圆桌会议:音乐编码的教学方法

IF 0.4 2区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2023-10-02 DOI:10.1080/01411896.2023.2231837
{"title":"圆桌会议:音乐编码的教学方法","authors":"","doi":"10.1080/01411896.2023.2231837","DOIUrl":null,"url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Music Encoding Initiative, https://music-encoding.org/.2 Rebalancing the Music Canon, https://rebalancing-music-canon.com/.3 “Buchanan Library Fellowship Program,” Vanderbilt University, https://www.library.vanderbilt.edu/about/fellows/.4 “Immersion Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/immersion/.5 “Trans-Institutional Programs (TIPs),” Vanderbilt University, https://www.vanderbilt.edu/strategicplan/trans-institutional-programs/.6 “The Center for Digital Humanities at Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/digitalhumanities/.7 “Programs for Organizations,” The Gladys Krieble Delmas Foundation, https://www.delmas.org/programs-for-organizations.8 “Vanderbilt to Host International Music Encoding Workshop and Hackathon,” MyVU, October 2, 2019, https://news.vanderbilt.edu/2019/10/02/vanderbilt-to-host-international-music-encoding-workshop-and-hackathon/.9 The manuscript copy of Alfred Schnittke‘s Sinfonisches Vorspiel (Sketches) can be viewed online at https://catalog.library.vanderbilt.edu/permalink/01VAN_INST/ma7323/alma991002264029703276.10 Examples of many existing projects can be found here: “Projects / Users,” Music Encoding Initiative, https://music-encoding.org/community/projects-users.html.11 “Interest Groups,” Music Encoding Initiative, https://music-encoding.org/community/interest-groups.html.12 “Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.13 Additional information about Verovio can be found at “A Music Notation Engraving Library,” Verovio, https://www.verovio.org/index.xhtml.14 Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” in #DLFTeach Toolkit: Lesson Plans for Digital Library Instruction, ed. L. Rodrigues & E. Pappas (Digital Library Federation, Digital Library Pedagogy Working Group, 2019), https://doi.org/10.21428/65a6243c.9fa9b4f7.15 MEI Pedagogy and Praxis Resources, https://hcommons.org/deposits/?tag=mei-pedagogy-praxis.16 “Past Music Encoding Conferences,” Music Encoding Initiative, https://music-encoding.org/conference/past.html.17 Digital Humanities Summer Institute (DHSI), https://dhsi.org/.18 Trevor Muñoz, “Data Curation as Publication for the Digital Humanities,” Journal of Digital Humanities 2, no. 3 (2013), http://journalofdigitalhumanities.org/2-3/data-curation-as-publishing-for-the-digital-humanities/.19 See “A Directory of Digital Scholarship in Music,” created by the Digital Humanities Interest Group of the Music Library Association for a useful collection of Digital Humanities projects relevant to the field at https://rutgersdh.github.io/musicdh/.20 Digital Humanities Scavenger Hunt included items from the “Directory of Digital Scholarship in Music,” https://rutgersdh.github.io/musicdh/.21 Gesualdo Online, https://ricercar.gesualdo-online.cesr.univ-tours.fr/.22 Measuring Polyphony: Digital Encodings of Late Medieval Music, https://measuringpolyphony.org/.23 Catalogue of Carl Nielsen’s Works, https://www.kb.dk/dcm/cnw/navigation.xq.24 Beethovens Werkstatt: Genetische Textkritik und Digitale Musikedition, https://beethovens-werkstatt.de/.25 Anna Kijas, “MEI for All! or Lowering the Barrier to Music Encoding through Digital Pedagogy,” presented at Maryland Institute for Technology in the Humanities Digital Dialogs Series, February 25, 2020.26 “MEI Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.27 Not all of the students in this seminar had access to a laptop they could bring to class, and so they worked in pairs or groups of three. The University of Maryland Libraries, and many other institutions’ library services now offer loaner laptops, which can also aid accessibility in similar projects.28 “Music Encoding Initiative GitHub Repository,” https://github.com/music-encoding/music-encoding#the-music-encoding-initiative.29 “Guidelines (4.0.1),” Music Encoding Initiative, https://music-encoding.org/guidelines/v4/content/.30 Verovio, https://www.verovio.org/mei-viewer.xhtml.31 Additional details about the first and current iterations can be found at Rebalancing the Music Canon, https://rebalancing-music-canon.com/about/.32 “About: What Is Minimal Computing,” Minimal Computing, https://go-dh.github.io/mincomp/about/.33 Bethany Nowviskie, “Capacity through Care,” in Debates in the Digital Humanities, ed. Matthew K. Gold and Lauren F. Klein (Minneapolis and London: University of Minnesota Press, 2019), 424–26.34 Music by Women, https://www.musicbywomen.org/; “Composer Diversity Database,” Institute