http://hdl.handle.net/10900/74842 2026-05-13T15:27:22Z http://hdl.handle.net/10900/94520 Digital methods for research on complex ways of transmission between regionality and universality in music of the Middle Ages. Morent, Stefan During the Carolingian Renaissance the singing of chant like writing and the text of the Bible was subject to the efforts of unambigousness and unanimity. The cantilena romana as the way of singing chant in Rome suppressed other singing traditions and was altered at the same time to what is called Gregorian chant. The chant manuscripts from the earliest witnesses written in adiastematic neumes to later sources written on lines on the one hand show a great uniformity on the other hand reveal numerous differences. The transmission of chant is characterized by this ambivalence between ideal continuity and actual variance. Digital methods of research can help to investigate this phenomenon more deeply than possible with traditional methods. Encoding of a large amount of chant, visualizations and advanced techniques of data analysis and data mining can offer new answers to the urging questions of the transmission of chant. 2019-11-08T00:00:00Z http://hdl.handle.net/10900/93779 Musikgeschichtsschreibung auf dem Weg in die digitale Ära Bayreuther, Rainer Vorausgesetzt wird ein (bei Dilthey, Gadamer u.a. gegebener) Begriff von Geschichte, demgemäß die Geschichtlichkeit eines Sachverhalts in seiner Binnenspannung zwischen Entstehung und Zukunftsentwurf liegt. Dem entspricht in den Geisteswissenschaften bzw. Humanities ein Begriff des Menschen, der in sich geschichtlich ist und so über hermeneutische Zirkelarbeit sich die Geschichtlichkeit des erforschten Sachverhalts anverwandelt. Der klassische Begriff von Musikgeschichte und von historischer Musikwissenschaft ist wesentlich von diesem Geschichtsbegriff geprägt. In der digitalen Ära mit ihrer Distribution von Content (vormals geschichtliche Sachverhalte) über Algorithmen (vormals hermeneutischer Zirkel) zu einem algorithmisch profilierten User (vormals geschichtlicher Mensch) diese Struktur von Geschichtlichkeit wird die vormalige Struktur von Geschichte vollkommen revidiert. Die intrinsische Geschichtlichkeit von Sachverhalten und Menschen verlagert sich hin zu einer Konstruktion von Geschichte in der algorithmisierten Distribution. 2019-10-21T00:00:00Z http://hdl.handle.net/10900/82611 The Optical Neume Recognition Project Helsen, Kate; Behrendt, Inga The goal of the Optical Neume Recognition Project is to apply Optical Music Recognition (OMR) software to the oldest staffless notation in Western culture. The current focus is on 'Hartker's Antiphoner', Cod. Sang. 390 / 391 which we are using as a basis for developing neume encoding systems that will be applicable to a wide range of neumed repertoires. Our work is based on an examination of the parameters that describe a neume, and representing them in the formalized xml that has been developed for musical notation, called MEI. These descriptions must include not only the shape and name of each neume, but also itemize each aspect of the neume's musical meaning. Describing neumes and their components in a systematic manner will allow the encoding to be queried, searched, and analyzed for musical and scribal patterns across large corpora; indeed, much larger than would be possible in the lifetime of a single scholar. This project is the product of collaboration between Kate Helsen, Inga Behrendt, Jennifer Bain, Andrew Hankinson, Ichiro Fujinaga, and research assistants at the Music Tech lab at McGill University, Canada, and is supported by the Social Sciences Research Council of Canada. It is now part of a larger project, also housed at McGill, entitled the Single Interface for Music Score Searching and Analysis (SIMSSA). 2018-03-22T00:00:00Z http://hdl.handle.net/10900/80205 The Relevance of Digital Humanities to the Analysis of late Medieval/Early Renaissance Music Stoessel, Jason In a seminal publication on computational and comparative musicology, Nicholas Cook argued more than a decade ago that recent developments in computational musicology presented a significant opportunity for disciplinary renewal. Musicology, he said, was on the brink of new phase wherein “objective representations of music” could be rapidly and accurately compared and analysed using computers. Cook’s largely retrospective conspectus of what I and others now call digital musicology— following the vogue of digital humanities—might seem prophetical, yet in other ways it cannot be faulted for missing its mark when it came to developments in the following decade. While Cook laid the blame for its delayed advent on the cultural turn in musicology, digital musicology today—which is more a way of enhancing musicological research than a particular approach in its own right—is on the brink of another revolution of sorts that promises to bring diverse disciplinary branches closer together. In addition to the extension of types of computer-assisted analysis already familiar to Cook, new generic models of data capable of linking music, image (including digitisations of music notation), sound and documentation are poised to leverage musicology into the age of the semantic World Wide Web. At the same time, advanced forms of computer modelling are being developed that simulate historical modes of listening and improvisation, thereby beginning to address research questions relevant to current debates in music cognition, music psychology and cultural studies, and musical creativity in the Middle Ages, Renaissance and beyond. 2018-02-08T00:00:00Z