@Article{          urberg2017-pasts,
    author       = {Urberg, Michelle},
    year         = {2017},
    title        = {Pasts and futures of digital humanities in musicology:
                   Moving towards a “Bigger Tent”},
    abstract     = {Musicologists and music theorists have traditionally been
                   early adopters of technological tools to assist with
                   research. The earliest digital humanities projects in
                   musicology and music theory came directly out of
                   humanities computing and quantitative analytical
                   technologies developed in the 1980s, but newer projects
                   created since the mid-2000s still reflect this past of
                   algorithmic analysis and archival compilation, retrieval,
                   and display. Computational and archival research is,
                   currently, only one branch of digital humanities. The
                   umbrella of digital humanities research now also includes
                   digital publishing, philosophies of digital research, and
                   “born digital” projects that cannot exist outside of a
                   digital medium (e.g., virtual reality or 3D modeling).
                   This shift in the digital humanities represents a move to
                   a “bigger tent” that includes more types of projects.
                   Musicological and musico-theoretical scholarship is slowly
                   moving in this direction. Music librarians have been at
                   the forefront of identifying and promoting new digital
                   tools and archives, even though these projects have tended
                   to remain at the periphery of musico-theoretical
                   discourse. They should be on the lookout for “bigger
                   tent” projects, such as medieval and renaissance
                   projects like the Isabelle D'Este Archive, Opening the
                   Geesebook, and the Experience of Worship. These projects
                   are characterized by being iterative and multi-modally
                   engaging, as well as emerging from communities of practice
                   and intentionally engaging a public audience. Music
                   librarians should also be aware of systemic challenges to
                   creating and supporting digital projects because these
                   issues are at the center of libraries supporting all types
                   of digital scholarship.},
    doi          = {10.1080/10588167.2017.1404301},
    issn         = {15409503},
    journal      = {Music Reference Services Quarterly},
    keywords     = {Digital humanities,Digital scholarship,Music
                   librarianship,Music theory,Musicology,musicology},
    mendeley-tags= {musicology},
    number       = {3-4},
    pages        = {134--150},
    publisher    = {Routledge},
    url          = {https://doi.org/10.1080/10588167.2017.1404301},
    volume       = {20}
}

{"_id":"thWfHsdBJ42vy3b4K","bibbaseid":"urberg-pastsandfuturesofdigitalhumanitiesinmusicologymovingtowardsabiggertent-2017","authorIDs":[],"author_short":["Urberg, M."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Urberg"],"firstnames":["Michelle"],"suffixes":[]}],"year":"2017","title":"Pasts and futures of digital humanities in musicology: Moving towards a “Bigger Tent”","abstract":"Musicologists and music theorists have traditionally been early adopters of technological tools to assist with research. The earliest digital humanities projects in musicology and music theory came directly out of humanities computing and quantitative analytical technologies developed in the 1980s, but newer projects created since the mid-2000s still reflect this past of algorithmic analysis and archival compilation, retrieval, and display. Computational and archival research is, currently, only one branch of digital humanities. The umbrella of digital humanities research now also includes digital publishing, philosophies of digital research, and “born digital” projects that cannot exist outside of a digital medium (e.g., virtual reality or 3D modeling). This shift in the digital humanities represents a move to a “bigger tent” that includes more types of projects. Musicological and musico-theoretical scholarship is slowly moving in this direction. Music librarians have been at the forefront of identifying and promoting new digital tools and archives, even though these projects have tended to remain at the periphery of musico-theoretical discourse. They should be on the lookout for “bigger tent” projects, such as medieval and renaissance projects like the Isabelle D'Este Archive, Opening the Geesebook, and the Experience of Worship. These projects are characterized by being iterative and multi-modally engaging, as well as emerging from communities of practice and intentionally engaging a public audience. Music librarians should also be aware of systemic challenges to creating and supporting digital projects because these issues are at the center of libraries supporting all types of digital scholarship.","doi":"10.1080/10588167.2017.1404301","issn":"15409503","journal":"Music Reference Services Quarterly","keywords":"Digital humanities,Digital scholarship,Music librarianship,Music theory,Musicology,musicology","mendeley-tags":"musicology","number":"3-4","pages":"134–150","publisher":"Routledge","url":"https://doi.org/10.1080/10588167.2017.1404301","volume":"20","bibtex":"@Article{ urberg2017-pasts,\n author = {Urberg, Michelle},\n year = {2017},\n title = {Pasts and futures of digital humanities in musicology:\n Moving towards a “Bigger Tent”},\n abstract = {Musicologists and music theorists have traditionally been\n early adopters of technological tools to assist with\n research. The earliest digital humanities projects in\n musicology and music theory came directly out of\n humanities computing and quantitative analytical\n technologies developed in the 1980s, but newer projects\n created since the mid-2000s still reflect this past of\n algorithmic analysis and archival compilation, retrieval,\n and display. Computational and archival research is,\n currently, only one branch of digital humanities. The\n umbrella of digital humanities research now also includes\n digital publishing, philosophies of digital research, and\n “born digital” projects that cannot exist outside of a\n digital medium (e.g., virtual reality or 3D modeling).\n This shift in the digital humanities represents a move to\n a “bigger tent” that includes more types of projects.\n Musicological and musico-theoretical scholarship is slowly\n moving in this direction. Music librarians have been at\n the forefront of identifying and promoting new digital\n tools and archives, even though these projects have tended\n to remain at the periphery of musico-theoretical\n discourse. They should be on the lookout for “bigger\n tent” projects, such as medieval and renaissance\n projects like the Isabelle D'Este Archive, Opening the\n Geesebook, and the Experience of Worship. These projects\n are characterized by being iterative and multi-modally\n engaging, as well as emerging from communities of practice\n and intentionally engaging a public audience. Music\n librarians should also be aware of systemic challenges to\n creating and supporting digital projects because these\n issues are at the center of libraries supporting all types\n of digital scholarship.},\n doi = {10.1080/10588167.2017.1404301},\n issn = {15409503},\n journal = {Music Reference Services Quarterly},\n keywords = {Digital humanities,Digital scholarship,Music\n librarianship,Music theory,Musicology,musicology},\n mendeley-tags= {musicology},\n number = {3-4},\n pages = {134--150},\n publisher = {Routledge},\n url = {https://doi.org/10.1080/10588167.2017.1404301},\n volume = {20}\n}\n\n","author_short":["Urberg, M."],"key":"urberg2017-pasts","id":"urberg2017-pasts","bibbaseid":"urberg-pastsandfuturesofdigitalhumanitiesinmusicologymovingtowardsabiggertent-2017","role":"author","urls":{"Paper":"https://doi.org/10.1080/10588167.2017.1404301"},"keyword":["Digital humanities","Digital scholarship","Music librarianship","Music theory","Musicology","musicology"],"metadata":{"authorlinks":{}},"downloads":0},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","creationDate":"2020-05-16T16:40:32.588Z","downloads":0,"keywords":["digital humanities","digital scholarship","music librarianship","music theory","musicology","musicology"],"search_terms":["pasts","futures","digital","humanities","musicology","moving","towards","bigger","tent","urberg"],"title":"Pasts and futures of digital humanities in musicology: Moving towards a “Bigger Tent”","year":2017,"dataSources":["n6MFY2CscQLDpJ7nT","RFLDZw5KyJdadDXDm"]}