for Composer Diversity, https://www.composerdiversity.com/composer-diversity-database.35 Helen Walker-Hill, Gregory Walker, and Rachel Eubanks, eds. Black Women Composers: Twentieth Century Music for Piano and Strings (Bryn Mawr, PA: Hildegard Publishing Company, 2003); Martha Furman Schleifer and Sylvia Glickman, Women Composers: Music Through the Ages (New York: G.K. Hall, 1996); Rachel Ivy Clarke and Sayward Schoonmaker, “Metadata for Diversity. Identification and Implications of Potential Access Points for Diverse Library Resources,” Journal of Documentation 76, no. 1 (2020): 173–96.36 Analysis and visualization of newly acquired scores for Lilly Music Library during fiscal year 2021 can be consulted at Research Guides@Tufts, https://researchguides.library.tufts.edu/lillymusiclibrary-collection.37 MuseScore notation software is available at MuseScore, https://musescore.org/en/download.38 Instructions for encoding incipits and creating content for the Rebalancing the Music Canon, https://github.com/annakijas1/rebalancing-music-canon/.39 “Community-Created Pedagogy and Praxis Resources,” Music Encoding Initiative, https://music-encoding.org/resources/pedagogy.html. Maristella Feustle’s videos are found on this page. Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” #DLFTeach Toolkit, September 19, 2019, https://dlfteach.pubpub.org/pub/intro-mei/release/1.40 Atom XML Editor, https://atom.io/; Verovio Editor, https://editor.verovio.org/; GitHub, https://github.com/; The Markdown Guide, https://www.markdownguide.org/. Since writing this essay, the Atom XML Editor has been sunsetted and we have switched to Visual Studio Code (https://code.visualstudio.com/).41 Leo Brouwer I. Homo Faber incipit, Rebalancing the Music Canon, https://rebalancing-music-canon.com/brouwer-la-vida-misma-homo-faber/.42 The full list of composers and incipits is accessible in the index for Rebalancing the Music Canon, https://rebalancing-music-canon.com/incipit-index/.43 Theodore Dumitrescu, “Corpus Mensurabilis Musice ‘Electronicum’? Toward a Flexible Electronic Representation of Music in Mensural Notation,” in The Virtual Score: Representation, Retrieval, Restoration, ed. W. B. Hewlett and E. Selfridge-Field, vol. 12 (Cambridge: MIT Press, 2001), 3–18, at 8.44 Johannes Kepper, Musikedition im Zeichen neuer Medien. Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben (Norderstedt: Books on Demand, 2011), 132–37; and Franz Wiering, “Digital Critical Editions of Music: A Multidimensional Model,” in Modern Methods for Musicology: Prospects, Proposals, and Realities, ed. Tim Crawford and Lorna Gibson (Farnham, England: Ashgate, 2009), 23–46.45 Mensural music refers to the polyphonic music principally of the thirteenth to sixteenth century written in mensural notation.46 See Johannes Tinctoris: Complete Theoretical Works, ed. Ronald Woodley, Jeffrey J. Dean, and David Lewis, https://earlymusictheory.org/Tinctoris/texts/.47 See Measuring Polyphony: Digital Encounters of Late Medieval Music, https://measuringpolyphony.org/. Most pieces in the Measuring Polyphony corpus are available in original and modern forms. Since the project used to transform specifically prepared CMN versions into Mensural notation, this involves no additional processing. For details on the encoding process, see “Encoding Process,” https://measuringpolyphony.org/#encodingProcess.48 See, for instance, The Josquin Research Project, https://josquin.stanford.edu/, with its extensive possibilities for searching and analytical visualizations, and approaches in automated analysis of mensural music transmission. See also Anna Viktoria Katrin Plaksin, Modelle zur computergestützten Analyze von Überlieferungen der Mensuralmusik: Empirische Textforschung im Kontext phylogenetischer Verfahren (Dortmund: Readbox Unipress, 2021); and Jesse Rodin, “(In) Noten suchen—Das Josquin Research Project,” Troja: Jahrbuch für Renaissancemusik 17 (2018): 47–68.49 See Kepper, Musikedition im Zeichen neuer Medien, 147.50 See the pull request on GitHub mentioning the merge of the feature here: https://github.com/rism-digital/verovio/pull/2278.51 See Karen Desmond, “Next Steps for Measuring Polyphony: A Prototype Editor for Encoding Mensural Music,” (poster presentation, Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020). The editor is available at Measuring Polyphony: Digital Encodings of Late Medieval Music, https://editor.measuringpolyphony.org/.52 The project shares detailed instructional videos about the MP Editor on their YouTube channel, Measuring Polyphony, https://www.youtube.com/channel/UCWB5WRs4LjKpYB_-J2Sb03Q/videos.53 See Anna Plaksin and David Lewis, “MeRIT: An Interactive Annotation