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\n\n \n \n Bohl, B. W.\n\n\n \n \n \n \n \n Fingerprinting the Rule: Towards Interconnecting Music Treatises by Means of an Encoding Scheme for Compositional Rules.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 4–10, 2016. Bavarian State Library (BSB)\n
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\n\n \n \n ![\"Fingerprinting](\"//bibbase.org/img/filetypes/link.svg\"\n\t "\\"")
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@inproceedings{Bohl_2016,\n abstract = {Tracing back theoretical discussion and writing about the nature of music, leads as far as classical antiquity. Pythagoras (of Samos) laid out the mathematical foundations of musical harmony -- and hence constituted the tradition of more than 2.500 years that we can look upon today. Ever since, knowledge on music and its theory has been accompanied by the knowledge about its history. No matter the century that you pick, the basic pythagorean derivation of musical harmony or some variant of the "legend of the hammer strokes" is omnipresent. This tradition produced a huge corpus of individual treatises that provide rules for composing music. Different eras and genres called for different rules and not seldom, personal preference and self-display were motors to pen down a certain theory of music. Moreover, notorious treatises got transcribed, reproduced me-chanically or borrowed from and -- as consciousness of authorship and copyright had yet to prosper -- partly incorporated into other treatises, without referencing the original author. Beside the amount of pages to grasp in various languages, the above mentioned circumstances make it es-pecially hard for the uninitiated to know which rule to find where or even to fathom the multiple interrelations between these treatises},\n author = {Bohl, Benjamin W.},\n title = {{Fingerprinting the Rule: Towards Interconnecting Music Treatises by Means of an Encoding Scheme for Compositional Rules}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {4--10},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n Tracing back theoretical discussion and writing about the nature of music, leads as far as classical antiquity. Pythagoras (of Samos) laid out the mathematical foundations of musical harmony – and hence constituted the tradition of more than 2.500 years that we can look upon today. Ever since, knowledge on music and its theory has been accompanied by the knowledge about its history. No matter the century that you pick, the basic pythagorean derivation of musical harmony or some variant of the \"legend of the hammer strokes\" is omnipresent. This tradition produced a huge corpus of individual treatises that provide rules for composing music. Different eras and genres called for different rules and not seldom, personal preference and self-display were motors to pen down a certain theory of music. Moreover, notorious treatises got transcribed, reproduced me-chanically or borrowed from and – as consciousness of authorship and copyright had yet to prosper – partly incorporated into other treatises, without referencing the original author. Beside the amount of pages to grasp in various languages, the above mentioned circumstances make it es-pecially hard for the uninitiated to know which rule to find where or even to fathom the multiple interrelations between these treatises\n
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\n\n \n \n Diet, J.; and Gerritsen, M.\n\n\n \n \n \n \n \n Encoding, Searching, and Displaying of Music Incipits in the RISM-OPAC.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 11–14, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Diet_2016,\n abstract = {The RISM-OPAC (http://opac.rism.info) is a free online catalogue that provides access to the data of the RISM series A II (music manuscripts between 1600 and 1800). It has been developed by the Bavarian State Library in cooperation with RISM and the State Library of Berlin and was launched in June 2010. In March 2011, a new version of the RISM-OPAC has been released that includes a searching possibility in the music incipits of the RISM data. Most of the 850.000 data records (as of September 2013) contain one or several music incipits that describe the beginning of instrumental or vocal parts of the music manuscripts using the Plaine{\\&}Easie code. This paper describes how the music incipits are encoded in Plaine{\\&}Easie and how the searching for music incipits is done in the RISM-OPAC. Furthermore, the rendering of an incipit encoded in Plaine{\\&}Easie in a graphical image will be covered. When a RISM-record is displayed the user will not see the Plaine{\\&}Easie code but the corresponding graphical form using the common western music notation. Finally, the current developments for the next version of the RISM-OPAC will be explained that include among others an improved user interface for searching in the music incipits and the conversion of the data records of the RISM series A/II into RDF in order to publish them as linked open data.