Music &amp; the British Military in the Long Nineteenth Century

Herbert, Trevor; Barlow, Helen

doi:10.1093/acprof:oso/9780199898312.001.0001

Cited by 69 publications

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“…classical, operatic or sacred) in nineteenth-and twentieth-century Britain. This concentration reflects the research interest of the team that originally established LED [9,19,28] and provided material for further studies by other researchers in music history [25,39]. The fact that the database at present accepts only entries in the English language tends to contribute to the geographical bias, as does the nature of previous efforts targeting the availability of textual sources on music listening.…”

Section: Discussionmentioning

confidence: 94%

“…The admissible values for both these properties were initially extracted through reverse lookup of their usage throughout DBpedia, which has proven sufficient for religions or philosophies of life, as all the prior arbitrary values entered by the users could be effectively aligned. As for occupations and, more in general, indicators of the agent's position in the social ladder, the vocabulary was extended using a combination of the ISCO08 taxonomy 19 and the National Readership Survey demographic classification, 20 both made available for the first time in RDF.…”

Section: Agentsmentioning

confidence: 99%

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Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data

et al. 2018

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Research has approached the practice of musical reception in a multitude of ways, such as the analysis of professional critique, sales figures and psychological processes activated by the act of listening. Studies in the Humanities, on the other hand, have been hindered by the lack of structured evidence of actual experiences of listening as reported by the listeners themselves, a concern that was voiced since the early Web era. It was however assumed that such evidence existed, albeit in pure textual form, but could not be leveraged until it was digitised and aggregated. The Listening Experience Database (LED) responds to this research need by providing a centralised hub for evidence of listening in the literature. Not only does LED support search and reuse across nearly 10,000 records, but it also provides machine-readable structured data of the knowledge around the contexts of listening. To take advantage of the mass of formal knowledge that already exists on the Web concerning these contexts, the entire framework adopts Linked Data principles and technologies. This also allows LED to directly reuse open data from the British Library for the source documentation that is already published. Reused data are re-published as open data with enhancements obtained by expanding over the model of the original data, such as the partitioning of published books and collections into individual stand-alone documents. The database was populated through crowdsourcing and seamlessly incorporates data reuse from the very early data entry phases. As the sources of the evidence often contain vague, fragmentary of uncertain information, facilities were put in place to generate structured data out of such fuzziness. Alongside elaborating on these functionalities, this article provides insights into the most recent features of the latest instalment of the dataset and portal, such as the interlinking with the MusicBrainz database, the relaxation of geographical input constraints through text mining, and the plotting of key locations in an interactive geographical browser.

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Section: Discussionmentioning

confidence: 94%

Section: Agentsmentioning

confidence: 99%

Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data

et al. 2018

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“…When Schalkenbach returned to the music hall circuit in 1871 (billed alongside blackface minstrels at St James's Hall in Piccadilly, London), he had retitled his instrument as the 'Orchestre Militaire Electro Moteur', evoking the Franco-Prussian war whilst also capitalising on a fashion for orchestras augmented by military bands (Herbert 2013). It boasted many upgrades, and every element was brought into play in Schalkenbach's military fantasias.…”

Section: Johann Baptist Schalkenbachmentioning

confidence: 99%

Failed Histories of Electronic Music

Wilson

2017

Org. Sound

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This article counters the canonical histories of electronic music that traditionally begin with Cahill's Telharmonium and find their historical centre in the activities of the Paris and Cologne studios of the mid-twentieth century. The concept of 'failed histories' is introduced here with three important examples. The first chronicles the career of electromusical innovator Johann Baptist Schalkenbach (1824Schalkenbach ( -1910. The second example examines Britain's earliest electronic sound performance in 1895, signalling a rupture between electromusical bombast and the detailed, quiet work of the experimental laboratory. The third episode looks at the wireless oscillation outrages of the 1920s and 1930s, where electronic tone prematurely trespassed upon musical culture. Taken together, these failed histories offer an alternative narrative of electronic music finding its voice (and losing its voice) in turn-of-the-century Britain.

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The March: Military and Ceremonial Music

Mazey

2020

Palgrave Studies in Audio-Visual Culture

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Music & the British Military in the Long Nineteenth Century

Cited by 69 publications

References 0 publications

Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data

Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data

Failed Histories of Electronic Music

The March: Military and Ceremonial Music

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