2012
DOI: 10.1108/00242531211292060
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Three views of the “musical work”: bibliographical control in the music domain

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Cited by 4 publications
(2 citation statements)
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References 20 publications
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“…For example, audio recordings may differ in performance parameters such as tempo, expressive timing and dynamics. Symbolic and visual representations of a musical work might differ because of different music editing conventions, historical distance from the original composing process, or publications for a commercial aim rather than for scholarly accuracy (Preston et al, 2012).…”
Section: Introductionmentioning
confidence: 99%
“…For example, audio recordings may differ in performance parameters such as tempo, expressive timing and dynamics. Symbolic and visual representations of a musical work might differ because of different music editing conventions, historical distance from the original composing process, or publications for a commercial aim rather than for scholarly accuracy (Preston et al, 2012).…”
Section: Introductionmentioning
confidence: 99%
“…Arguing that "cumulatively transferable definitions of domains must be written" Tennis suggest two axes, area of modulation and degrees of specialization, to help the process along (Tennis, 2003). Domain analysis has been applied to the field of music by Pietras and Robinson (2012) who examine three notions of the "musical work" and relate these to wider social contexts. Also focusing on music is an earlier article by Knut Abrahamsen who examines "some of the epistemological conditions" that underpin the classification of genre in libraries and musicology (Abrahamsen, 2003).…”
Section: Introductionmentioning
confidence: 99%