},\n author = {Diet, J{\\"u}rgen and Gerritsen, Magda},\n title = {{Encoding, Searching, and Displaying of Music Incipits in the RISM-OPAC}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {11--14},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n The RISM-OPAC (http://opac.rism.info) is a free online catalogue that provides access to the data of the RISM series A II (music manuscripts between 1600 and 1800). It has been developed by the Bavarian State Library in cooperation with RISM and the State Library of Berlin and was launched in June 2010. In March 2011, a new version of the RISM-OPAC has been released that includes a searching possibility in the music incipits of the RISM data. Most of the 850.000 data records (as of September 2013) contain one or several music incipits that describe the beginning of instrumental or vocal parts of the music manuscripts using the Plaine&Easie code. This paper describes how the music incipits are encoded in Plaine&Easie and how the searching for music incipits is done in the RISM-OPAC. Furthermore, the rendering of an incipit encoded in Plaine&Easie in a graphical image will be covered. When a RISM-record is displayed the user will not see the Plaine&Easie code but the corresponding graphical form using the common western music notation. Finally, the current developments for the next version of the RISM-OPAC will be explained that include among others an improved user interface for searching in the music incipits and the conversion of the data records of the RISM series A/II into RDF in order to publish them as linked open data.\n
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\n\n \n \n Freedman, R.; Hankinson, A.; Viglianti, R.; and Besson, V.\n\n\n \n \n \n \n \n Recovering Lost Voices: A Digital Workshop for the Restoration of Renaissance Polyphony.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 15–16, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Freedman_2016,\n abstract = {Our work with 16th-century polyphony uses MEI encodings to deliver dynamic renderings of analytic observations as musical notation in any internet browser. The interface allows users to perform faceted searches among thousands of analytic observations about the repertory, collecting them as part of a larger project that aims to reconstruct missing voice parts according to stylistic rules observed elsewhere in the corpus and in theoretical writings of the sixteenth century. This poster will explain our workflow, documents the technologies deployed in relation to MEI, and shows some of the musical insights we have gleaned.},\n author = {Freedman, Richard and Hankinson, Andrew and Viglianti, Raffaele and Besson, Vincent},\n title = {{Recovering Lost Voices: A Digital Workshop for the Restoration of Renaissance Polyphony}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {15--16},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n Our work with 16th-century polyphony uses MEI encodings to deliver dynamic renderings of analytic observations as musical notation in any internet browser. The interface allows users to perform faceted searches among thousands of analytic observations about the repertory, collecting them as part of a larger project that aims to reconstruct missing voice parts according to stylistic rules observed elsewhere in the corpus and in theoretical writings of the sixteenth century. This poster will explain our workflow, documents the technologies deployed in relation to MEI, and shows some of the musical insights we have gleaned.\n
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\n\n \n \n Richts, K.; and Teich Geertinger, A.\n\n\n \n \n \n \n \n Implementing the Functional Requirements for Bibliographic Records (FRBR) Model in MEI.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 17–26, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Richts_2016,\n abstract = {The Music Encoding Initiative's (MEI) XML schema recommendation not only supports detailed encodings of music notation; it also accommodates comprehensive metadata in the file header. The attempt to utilize the header for cataloguing projects has proved the need to distinguish different levels of description: Some meta-data relate to the musical work in general, some only to a certain version, or to a specific musical source, for instance. The Functional Requirements for Bibliographic Records (FRBR) model, which was developed by the International Federation of Library Associations and Institutions (IFLA), was explicitly conceived to provide a concept for this distinction within bibliographic records in general. An effort has been made within the MEI community to implement the so-called FRBR Group 1 entities (work, expression, manifestation, and item) and relationships in the MEI header. The paper gives an introduction to the FRBR implementation in MEI and demonstrates how relatively com-plex source situations can be modeled with it. Some limitations and problems are discussed.