Computing in musicology, 1966?91

Hewlett, Walter B.; Selfridge-Field, Eleanor

doi:10.1007/bf00141188

Cited by 8 publications

(5 citation statements)

References 4 publications

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“…Until around 2004, when the field's name changed to 'digital humanities', studies of its history appeared but occasionally. Those studies tended to be article-length surveys of the history of the application of computing to particular fields of the humanities, like classics and musicology (Hewlett and Selfridge-Field 1991;Brunner 1993); histories of the development of indexes and concordances, humanities computing's canonical tools (Burton 1981a;Burton 1981b;Burton 1981c;Burton 1982); articles on acclaimed scholars like Busa (Winter 1999); and bibliographies (Adamo 1994). Since around 2003, a more sustained interest in the history of DH can be noticed.…”

Section: A Brief Historiography Of the History Of Dhmentioning

confidence: 99%

On Making in the Digital Humanities

2023

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Her research intersects digital humanities, early modern intellectual history, and cultural heritage and archival studies. She has previously held positions at King's College London, University College London and the British Museum. Her current work explores digital approaches to archival silences. John Bradley worked in the digital humanities from the early 1970s until 1997, first at the University of Toronto and then at the Department of Digital Humanities at King's College London, continuing past his retirement in 2015. Most of his posts were 'academic-related' until he was made an academic by King's in 2011. His work includes the development of the text analysis software TACT and the experimental software platform Pliny. He has collaborated on more than 20 public humanities-oriented digital resources. Dauvit Broun has been lecturing at the University of Glasgow since 1990, and since 2009 as Professor of Scottish History. He was Principal Investigator of projects centring on the creation and development of the PoMS database (two funded by the AHRC, 2007-13, with John Bradley as a Co-Investigator, and one funded by the Leverhulme Trust, 2013-17, with John Bradley as Co-Investigator).Dino Buzzetti taught history of philosophy, mainly medieval, at the University of Bologna. For several years he ran a course on documentation and historical document processing at the Faculty of Preservation of Cultural Heritage and a course on humanities computing for philosophy students. His main research topic was the history of logic in relation to contemporary developments in philosophical and theological doctrines.Averil Cameron is a historian of late antiquity and Byzantium. She taught at King's College until 1994 and chaired the Humanities Research Centres. As a Fellow of the British Academy she was instrumental in bringing the Prosopography of the Byzantine Empire (PBE, later PBW) to King's and was the founding director of the Centre for Hellenic Studies. In relation to PBE and PBW she worked closely with Harold Short and John Bradley.

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Section: A Brief Historiography Of the History Of Dhmentioning

confidence: 99%

On Making in the Digital Humanities

2023

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“…Miller, 2003). Key events include the founding of the journals Psychology of Music (1973) (Burgoyne et al, 2015;Hewlett & Selfridge-Field, 1991;ICMPC Advisory Board, 2022).…”

Section: Rise Of Music Cognition and Music Information Retrievalmentioning

confidence: 99%

Comparative musicology: The science of the world’s music

Savage

2022

Preprint

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What is music, and why did it evolve? How can we understand the unity and diversity found throughout the world’s music? Scientific attempts to answer these questions through cross-cultural comparison stalled during the 20th century and have only recently begun to make a resurgence. In this book, Patrick Savage synthesizes recent advances to outline a new unified theoretical/methodological framework to understand and compare all of the world’s music. This framework takes advantage of new scientific theories and methods – particularly from advances in computer science, psychology, genetic anthropology, and cultural evolution – to apply comparative musicological research to answer longstanding questions about the origins of music and to contemporary issues including music copyright law and UNESCO policy. In doing so, he argues for an inclusive, multidisciplinary field that combines the qualitative methods traditionally employed by musicologists and cultural anthropologists with quantitative methods from the natural sciences.

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“…On the other hand, musicology has applied computational methods for decades (e.g. see [Hewlett and Selfridge-Field 1991], [Volk et al 2011]), typically on encoded musical scores, such as CCARH's kern and musedata collections 7 . The use of MIR at different scales for musicology has been addressed by in the context of an experimental system which is no longer available.…”

Section: Related Workmentioning

confidence: 99%

The Digital Music Lab

Abdallah

Benetos

Gold

et al. 2017

J. Comput. Cult. Herit.

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This is the accepted version of the paper.This version of the publication may differ from the final published version. In musicology and music research generally, the increasing availability of digital music, storage capacities and computing power both enable and require new and intelligent systems. In the transition from traditional to digital musicology, many techniques and tools have been developed for the analysis of individual pieces of music, but large scale music data that are increasingly becoming available require research methods and systems that work on the collection-level and at scale. Although many relevant algorithms have been developed during the last 15 years of research in Music Information Retrieval, an integrated system that supports large-scale digital musicology research has so far been lacking. In the Digital Music Lab (DML) project, a collaboration between music librarians, musicologists, computer scientists, and human-computer interface specialists, the DML software system has been developed that fills this gap by providing intelligent large-scale music analysis with a user-friendly interactive interface supporting musicologists in their exploration and enquiry. The DML system empowers musicologists by addressing several challenges: distributed processing of audio and other music data, management of the data analysis process and results, remote analysis of data under copyright, logical inference on the extracted information and metadata, and visual web-based interfaces for exploring and querying the music collections. The DML system is scalable and based on Semantic Web technology and integrates into Linked Data with the vision of a distributed system that enabling music research across archives, libraries and other providers of music data. A first DML system prototype has been set up in collaboration with the British Library and I Like Music Ltd. This system has been used to analyse a diverse corpus of currently 250,000 music tracks. In this article we describe the DML system requirements, design, architecture, components, available data sources, explaining their interaction. We report use cases and applications with initial evaluations of the proposed system. Permanent repository link

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Computing in musicology, 1966?91

Cited by 8 publications

References 4 publications

On Making in the Digital Humanities

On Making in the Digital Humanities

Comparative musicology: The science of the world’s music

The Digital Music Lab

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