@Article{          pugin2015-challenge,
    author       = {Pugin, Laurent},
    year         = {2015},
    title        = {The Challenge of Data in Digital Musicology},
    abstract     = {Most of our work in the humanities is increasingly driven
                   by digital technology. Musicology is no exception and the
                   field is undergoing the same revolution as all disciplines
                   in the humanities. There are at least two key areas in
                   which digital technology is transforming research: access
                   and scale. Technology, and the internet in particular, has
                   radically changed how we can access data, but also how we
                   can make research results accessible to others.
                   Correlatively, the scope of projects can be broadened to a
                   completely new extent. What does this mean for musicology?
                   Scholars in musicology base their work on a wide range of
                   materials. Since most of the music that forms our heritage
                   in Western culture has been preserved in a text-based
                   form, this is by far, the most widely used type of
                   material for musicological studies. Handwritten and
                   printed sources constitute the core data, but historical
                   studies also rely on various types of textual and archival
                   material, be they letter writings, libretti, or
                   inventories of diverse kind. These are essential for
                   understanding the socio-economic context in which the
                   music sources were written or produced and for better
                   understanding of specific aspects, such as performance
                   practice of the time. Performance practice study itself
                   may also be based on sound recordings when focusing on
                   relatively recent history, as it is often the case for
                   studies in ethno-musicology or in folk-songs (Cook, 2010).
                   Obtaining access to the sources has always been a struggle
                   for musicologists. Only a few years ago, studying a
                   particular source meant first locating the relevant
                   sources using printed bibliographies, writing to the
                   holding library, and then waiting for a microfilm to be
                   prepared and sent out. The process could take months and
                   be unpredictably expensive, with no guarantee of success.
                   Such an obstacle seriously reduced the breadth of research
                   musicologists could reasonably envisage, with a consequent
                   inclination toward close-reading approaches on a
                   restricted set of sources. With the coming of the digital
                   world, the situation changed. Many resources are now
                   available online, including the bibliographic finding
                   aids, which makes locating sources significantly easier.
                   Collections are being digitized and made accessible
                   online, which greatly facilitates access to them for
                   musicologists. This is also the case for secondary
                   sources. Some projects are composer-specific, such as the
                   Digital Archive of the Beethoven-Haus, others are
                   repertoire-oriented, such as the digital image archive for
                   medieval manuscripts (DIAMM) or based on a particular
                   library collection, such as the Julliard Manuscript
                   Collection, to cite only three examples. In the archives,
                   digital cameras are often allowed and can be used to
                   capture sources quickly. It is now straightforward for
                   scholars to store thousands of images on their personal
                   computer, in the cloud, or even share them on community
                   websites, although this in its turn raises new copyright
                   concerns. What other issues need to be addressed? Digital
                   access in musicology is still overwhelmingly linked to
                   images. Several important digital musicology research
                   projects, such as the OCVE and the Edirom projects,
                   focusing mostly on philological issues have been very
                   successful in relying extensively on digital image
                   resources (Bradley and Vetch, 2007; Bohl et al., 2011).
                   However, digital musicology projects that address a wide
                   range of other issues, such as music analysis or music
                   searching, require access to the music itself in digital
                   form, are referred to as content-based resources.
                   Musicology has never been behind other disciplines for
                   experimenting with computational approaches in these
                   domains, quite on the Frontiers in Digital Humanities |
                   www.frontiersin.org August 2015 | Volume 2 | Article 4 1
                   Pugin Data in digital musicology contrary. However,
                   obtaining or accessing high quality datasets remains a
                   serious hurdle, especially on a large scale, in a similar
                   way to accessing sources a couple of decades ago. It is a
                   major barrier that needs to be removed if digital
                   musicology research is to be taken to the next level.
                   Several initiatives have laid down the basis for
                   large-scale content-based resources. First and foremost,
                   the CCARH with its KernScores repository 1 , which
                   represents years of careful data creation and curation is
                   made available for research and is an invaluable
                   contribution. The Josquin Research Project (JRP 2) at
                   Stanford is a groundbreaking project that is currently
                   building a considerable dataset of pieces of Josquin des
                   Prez and of other composers of the time (1400–1500).