},\n author = {Richts, Kristina and {Teich Geertinger}, Axel},\n title = {{Implementing the Functional Requirements for Bibliographic Records (FRBR) Model in MEI}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {17--26},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n The Music Encoding Initiative's (MEI) XML schema recommendation not only supports detailed encodings of music notation; it also accommodates comprehensive metadata in the file header. The attempt to utilize the header for cataloguing projects has proved the need to distinguish different levels of description: Some meta-data relate to the musical work in general, some only to a certain version, or to a specific musical source, for instance. The Functional Requirements for Bibliographic Records (FRBR) model, which was developed by the International Federation of Library Associations and Institutions (IFLA), was explicitly conceived to provide a concept for this distinction within bibliographic records in general. An effort has been made within the MEI community to implement the so-called FRBR Group 1 entities (work, expression, manifestation, and item) and relationships in the MEI header. The paper gives an introduction to the FRBR implementation in MEI and demonstrates how relatively com-plex source situations can be modeled with it. Some limitations and problems are discussed.\n
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\n\n \n \n Hartwig, M.; and Richts, K.\n\n\n \n \n \n \n \n The MEI Sample Collection: A Description of Workflows.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 27–32, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Hartwig_2016,\n abstract = {This paper documents the steps of a work process used in the creation of a group of example MEI files, one of the main objectives of the project \\textit{Digital Music Notation Data Model and Prototype Delivery System} (jointly funded by the DFG and NEH from 2010 to 2013.) This paper describes the need, the workflow, and future objectives for the MEI sample collection.},\n author = {Hartwig, Maja and Richts, Kristina},\n title = {{The MEI Sample Collection: A Description of Workflows}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {27--32},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n This paper documents the steps of a work process used in the creation of a group of example MEI files, one of the main objectives of the project Digital Music Notation Data Model and Prototype Delivery System (jointly funded by the DFG and NEH from 2010 to 2013.) This paper describes the need, the workflow, and future objectives for the MEI sample collection.\n
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\n\n \n \n Ludovico, L. A.\n\n\n \n \n \n \n \n The Music Encoding Initiative and the IEEE 1599 Standard: Towards an Integrated Description of Music Contents.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 33–40, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Ludovico_2016,\n abstract = {IEEE 1599 is an XML-based format conceived for a comprehensive representation of music material within a unique document. In a single le it is possible to represent music symbols, graphical scores, audio and video renderings, catalogue metadata, structural information, computer performances, and much more. All data and metadata are synchronized thanks to the concept of spine. IEEE 1599 became an international standard in 2008. On the other hand, the Music Encoding Initiative (MEI) is a community-driven eort to create a com-monly-accepted, digital, symbolic representation of music notation documents. The purpose of this paper is discussing the integration of MEI and IEEE 1599 approaches, each one presenting its own peculiarities, in order to couple the precise notation of the former with the multimedia versatility of the latter},\n author = {Ludovico, Luco A.},\n title = {{The Music Encoding Initiative and the IEEE 1599 Standard: Towards an Integrated Description of Music Contents}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {33--40},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n IEEE 1599 is an XML-based format conceived for a comprehensive representation of music material within a unique document. In a single le it is possible to represent music symbols, graphical scores, audio and video renderings, catalogue metadata, structural information, computer performances, and much more. All data and metadata are synchronized thanks to the concept of spine. IEEE 1599 became an international standard in 2008. On the other hand, the Music Encoding Initiative (MEI) is a community-driven eort to create a com-monly-accepted, digital, symbolic representation of music notation documents. The purpose of this paper is discussing the integration of MEI and IEEE 1599 approaches, each one presenting its own peculiarities, in order to couple the precise notation of the former with the multimedia versatility of the latter\n