Tool for Mensural Rhythms,” in Proceedings of the 9th International Conference on Digital Libraries for Musicology (New York: Association for Computing Machinery, 2022), 55–59.54 MeRIT is available for beta testing at https://interpreter.earlymusictheory.org/.55 Tim Duguid, “The Forgotten Classroom? Bringing Music Encoding to a New Generation,” Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020.56 Guía para elaborar propuestas de planes de estudios de títulos propios, Universidad de Salamanca (2021), https://www.usal.es/files/Guia_elaborar_planes_estudio_titulos_propios.doc, and Plan de organización de la actividad académica del PDI de la Universidad de Salamanca (2020), https://www.usal.es/files/modelo_plantilla_texto_reformulado_2020.pdf.57 Simon Mahony and Elena Pierazzo, “Teaching Skills or Teaching Methodology?” in Digital Humanities Pedagogy: Practices, Principles and Politics, ed. Brett D. Hirsch (Cambridge: Open Book Publishers, 2012), 215–25.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Roundtable: Pedagogical Approaches to Music Encoding\",\"authors\":\"\",\"doi\":\"10.1080/01411896.2023.2231837\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Music Encoding Initiative, https://music-encoding.org/.2 Rebalancing the Music Canon, https://rebalancing-music-canon.com/.3 “Buchanan Library Fellowship Program,” Vanderbilt University, https://www.library.vanderbilt.edu/about/fellows/.4 “Immersion Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/immersion/.5 “Trans-Institutional Programs (TIPs),” Vanderbilt University, https://www.vanderbilt.edu/strategicplan/trans-institutional-programs/.6 “The Center for Digital Humanities at Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/digitalhumanities/.7 “Programs for Organizations,” The Gladys Krieble Delmas Foundation, https://www.delmas.org/programs-for-organizations.8 “Vanderbilt to Host International Music Encoding Workshop and Hackathon,” MyVU, October 2, 2019, https://news.vanderbilt.edu/2019/10/02/vanderbilt-to-host-international-music-encoding-workshop-and-hackathon/.9 The manuscript copy of Alfred Schnittke‘s Sinfonisches Vorspiel (Sketches) can be viewed online at https://catalog.library.vanderbilt.edu/permalink/01VAN_INST/ma7323/alma991002264029703276.10 Examples of many existing projects can be found here: “Projects / Users,” Music Encoding Initiative, https://music-encoding.org/community/projects-users.html.11 “Interest Groups,” Music Encoding Initiative, https://music-encoding.org/community/interest-groups.html.12 “Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.13 Additional information about Verovio can be found at “A Music Notation Engraving Library,” Verovio, https://www.verovio.org/index.xhtml.14 Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” in #DLFTeach Toolkit: Lesson Plans for Digital Library Instruction, ed. L. Rodrigues & E. Pappas (Digital Library Federation, Digital Library Pedagogy Working Group, 2019), https://doi.org/10.21428/65a6243c.9fa9b4f7.15 MEI Pedagogy and Praxis Resources, https://hcommons.org/deposits/?tag=mei-pedagogy-praxis.16 “Past Music Encoding Conferences,” Music Encoding Initiative, https://music-encoding.org/conference/past.html.17 Digital Humanities Summer Institute (DHSI), https://dhsi.org/.18 Trevor Muñoz, “Data Curation as Publication for the Digital Humanities,” Journal of Digital Humanities 2, no. 3 (2013), http://journalofdigitalhumanities.org/2-3/data-curation-as-publishing-for-the-digital-humanities/.19 See “A Directory of Digital Scholarship in Music,” created by the Digital Humanities Interest Group of the Music Library Association for a useful collection of Digital Humanities projects relevant to the field at https://rutgersdh.github.io/musicdh/.20 Digital Humanities Scavenger Hunt included items from the “Directory of Digital Scholarship in Music,” https://rutgersdh.github.io/musicdh/.21 Gesualdo Online, https://ricercar.gesualdo-online.cesr.univ-tours.fr/.22 Measuring Polyphony: Digital Encodings of Late Medieval Music, https://measuringpolyphony.org/.23 Catalogue of Carl Nielsen’s Works, https://www.kb.dk/dcm/cnw/navigation.xq.24 Beethovens Werkstatt: Genetische Textkritik und Digitale Musikedition, https://beethovens-werkstatt.de/.25 Anna Kijas, “MEI for All! or Lowering the Barrier to Music Encoding through Digital Pedagogy,” presented at Maryland Institute for Technology in the Humanities Digital Dialogs Series, February 25, 2020.26 “MEI Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.27 Not all of the students in this seminar had access to a laptop they could bring to class, and so they worked in pairs or groups of three. The University of Maryland Libraries, and many other