                   Another is the Electronic Locator of Vertical Interval
                   Successions project at McGill Uni-versity (ELVIS 3). These
                   two projects pursue similar goals and follow more or less
                   comparable strategies: respectively creating or collecting
                   a large collection of data and making it accessi-ble and
                   analyzable by integrating state-of-the-art analysis tools
                   Humdrum and Music21. Their output in terms of counterpoint
                   analysis is a breakthrough and opens new perspectives for
                   style analysis and composition attribution. The use of the
                   harmonic and melodic intervals in ELVIS illuminates areas
                   in which inno-vative research might be needed to address
                   the question of how to represent music appropriately for
                   such corpus-based analysis undertakings. These are
                   undoubtedly models to follow, but they also illustrate how
                   much still needs to be done. They hold a few thousand
                   pieces 4},
    doi          = {10.3389/fdigh.2015.00004},
    issn         = {2297-2668},
    journal      = {Frontiers in Digital Humanities},
    keywords     = {ccarh,content-based music resources,digital
                   musicology,edited and reviewed by,eleanor
                   selfridge-field,music analysis,music
                   encoding,musicology,the packard,usa},
    mendeley-tags= {musicology},
    number       = {August},
    pages        = {19--21},
    volume       = {2}
}

{"_id":"q4bfPN6LKo3c7pXmB","bibbaseid":"pugin-thechallengeofdataindigitalmusicology-2015","downloads":4,"creationDate":"2018-05-04T22:10:06.732Z","title":"The Challenge of Data in Digital Musicology","author_short":["Pugin, L."],"year":2015,"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Pugin"],"firstnames":["Laurent"],"suffixes":[]}],"year":"2015","title":"The Challenge of Data in Digital Musicology","abstract":"Most of our work in the humanities is increasingly driven by digital technology. Musicology is no exception and the field is undergoing the same revolution as all disciplines in the humanities. There are at least two key areas in which digital technology is transforming research: access and scale. Technology, and the internet in particular, has radically changed how we can access data, but also how we can make research results accessible to others. Correlatively, the scope of projects can be broadened to a completely new extent. What does this mean for musicology? Scholars in musicology base their work on a wide range of materials. Since most of the music that forms our heritage in Western culture has been preserved in a text-based form, this is by far, the most widely used type of material for musicological studies. Handwritten and printed sources constitute the core data, but historical studies also rely on various types of textual and archival material, be they letter writings, libretti, or inventories of diverse kind. These are essential for understanding the socio-economic context in which the music sources were written or produced and for better understanding of specific aspects, such as performance practice of the time. Performance practice study itself may also be based on sound recordings when focusing on relatively recent history, as it is often the case for studies in ethno-musicology or in folk-songs (Cook, 2010). Obtaining access to the sources has always been a struggle for musicologists. Only a few years ago, studying a particular source meant first locating the relevant sources using printed bibliographies, writing to the holding library, and then waiting for a microfilm to be prepared and sent out. The process could take months and be unpredictably expensive, with no guarantee of success. Such an obstacle seriously reduced the breadth of research musicologists could reasonably envisage, with a consequent inclination toward close-reading approaches on a restricted set of sources. With the coming of the digital world, the situation changed. Many resources are now available online, including the bibliographic finding aids, which makes locating sources significantly easier. Collections are being digitized and made accessible online, which greatly facilitates access to them for musicologists. This is also the case for secondary sources. Some projects are composer-specific, such as the Digital Archive of the Beethoven-Haus, others are repertoire-oriented, such as the digital image archive for medieval manuscripts (DIAMM) or based on a particular library collection, such as the Julliard Manuscript Collection, to cite only three examples. In the archives, digital cameras are often allowed and can be used to capture sources quickly. It is now straightforward for scholars to store thousands of images on their personal computer, in the cloud, or even share them on community websites, although this in its turn raises new copyright concerns. What other issues need to be addressed? Digital access in musicology is still overwhelmingly linked to images. Several important digital musicology research projects, such as the OCVE and the Edirom projects, focusing mostly on philological issues have been very successful in relying extensively on digital image resources (Bradley and Vetch, 2007; Bohl et al., 2011). However, digital musicology projects that address a wide range of other issues, such as music analysis or music searching, require access to the music itself in digital form, are referred to as content-based resources. Musicology has never been behind other disciplines for experimenting with computational approaches in these domains, quite on the Frontiers in Digital Humanities | www.frontiersin.org August 2015 | Volume 2 | Article 4 1 Pugin Data in digital musicology contrary. However, obtaining or accessing high quality datasets remains a serious hurdle, especially on a large scale, in a similar way to accessing sources a couple of decades ago. It is a major barrier that needs to be removed if digital musicology research is to be taken to the next level. Several initiatives have laid down the basis for large-scale content-based resources. First and foremost, the CCARH with its KernScores repository 1 , which represents years of careful data creation and curation is made available for research and is an invaluable contribution. The Josquin Research Project (JRP 2) at Stanford is a groundbreaking project that is currently building a considerable dataset of pieces of Josquin des Prez and of other composers of the time (1400–1500). Another is the Electronic Locator of Vertical Interval Successions project at McGill Uni-versity (ELVIS 3). These two projects pursue similar goals and follow more or less comparable