represents compositional intent, for which SMDL defines an SGML vocabulary. SMDL was never implemented P. Brett, ‘Text, Context, and the Early Music Editor’, in N. ), Authenticity and Early Music: A Symposium (Oxford: Oxford University Press, 1988), pp. 83–114. org>, accessed 21 April 2009. au/music/Caron>, accessed 21 April 2009. edu>, accessed 21 April 2009. uk>, accessed 21 April 2009. 14 J. Rink, ‘Online Chopin Variorum Edition (OCVE), funded by the Andrew W. Mellon Foundation’ (2006).