institutions’ library services now offer loaner laptops, which can also aid accessibility in similar projects.28 “Music Encoding Initiative GitHub Repository,” https://github.com/music-encoding/music-encoding#the-music-encoding-initiative.29 “Guidelines (4.0.1),” Music Encoding Initiative, https://music-encoding.org/guidelines/v4/content/.30 Verovio, https://www.verovio.org/mei-viewer.xhtml.31 Additional details about the first and current iterations can be found at Rebalancing the Music Canon, https://rebalancing-music-canon.com/about/.32 “About: What Is Minimal Computing,” Minimal Computing, https://go-dh.github.io/mincomp/about/.33 Bethany Nowviskie, “Capacity through Care,” in Debates in the Digital Humanities, ed. Matthew K. Gold and Lauren F. Klein (Minneapolis and London: University of Minnesota Press, 2019), 424–26.34 Music by Women, https://www.musicbywomen.org/; “Composer Diversity Database,” Institute for Composer Diversity, https://www.composerdiversity.com/composer-diversity-database.35 Helen Walker-Hill, Gregory Walker, and Rachel Eubanks, eds. Black Women Composers: Twentieth Century Music for Piano and Strings (Bryn Mawr, PA: Hildegard Publishing Company, 2003); Martha Furman Schleifer and Sylvia Glickman, Women Composers: Music Through the Ages (New York: G.K. Hall, 1996); Rachel Ivy Clarke and Sayward Schoonmaker, “Metadata for Diversity. Identification and Implications of Potential Access Points for Diverse Library Resources,” Journal of Documentation 76, no. 1 (2020): 173–96.36 Analysis and visualization of newly acquired scores for Lilly Music Library during fiscal year 2021 can be consulted at Research Guides@Tufts, https://researchguides.library.tufts.edu/lillymusiclibrary-collection.37 MuseScore notation software is available at MuseScore, https://musescore.org/en/download.38 Instructions for encoding incipits and creating content for the Rebalancing the Music Canon, https://github.com/annakijas1/rebalancing-music-canon/.39 “Community-Created Pedagogy and Praxis Resources,” Music Encoding Initiative, https://music-encoding.org/resources/pedagogy.html. Maristella Feustle’s videos are found on this page. Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” #DLFTeach Toolkit, September 19, 2019, https://dlfteach.pubpub.org/pub/intro-mei/release/1.40 Atom XML Editor, https://atom.io/; Verovio Editor, https://editor.verovio.org/; GitHub, https://github.com/; The Markdown Guide, https://www.markdownguide.org/. Since writing this essay, the Atom XML Editor has been sunsetted and we have switched to Visual Studio Code (https://code.visualstudio.com/).41 Leo Brouwer I. Homo Faber incipit, Rebalancing the Music Canon, https://rebalancing-music-canon.com/brouwer-la-vida-misma-homo-faber/.42 The full list of composers and incipits is accessible in the index for Rebalancing the Music Canon, https://rebalancing-music-canon.com/incipit-index/.43 Theodore Dumitrescu, “Corpus Mensurabilis Musice ‘Electronicum’? Toward a Flexible Electronic Representation of Music in Mensural Notation,” in The Virtual Score: Representation, Retrieval, Restoration, ed. W. B. Hewlett and E. Selfridge-Field, vol. 12 (Cambridge: MIT Press, 2001), 3–18, at 8.44 Johannes Kepper, Musikedition im Zeichen neuer Medien. Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben (Norderstedt: Books on Demand, 2011), 132–37; and Franz Wiering, “Digital Critical Editions of Music: A Multidimensional Model,” in Modern Methods for Musicology: Prospects, Proposals, and Realities, ed. Tim Crawford and Lorna Gibson (Farnham, England: Ashgate, 2009), 23–46.45 Mensural music refers to the polyphonic music principally of the thirteenth to sixteenth century written in mensural notation.46 See Johannes Tinctoris: Complete Theoretical Works, ed. Ronald Woodley, Jeffrey J. Dean, and David Lewis, https://earlymusictheory.org/Tinctoris/texts/.47 See Measuring Polyphony: Digital Encounters of Late Medieval Music, https://measuringpolyphony.org/. Most pieces in the Measuring Polyphony corpus are available in original and modern forms. Since the project used to transform specifically prepared CMN versions into Mensural notation, this involves no additional processing. For details on the encoding process, see “Encoding Process,” https://measuringpolyphony.org/#encodingProcess.48 See, for instance, The Josquin Research Project, https://josquin.stanford.edu/, with its extensive possibilities for searching and analytical visualizations, and approaches in automated analysis of mensural music transmission. See also Anna Viktoria Katrin Plaksin, Modelle zur computergestützten Analyze von Überlieferungen der Mensuralmusik: Empirische Textforschung im Kontext phylogenetischer