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\n\n \n \n Meredith, D.\n\n\n \n \n \n \n \n Analysis by Compression: Automatic Generation of Compact Geometric Encodings of Musical Objects.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 41–53, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Meredith_2016,\n abstract = {A computational approach to music analysis is presented, based on the compression of point-set representations of musical works. The approach relates closely to the theory of Kolmogorov complexity and to psychological coding theories of perceptual organisation. A sketch of a model of musical learning based on this approach is given and it is shown how the model accounts in principle for differences between individuals in how pieces of music are understood. The approach is implemented in a greedy compression algorithm, called COSIATEC, which partitions a point-set into the covered sets of translational equivalence classes of maximal translatable patterns. The analyses generated by COSIATEC on five fugues by J. S. Bach are presented and discussed. These analyses demonstrate the potential of the approach for automatically discovering musical patterns of thematic and structural importance.},\n author = {Meredith, David},\n title = {{Analysis by Compression: Automatic Generation of Compact Geometric Encodings of Musical Objects}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {41--53},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n A computational approach to music analysis is presented, based on the compression of point-set representations of musical works. The approach relates closely to the theory of Kolmogorov complexity and to psychological coding theories of perceptual organisation. A sketch of a model of musical learning based on this approach is given and it is shown how the model accounts in principle for differences between individuals in how pieces of music are understood. The approach is implemented in a greedy compression algorithm, called COSIATEC, which partitions a point-set into the covered sets of translational equivalence classes of maximal translatable patterns. The analyses generated by COSIATEC on five fugues by J. S. Bach are presented and discussed. These analyses demonstrate the potential of the approach for automatically discovering musical patterns of thematic and structural importance.\n
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\n\n \n \n Rizo, D.; and Iñesta, J. M.\n\n\n \n \n \n \n \n A Grammar for Plaine and Easie Code.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 54–64, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Rizo_2016,\n abstract = {\\textit{Plaine and Easie Code} is being used as the format for encoding musical content in the RISM catalogue. In this paper we propose an attributed grammar that formally specifies it. The grammar specification is written using a EBNF notation and is accompanied by syntax diagrams and some examples that show how it parses a valid input. With the formalization of the \\textit{Plaine and Easie Code}, it is easier to create translators to other formats, analyze possible extensions, and avoid syntactic misunderstandings in the encoding process. The proposed grammar has been successfully used to decode more than one million incipits from the RISM catalogue in an automatic way. In the near future, we are planning to propose some extensions to the PAEC code and specify translation semantic actions associated to the grammar productions in order to convert from PAEC to the MEI format.},\n author = {Rizo, David and I{\\~n}esta, Jos{\\'e} M.},\n title = {{A Grammar for \\textit{Plaine and Easie Code}}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {54--64},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n Plaine and Easie Code is being used as the format for encoding musical content in the RISM catalogue. In this paper we propose an attributed grammar that formally specifies it. The grammar specification is written using a EBNF notation and is accompanied by syntax diagrams and some examples that show how it parses a valid input. With the formalization of the Plaine and Easie Code, it is easier to create translators to other formats, analyze possible extensions, and avoid syntactic misunderstandings in the encoding process. The proposed grammar has been successfully used to decode more than one million incipits from the RISM catalogue in an automatic way. In the near future, we are planning to propose some extensions to the PAEC code and specify translation semantic actions associated to the grammar productions in order to convert from PAEC to the MEI format.\n
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\n\n \n \n Herold, K.; and Siegert, C.\n\n\n \n \n \n \n \n The Encoding of Sarti's Operas: Macro and Micro Structures.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 65–70, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Herold_2016,\n abstract = {Being famous not only for his opere \\textit{buffe}, but also for his \\textit{opere serie}, Giuseppe Sarti was one of the most eminent composers in late 18th century Europe. In this paper, the first steps of two MEI based \\textit{Edirom} editions of Sarti's operas -- of \\textit{Giulio Sabino} and \\textit{Fra i due litiganti il terzo gode} -- are discussed. The prepared editions do not aim to provide a definite or "authentic" text, but will focus on the adaptations characterizing Italian operas of the period, with the intention to show different types of variants and a wide range of arrangements.