strategies: respectively creating or collecting a large collection of data and making it accessi-ble and analyzable by integrating state-of-the-art analysis tools Humdrum and Music21. Their output in terms of counterpoint analysis is a breakthrough and opens new perspectives for style analysis and composition attribution. The use of the harmonic and melodic intervals in ELVIS illuminates areas in which inno-vative research might be needed to address the question of how to represent music appropriately for such corpus-based analysis undertakings. These are undoubtedly models to follow, but they also illustrate how much still needs to be done. They hold a few thousand pieces 4","doi":"10.3389/fdigh.2015.00004","issn":"2297-2668","journal":"Frontiers in Digital Humanities","keywords":"ccarh,content-based music resources,digital musicology,edited and reviewed by,eleanor selfridge-field,music analysis,music encoding,musicology,the packard,usa","mendeley-tags":"musicology","number":"August","pages":"19–21","volume":"2","bibtex":"@Article{ pugin2015-challenge,\n author = {Pugin, Laurent},\n year = {2015},\n title = {The Challenge of Data in Digital Musicology},\n abstract = {Most of our work in the humanities is increasingly driven\n by digital technology. Musicology is no exception and the\n field is undergoing the same revolution as all disciplines\n in the humanities. There are at least two key areas in\n which digital technology is transforming research: access\n and scale. Technology, and the internet in particular, has\n radically changed how we can access data, but also how we\n can make research results accessible to others.\n Correlatively, the scope of projects can be broadened to a\n completely new extent. What does this mean for musicology?\n Scholars in musicology base their work on a wide range of\n materials. Since most of the music that forms our heritage\n in Western culture has been preserved in a text-based\n form, this is by far, the most widely used type of\n material for musicological studies. Handwritten and\n printed sources constitute the core data, but historical\n studies also rely on various types of textual and archival\n material, be they letter writings, libretti, or\n inventories of diverse kind. These are essential for\n understanding the socio-economic context in which the\n music sources were written or produced and for better\n understanding of specific aspects, such as performance\n practice of the time. Performance practice study itself\n may also be based on sound recordings when focusing on\n relatively recent history, as it is often the case for\n studies in ethno-musicology or in folk-songs (Cook, 2010).\n Obtaining access to the sources has always been a struggle\n for musicologists. Only a few years ago, studying a\n particular source meant first locating the relevant\n sources using printed bibliographies, writing to the\n holding library, and then waiting for a microfilm to be\n prepared and sent out. The process could take months and\n be unpredictably expensive, with no guarantee of success.\n Such an obstacle seriously reduced the breadth of research\n musicologists could reasonably envisage, with a consequent\n inclination toward close-reading approaches on a\n restricted set of sources. With the coming of the digital\n world, the situation changed. Many resources are now\n available online, including the bibliographic finding\n aids, which makes locating sources significantly easier.\n Collections are being digitized and made accessible\n online, which greatly facilitates access to them for\n musicologists. This is also the case for secondary\n sources. Some projects are composer-specific, such as the\n Digital Archive of the Beethoven-Haus, others are\n repertoire-oriented, such as the digital image archive for\n medieval manuscripts (DIAMM) or based on a particular\n library collection, such as the Julliard Manuscript\n Collection, to cite only three examples. In the archives,\n digital cameras are often allowed and can be used to\n capture sources quickly. It is now straightforward for\n scholars to store thousands of images on their personal\n computer, in the cloud, or even share them on community\n websites, although this in its turn raises new copyright\n concerns. What other issues need to be addressed? Digital\n access in musicology is still overwhelmingly linked to\n images. Several important digital musicology research\n projects, such as the OCVE and the Edirom projects,\n focusing mostly on philological issues have been very\n successful in relying extensively on digital image\n resources (Bradley and Vetch, 2007; Bohl et al., 2011).\n However, digital musicology projects that address a wide\n range of other issues, such as music analysis or music\n searching, require access to the music itself in digital\n form, are referred to as content-based resources.\n Musicology has never been behind other disciplines for\n experimenting with computational approaches in these\n domains, quite on the Frontiers in Digital Humanities |\n www.frontiersin.org August 2015 | Volume 2 | Article 4 1\n Pugin Data in digital musicology contrary. However,\n obtaining or accessing high quality datasets remains a\n serious hurdle, especially on a large scale, in a similar\n way to accessing sources a couple of decades ago. It is a\n major barrier that needs to be removed if digital\n musicology research is to be taken to the next level.\n Several initiatives have laid down the basis for\n large-scale content-based resources. First and foremost,\n the CCARH with its KernScores repository 1 , which\n represents years of careful data creation and curation is\n made available for research and is an invaluable\n contribution. The Josquin Research Project (JRP 2) at\n Stanford is a groundbreaking project that is currently\n building a considerable dataset of pieces of Josquin des\n Prez and of other composers of the time (1400–1500).\n Another is the Electronic Locator of Vertical Interval\n Successions project at McGill Uni-versity (ELVIS 3). These\n two projects pursue similar goals and follow more or less\n comparable strategies: respectively creating or collecting\n a large collection of data and making it accessi-ble and\n analyzable by integrating state-of-the-art analysis tools\n Humdrum and Music21. Their output in terms of counterpoint\n analysis is a breakthrough and opens new perspectives for\n style analysis and composition attribution. The use of the\n harmonic and melodic intervals in ELVIS illuminates areas\n in which inno-vative research might be needed to address\n the question of how to represent music appropriately for\n such corpus-based analysis undertakings. These are\n undoubtedly models to follow, but they also illustrate how\n much still needs to be done. 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