Verfahren (Dortmund: Readbox Unipress, 2021); and Jesse Rodin, “(In) Noten suchen—Das Josquin Research Project,” Troja: Jahrbuch für Renaissancemusik 17 (2018): 47–68.49 See Kepper, Musikedition im Zeichen neuer Medien, 147.50 See the pull request on GitHub mentioning the merge of the feature here: https://github.com/rism-digital/verovio/pull/2278.51 See Karen Desmond, “Next Steps for Measuring Polyphony: A Prototype Editor for Encoding Mensural Music,” (poster presentation, Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020). The editor is available at Measuring Polyphony: Digital Encodings of Late Medieval Music, https://editor.measuringpolyphony.org/.52 The project shares detailed instructional videos about the MP Editor on their YouTube channel, Measuring Polyphony, https://www.youtube.com/channel/UCWB5WRs4LjKpYB_-J2Sb03Q/videos.53 See Anna Plaksin and David Lewis, “MeRIT: An Interactive Annotation Tool for Mensural Rhythms,” in Proceedings of the 9th International Conference on Digital Libraries for Musicology (New York: Association for Computing Machinery, 2022), 55–59.54 MeRIT is available for beta testing at https://interpreter.earlymusictheory.org/.55 Tim Duguid, “The Forgotten Classroom? Bringing Music Encoding to a New Generation,” Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020.56 Guía para elaborar propuestas de planes de estudios de títulos propios, Universidad de Salamanca (2021), https://www.usal.es/files/Guia_elaborar_planes_estudio_titulos_propios.doc, and Plan de organización de la actividad académica del PDI de la Universidad de Salamanca (2020), https://www.usal.es/files/modelo_plantilla_texto_reformulado_2020.pdf.57 Simon Mahony and Elena Pierazzo, “Teaching Skills or Teaching Methodology?” in Digital Humanities Pedagogy: Practices, Principles and Politics, ed. Brett D. 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引用次数: 0

摘要

点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。注1音乐编码计划,https://music-encoding.org/.2重新平衡音乐经典,https://rebalancing-music-canon.com/.3“布坎南图书馆奖学金计划”,范德比尔特大学,https://www.library.vanderbilt.edu/about/fellows/.4“沉浸式范德比尔特”,范德比尔特大学,https://www.vanderbilt.edu/immersion/.5“跨机构计划(TIPs)”,范德比尔特大学,https://www.vanderbilt.edu/strategicplan/trans-institutional-programs/.6“范德比尔特数字人文中心”,范德比尔特大学,https://www.vanderbilt.edu/digitalhumanities/.7“组织项目”,Gladys Krieble Delmas基金会,https://www.delmas.org/programs-for-organizations.8“范德比尔特主办国际音乐编码研讨会和黑客马拉松,”MyVU, 2019年10月2日https://news.vanderbilt.edu/2019/10/02/vanderbilt-to-host-international-music-encoding-workshop-and-hackathon/.9 Alfred Schnittke的《Sinfonisches Vorspiel(草图)》的手稿副本可以在https://catalog.library.vanderbilt.edu/permalink/01VAN_INST/ma7323/alma991002264029703276.10上在线查看,许多现有项目的例子可以在这里找到:“项目/用户”,“音乐编码倡议”,https://music-encoding.org/community/projects-users.html.11“兴趣小组”,“音乐编码倡议”,https://music-encoding.org/community/interest-groups.html.12“教程”,“音乐编码倡议”,https://music-encoding.org/resources/tutorials.html.13关于Verovio的更多信息可以在“音乐符号雕刻图书馆”中找到。Verovio, https://www.verovio.org/index.xhtml.14 Anna Kijas和Raffaele Viglianti,“介绍音乐编码倡议”,在#DLFTeach工具包中:数字图书馆教学计划,L. Rodrigues & E. Pappas编(数字图书馆联合会,数字图书馆教学法工作组,2019),https://doi.org/10.21428/65a6243c.9fa9b4f7.15 MEI教学法与实践资源,https://hcommons.org/deposits/?tag=mei-pedagogy-praxis.16“过去的音乐编码会议,”音乐编码倡议,https://music-encoding.org/conference/past.html.17数字人文暑期学院(DHSI), https://dhsi.org/.18 Trevor Muñoz,“数据策展作为数字人文的出版物”,《数字人文学报》2,第2期。3 (2013), http://journalofdigitalhumanities.org/2-3/data-curation-as-publishing-for-the-digital-humanities/.19参见“音乐数字奖学金目录”,由音乐图书馆协会的数字人文兴趣小组创建,用于收集与该领域相关的数字人文项目,网址为https://rutgersdh.github.io/musicdh/.20,数字人文寻宝游戏包括“音乐数字奖学金目录”中的项目。https://rutgersdh.github.io/musicdh/.21 Gesualdo Online, https://ricercar.gesualdo-online.cesr.univ-tours.fr/.22测量复调:中世纪晚期音乐的数字编码,https://measuringpolyphony.org/.23卡尔·尼尔森作品目录,https://www.kb.dk/dcm/cnw/navigation.xq.24贝多芬作品:Genetische Textkritik和数字音乐,https://beethovens-werkstatt.de/.25 Anna Kijas,“MEI for All!”或通过数字教学降低音乐编码的障碍,”在马里兰理工学院人文数字对话系列中发表,2020.2月25日26“MEI教程,”音乐编码倡议,https://music-encoding.org/resources/tutorials.html.27在这个研讨会上,并不是所有的学生都有可以带到课堂上的笔记本电脑,所以他们两人一组或三人一组。马里兰大学图书馆和许多其他机构的图书馆服务现在提供外借笔记本电脑,这也有助于类似项目的可及性“音乐编码倡议GitHub存储库,”https://github.com/music-encoding/music-encoding#the-music-encoding-initiative.29“指南(4.0.1),“音乐编码倡议,https://music-encoding.org/guidelines/v4/content/.30 Verovio, https://www.verovio.org/mei-viewer.xhtml.31关于第一次和当前迭代的更多细节可以在重新平衡音乐佳能中找到,https://rebalancing-music-canon.com/about/.32”关于:什么是最小计算,“最小计算,https://go-dh.github.io/mincomp/about/.33 Bethany Nowviskie,“通过关怀的能力”,在数字人文科学的辩论中,编辑马修·k·戈尔德和劳伦·f·克莱因(明尼阿波利斯和伦敦:明尼苏达大学出版社,2019),424-26.34女性音乐,https://www.musicbywomen.org/;“作曲家多样性数据库,”研究所作曲家多样性,https://www.composerdiversity.com/composer-diversity-database.35海伦·沃克-希尔,格雷戈里·沃克和雷切尔·尤班克斯,编辑。 