},\n author = {Herold, Kristin and Siegert, Christine},\n title = {{The Encoding of Sarti's Operas: Macro and Micro Structures}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {65--70},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n Being famous not only for his opere buffe, but also for his opere serie, Giuseppe Sarti was one of the most eminent composers in late 18th century Europe. In this paper, the first steps of two MEI based Edirom editions of Sarti's operas – of Giulio Sabino and Fra i due litiganti il terzo gode – are discussed. The prepared editions do not aim to provide a definite or \"authentic\" text, but will focus on the adaptations characterizing Italian operas of the period, with the intention to show different types of variants and a wide range of arrangements.\n
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\n\n \n \n Thalmann, F.; and Mazzola, G.\n\n\n \n \n \n \n \n Visualization and Transformation: In General Musical and Music-Theoretical Spaces.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 71–80, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Thalmann_2016,\n abstract = {This paper presents a generalized version of the BigBang rubette, a module for the music software Rubato Composer. It now allows for visualization, generation, and transformation of arbitrary musical data, as long as the data is defined in the denotator format, which models mathematical spaces based on the category of modules. While in earlier stages of development, BigBang was created to deal with the MIDI-like forms \\textit{Score}, \\textit{MacroScore}, and \\textit{SoundScore}, it will now accept any kind of denotators, which enables composers to work with their own objects such as chords, progressions, FM sounds, metrical patterns, counterpoint, pitch-classes, sound spectra, etc.},\n author = {Thalmann, Florian and Mazzola, Guerino},\n title = {{Visualization and Transformation: In General Musical and Music-Theoretical Spaces}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {71--80},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n This paper presents a generalized version of the BigBang rubette, a module for the music software Rubato Composer. It now allows for visualization, generation, and transformation of arbitrary musical data, as long as the data is defined in the denotator format, which models mathematical spaces based on the category of modules. While in earlier stages of development, BigBang was created to deal with the MIDI-like forms Score, MacroScore, and SoundScore, it will now accept any kind of denotators, which enables composers to work with their own objects such as chords, progressions, FM sounds, metrical patterns, counterpoint, pitch-classes, sound spectra, etc.\n
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\n\n \n \n Viglianti, R.\n\n\n \n \n \n \n \n Modelling Complex Editions in MEI: The Freischütz Digital Project.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 81–82, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Viglianti_2016a,\n abstract = {The \\textit{Freisch{\\"u}tz Digital project} uses MEI to encode multiple source in Common Music Notation (CMN). The project avoids choosing one specific source as base text and plans to encode diplomatic details about all sources included in the edition. This paper describes how the model is designed to handle this complex situation without requiring a non-conformant customization of MEI.},\n author = {Viglianti, Raffaele},\n title = {{Modelling Complex Editions in MEI: The \\textit{Freisch{\\"u}tz Digital} Project}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {81--82},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n The Freischütz Digital project uses MEI to encode multiple source in Common Music Notation (CMN). The project avoids choosing one specific source as base text and plans to encode diplomatic details about all sources included in the edition. This paper describes how the model is designed to handle this complex situation without requiring a non-conformant customization of MEI.\n
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\n\n \n \n Hild, E.; and Weber, T.\n\n\n \n \n \n \n \n Developing Encoding and Software Solutions: For the Digital and Analogue Publication of Medieval Monophonic Music.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 83–90, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Hild_2016,\n abstract = {This essay describes the development process and encoding scheme of mono:di, the MEI-based, music-notation software program of \\textit{Corpus monodicum}. \\textit{Corpus monodicum} is a scholarly edition of the Latin-texted, medieval monophonic repertories -- both sacred and secular -- that form the historical foundation of European music, but have thus far been under-represented in musicological scholarship. The editorial project is spon-sored by the Akademie der Wissenschaften und der Literatur, Mainz, as part of the Akademienprogramm der Union der deutschen Akademien der Wissenschaften; it is housed at the Institut f{\\"u}r Musikforschung, Universit{\\"a}t W{\\"u}rzburg.