黑人女性作曲家:二十世纪钢琴和弦乐音乐(布林莫尔,宾夕法尼亚州:希尔德加德出版公司,2003);玛莎·弗曼·施莱弗和西尔维娅·格利克曼,《女性作曲家:音乐跨越时代》(纽约:G.K.霍尔出版社,1996年);Rachel Ivy Clarke和Sayward Schoonmaker,《多样性元数据》。不同图书馆资源的潜在访问点的识别和含义,《文献学报》,第76期。1 (2020):对礼来音乐图书馆在2021财年新获得的乐谱进行分析和可视化,可在Research网站查阅Guides@Tufts, https://researchguides.library.tufts.edu/lillymusiclibrary-collection.37 MuseScore乐谱软件可在MuseScore上获得,https://musescore.org/en/download.38为重新平衡音乐经典编码首字母和创建内容的说明。https://github.com/annakijas1/rebalancing-music-canon/.39“社区创造的教学法和实践资源”,音乐编码倡议,https://music-encoding.org/resources/pedagogy.html。Maristella Feustle的视频可以在这个页面找到。Anna Kijas和Raffaele Viglianti,“音乐编码倡议介绍”,#DLFTeach工具包,2019年9月19日,https://dlfteach.pubpub.org/pub/intro-mei/release/1.40 Atom XML编辑器,https://atom.io/;维罗维奥编辑,https://editor.verovio.org/;GitHub, https://github.com/;降价指南,https://www.markdownguide.org/。从写这篇文章,Atom XML编辑器已经被废止,转向Visual Studio代码(https://code.visualstudio.com/) .41点狮子座这人类创造开始,调整音乐佳能,https://rebalancing-music-canon.com/brouwer-la-vida-misma-homo-faber/.42作曲家和开始的完整列表可以在指数调整音乐佳能,https://rebalancing-music-canon.com/incipit-index/.43西奥多·Dumitrescu“语料库Mensurabilis Musice“Electronicum”?朝向一个灵活的电子表示音乐在测量符号,”在虚拟乐谱:表示,检索,恢复,编辑,W. B.休利特和E.塞尔弗里奇菲尔德,卷12(剑桥:麻省理工学院出版社,2001),3-18,在8.44约翰内斯·凯珀,音乐在Zeichen新媒体。历史研究与gegenwärtige音乐研究展望(Norderstedt: Books on Demand, 2011), 132-37;和Franz Wiering,“音乐的数字批评版本:多维模型”,在现代音乐学方法:前景,建议和现实,编辑。Tim Crawford和Lorna Gibson (Farnham, England: Ashgate, 2009), 23-46.45测程音乐指的是13至16世纪用测程记谱写的复调音乐参见约翰内斯·廷托里斯:完整的理论作品,编辑罗纳德·伍德利,杰弗里·j·迪恩和大卫·刘易斯,https://earlymusictheory.org/Tinctoris/texts/.47参见测量复调:中世纪晚期音乐的数字遭遇,https://measuringpolyphony.org/。测量复调语料库中的大多数作品都有原始和现代形式。由于该项目用于将专门准备的CMN版本转换为度量符号,因此不涉及额外的处理。有关编码过程的详细信息,请参阅“编码过程”,https://measuringpolyphony.org/#encodingProcess.48参见,例如,Josquin研究项目,https://josquin.stanford.edu/,它具有广泛的搜索和分析可视化的可能性,以及自动分析测量音乐传输的方法。也见Anna Viktoria Katrin Plaksin, Modelle zur computergest<s:1> tzten Analyze von Überlieferungen der Mensuralmusik: Empirische Textforschung im Kontext phylogenetischer Verfahren(多特蒙德:Readbox Unipress, 2021);和Jesse Rodin,“(In) Noten suchen-Das Josquin研究项目,”Troja: Jahrbuch f<e:1> r Renaissancemusik 17(2018): 47-68.49参见Kepper, Musikedition im Zeichen neuer Medien, 147.50参见GitHub上提到合并功能的pull request: https://github.com/rism-digital/verovio/pull/2278.51参见Karen Desmond,“测量复调的下一步:编码测量音乐的原型编辑器,”(海报展示,音乐编码会议,塔夫茨大学,梅德福,马萨诸塞州,2020年5月26日至29日)。该编辑器可在测量复调:中世纪晚期音乐的数字编码,https://editor.measuringpolyphony.org/.52该项目在他们的YouTube频道上分享有关MP编辑器的详细教学视频,测量复调,https://www.youtube.com/channel/UCWB5WRs4LjKpYB_-J2Sb03Q/videos.53见Anna Plaksin和David Lewis,“优点:测量节奏的交互式注释工具”,第九届国际数字图书馆音乐学会议论文集(纽约:计算机械协会,2022),55-59.54 MeRIT可在https://interpreter.earlymusictheory.org/进行beta测试。 他的父亲是一名律师,母亲是一名律师。这首歌在美国公告牌百强单曲榜上排名第二,在英国单曲榜上排名第三。Music Encoding会议,梅德福塔夫茨大学,妈妈,5月26日—29日,2020.56指南建议制定自己的文凭课程,萨拉曼卡大学(续约)、https://www.usal.es/files/Guia_elaborar_planes_estudio_titulos_propios.doc和儿童组织学术活动计划的萨拉曼卡大学(2020年)、https://www.usal.es/files/modelo_plantilla_texto_reformulado_2020.pdf.57西蒙Mahony and Elena Pierazzo他的父亲是一名律师,母亲是一名律师。《数字人文教育学:实践、原则和政治》,Brett D. Hirsch(剑桥:开放图书出版社,2012),215 - 25。
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Roundtable: Pedagogical Approaches to Music Encoding
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Music Encoding Initiative, https://music-encoding.org/.2 Rebalancing the Music Canon, https://rebalancing-music-canon.com/.3 “Buchanan Library Fellowship Program,” Vanderbilt University, https://www.library.vanderbilt.edu/about/fellows/.4 “Immersion Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/immersion/.5 “Trans-Institutional Programs (TIPs),” Vanderbilt University, https://www.vanderbilt.edu/strategicplan/trans-institutional-programs/.6 “The Center for Digital Humanities at Vanderbilt,” Vanderbilt University, https://www.vanderbilt.edu/digitalhumanities/.7 “Programs for Organizations,” The Gladys Krieble Delmas Foundation, https://www.delmas.org/programs-for-organizations.8 “Vanderbilt to Host International Music Encoding Workshop and Hackathon,” MyVU, October 2, 2019, https://news.vanderbilt.edu/2019/10/02/vanderbilt-to-host-international-music-encoding-workshop-and-hackathon/.9 The manuscript copy of Alfred Schnittke‘s Sinfonisches Vorspiel (Sketches) can be viewed online at https://catalog.library.vanderbilt.edu/permalink/01VAN_INST/ma7323/alma991002264029703276.10 Examples of many existing projects can be found here: “Projects / Users,” Music Encoding Initiative, https://music-encoding.org/community/projects-users.html.11 “Interest Groups,” Music Encoding Initiative, https://music-encoding.org/community/interest-groups.html.12 “Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.13 Additional information about Verovio can be found at “A Music Notation Engraving Library,” Verovio, https://www.verovio.org/index.xhtml.14 Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” in #DLFTeach Toolkit: Lesson Plans for Digital Library Instruction, ed. L. Rodrigues & E. Pappas (Digital Library Federation, Digital Library Pedagogy Working Group, 2019), https://doi.org/10.21428/65a6243c.9fa9b4f7.15 MEI Pedagogy and Praxis Resources, https://hcommons.org/deposits/?tag=mei-pedagogy-praxis.16 “Past Music Encoding Conferences,” Music Encoding Initiative, https://music-encoding.org/conference/past.html.17 Digital Humanities Summer Institute (DHSI), https://dhsi.org/.18 Trevor Muñoz, “Data Curation as Publication for the Digital Humanities,” Journal of Digital Humanities 2, no. 3 (2013), http://journalofdigitalhumanities.org/2-3/data-curation-as-publishing-for-the-digital-humanities/.19 See “A Directory of Digital Scholarship in Music,” created by the Digital Humanities Interest Group of the Music Library Association for a useful collection of Digital Humanities projects relevant to the field at https://rutgersdh.github.io/musicdh/.20 Digital Humanities Scavenger Hunt included items from the “Directory of Digital Scholarship in Music,” https://rutgersdh.github.io/musicdh/.21 Gesualdo Online, https://ricercar.gesualdo-online.cesr.univ-tours.fr/.22 Measuring Polyphony: Digital Encodings of Late Medieval Music, https://measuringpolyphony.org/.23 Catalogue of Carl Nielsen’s Works, https://www.kb.dk/dcm/cnw/navigation.xq.24 Beethovens Werkstatt: Genetische Textkritik und Digitale Musikedition, https://beethovens-werkstatt.de/.25 Anna Kijas, “MEI for All! or Lowering the Barrier to Music Encoding through Digital Pedagogy,” presented at Maryland Institute for Technology in the Humanities Digital Dialogs Series, February 25, 2020.26 “MEI Tutorials,” Music Encoding Initiative, https://music-encoding.org/resources/tutorials.html.27 Not all of the students in this seminar had access to a laptop they could bring to class, and so they worked in pairs or groups of three. The University of Maryland Libraries, and many other institutions’ library services now offer loaner laptops, which can also aid accessibility in similar projects.28 “Music Encoding Initiative GitHub Repository,” https://github.com/music-encoding/music-encoding#the-music-encoding-initiative.29 “Guidelines (4.0.1),” Music Encoding Initiative, https://music-encoding.org/guidelines/v4/content/.30 Verovio, https://www.verovio.org/mei-viewer.xhtml.31 Additional details about the first and current iterations can be found at Rebalancing the Music Canon, https://rebalancing-music-canon.com/about/.32 “About: What Is Minimal Computing,” Minimal Computing, https://go-dh.github.io/mincomp/about/.33 Bethany Nowviskie, “Capacity through Care,” in Debates in the Digital Humanities, ed. Matthew K. Gold and Lauren F. Klein (Minneapolis and London: University of Minnesota Press, 2019), 424–26.34 Music by Women, https://www.musicbywomen.org/; “Composer Diversity Database,” Institute for Composer Diversity, https://www.composerdiversity.com/composer-diversity-database.35 Helen Walker-Hill, Gregory Walker, and Rachel Eubanks, eds. Black Women Composers: Twentieth Century Music for Piano and Strings (Bryn Mawr, PA: Hildegard Publishing Company, 2003); Martha Furman Schleifer and Sylvia Glickman, Women Composers: Music Through the Ages (New York: G.K. Hall, 1996); Rachel Ivy Clarke and Sayward Schoonmaker, “Metadata for Diversity. Identification and Implications of Potential Access Points for Diverse Library Resources,” Journal of Documentation 76, no. 1 (2020): 173–96.36 Analysis and visualization of newly acquired scores for Lilly Music Library during fiscal year 2021 can be consulted at Research Guides@Tufts, https://researchguides.library.tufts.edu/lillymusiclibrary-collection.37 MuseScore notation software is available at MuseScore, https://musescore.org/en/download.38 Instructions for encoding incipits and creating content for the Rebalancing the Music Canon, https://github.com/annakijas1/rebalancing-music-canon/.39 “Community-Created Pedagogy and Praxis Resources,” Music Encoding Initiative, https://music-encoding.org/resources/pedagogy.html. Maristella Feustle’s videos are found on this page. Anna Kijas and Raffaele Viglianti, “Introduction to the Music Encoding Initiative,” #DLFTeach Toolkit, September 19, 2019, https://dlfteach.pubpub.org/pub/intro-mei/release/1.40 Atom XML Editor, https://atom.io/; Verovio Editor, https://editor.verovio.org/; GitHub, https://github.com/; The Markdown Guide, https://www.markdownguide.org/. Since writing this essay, the Atom XML Editor has been sunsetted and we have switched to Visual Studio Code (https://code.visualstudio.com/).41 Leo Brouwer I. Homo Faber incipit, Rebalancing the Music Canon, https://rebalancing-music-canon.com/brouwer-la-vida-misma-homo-faber/.42 The full list of composers and incipits is accessible in the index for Rebalancing the Music Canon, https://rebalancing-music-canon.com/incipit-index/.43 Theodore Dumitrescu, “Corpus Mensurabilis Musice ‘Electronicum’? Toward a Flexible Electronic Representation of Music in Mensural Notation,” in The Virtual Score: Representation, Retrieval, Restoration, ed. W. B. Hewlett and E. Selfridge-Field, vol. 12 (Cambridge: MIT Press, 2001), 3–18, at 8.44 Johannes Kepper, Musikedition im Zeichen neuer Medien. Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben (Norderstedt: Books on Demand, 2011), 132–37; and Franz Wiering, “Digital Critical Editions of Music: A Multidimensional Model,” in Modern Methods for Musicology: Prospects, Proposals, and Realities, ed. Tim Crawford and Lorna Gibson (Farnham, England: Ashgate, 2009), 23–46.45 Mensural music refers to the polyphonic music principally of the thirteenth to sixteenth century written in mensural notation.46 See Johannes Tinctoris: Complete Theoretical Works, ed. Ronald Woodley, Jeffrey J. Dean, and David Lewis, https://earlymusictheory.org/Tinctoris/texts/.47 See Measuring Polyphony: Digital Encounters of Late Medieval Music, https://measuringpolyphony.org/. Most pieces in the Measuring Polyphony corpus are available in original and modern forms. Since the project used to transform specifically prepared CMN versions into Mensural notation, this involves no additional processing. For details on the encoding process, see “Encoding Process,” https://measuringpolyphony.org/#encodingProcess.48 See, for instance, The Josquin Research Project, https://josquin.stanford.edu/, with its extensive possibilities for searching and analytical visualizations, and approaches in automated analysis of mensural music transmission. See also Anna Viktoria Katrin Plaksin, Modelle zur computergestützten Analyze von Überlieferungen der Mensuralmusik: Empirische Textforschung im Kontext phylogenetischer Verfahren (Dortmund: Readbox Unipress, 2021); and Jesse Rodin, “(In) Noten suchen—Das Josquin Research Project,” Troja: Jahrbuch für Renaissancemusik 17 (2018): 47–68.49 See Kepper, Musikedition im Zeichen neuer Medien, 147.50 See the pull request on GitHub mentioning the merge of the feature here: https://github.com/rism-digital/verovio/pull/2278.51 See Karen Desmond, “Next Steps for Measuring Polyphony: A Prototype Editor for Encoding Mensural Music,” (poster presentation, Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020). The editor is available at Measuring Polyphony: Digital Encodings of Late Medieval Music, https://editor.measuringpolyphony.org/.52 The project shares detailed instructional videos about the MP Editor on their YouTube channel, Measuring Polyphony, https://www.youtube.com/channel/UCWB5WRs4LjKpYB_-J2Sb03Q/videos.53 See Anna Plaksin and David Lewis, “MeRIT: An Interactive Annotation Tool for Mensural Rhythms,” in Proceedings of the 9th International Conference on Digital Libraries for Musicology (New York: Association for Computing Machinery, 2022), 55–59.54 MeRIT is available for beta testing at https://interpreter.earlymusictheory.org/.55 Tim Duguid, “The Forgotten Classroom? Bringing Music Encoding to a New Generation,” Music Encoding Conference, Tufts University, Medford, MA, May 26–29, 2020.56 Guía para elaborar propuestas de planes de estudios de títulos propios, Universidad de Salamanca (2021), https://www.usal.es/files/Guia_elaborar_planes_estudio_titulos_propios.doc, and Plan de organización de la actividad académica del PDI de la Universidad de Salamanca (2020), https://www.usal.es/files/modelo_plantilla_texto_reformulado_2020.pdf.57 Simon Mahony and Elena Pierazzo, “Teaching Skills or Teaching Methodology?” in Digital Humanities Pedagogy: Practices, Principles and Politics, ed. Brett D. Hirsch (Cambridge: Open Book Publishers, 2012), 215–25.
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来源期刊
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期刊介绍: The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
期刊最新文献
The “Gibson Les Paul” Guitar—Conception, Prototype and Production: A Study Through Counterfactuals Pedagogy Captured in Print: Student-Teacher Duos in Banchieri’s Cartella musicale (1614) “The Real Kazakh is a Dombyra”?: Musical Instruments and Nation Branding in 21st-Century Kazakhstan On Organology: Introduction to the Organology Special Issue Musical Instruments and Palimpsestic Identity
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