\n Mono:di was developed in conjunction with the music typesetting firm notengrafik berlin in order to facilitate the production of \\textit{Corpus monodicum}'s publications, which will include both a series of 25 printed volumes and a digital edition (CM digital). Mono:di offers the project's editors a means of creating digital transcriptions in a direct and efficient way. The software also allows for an unproblematic transfer of editorial material to the typesetters who produce the analogue editions. Moreover, mono:di allows the same encoded material to serve as the basis both for the printed volumes and for the digital edition. This paper examines the editorial practices that shaped mono:di's development and the specific adaptations that were made to the MEI neumes module in mono:di's encoding scheme.},\n author = {Hild, Elaine and Weber, Thomas},\n title = {{Developing Encoding and Software Solutions: For the Digital and Analogue Publication of Medieval Monophonic Music}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {83--90},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n This essay describes the development process and encoding scheme of mono:di, the MEI-based, music-notation software program of Corpus monodicum. Corpus monodicum is a scholarly edition of the Latin-texted, medieval monophonic repertories – both sacred and secular – that form the historical foundation of European music, but have thus far been under-represented in musicological scholarship. The editorial project is spon-sored by the Akademie der Wissenschaften und der Literatur, Mainz, as part of the Akademienprogramm der Union der deutschen Akademien der Wissenschaften; it is housed at the Institut für Musikforschung, Universität Würzburg. Mono:di was developed in conjunction with the music typesetting firm notengrafik berlin in order to facilitate the production of Corpus monodicum's publications, which will include both a series of 25 printed volumes and a digital edition (CM digital). Mono:di offers the project's editors a means of creating digital transcriptions in a direct and efficient way. The software also allows for an unproblematic transfer of editorial material to the typesetters who produce the analogue editions. Moreover, mono:di allows the same encoded material to serve as the basis both for the printed volumes and for the digital edition. This paper examines the editorial practices that shaped mono:di's development and the specific adaptations that were made to the MEI neumes module in mono:di's encoding scheme.\n
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\n\n \n \n Lewis, D.; and Wiering, F.\n\n\n \n \n \n \n \n Practicalities of Corpus Building: Creating and Exploring Digital Data.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 91–117, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Lewis_2016,\n abstract = {In this panel, we present a number of approaches to the creation of music corpora, using manual and fully- and partially-automated methods, and we consider the effects these approaches have on the nature, size and data encoding of the respective collections We also explore how the process is affected by the nature of the source materials used. We illustrate the impact of these approaches for later use, such as simple web or paper publication or searching and analyzing the newly-available musical information.},\n author = {Lewis, David and Wiering, Frans},\n title = {{Practicalities of Corpus Building: Creating and Exploring Digital Data}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {91--117},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n In this panel, we present a number of approaches to the creation of music corpora, using manual and fully- and partially-automated methods, and we consider the effects these approaches have on the nature, size and data encoding of the respective collections We also explore how the process is affected by the nature of the source materials used. We illustrate the impact of these approaches for later use, such as simple web or paper publication or searching and analyzing the newly-available musical information.\n
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\n\n \n \n Byrd, D.\n\n\n \n \n \n \n \n High-Quality Notation: To Display and Search Music Encoded in MEI.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 118–121, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Byrd_2016,\n abstract = {Arguably the most significant work to date on integrating content-based music retrieval with high-quality Western music notation is some 12 years old: it is implemented in my Nightingale program for the Macintosh computer. I describe how MEI-encoded scores can be converted into a form Nightingale can open, and discuss some of Nightingale's music-searching features.},\n author = {Byrd, Donald},\n title = {{High-Quality Notation: To Display and Search Music Encoded in MEI}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {118--121},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n Arguably the most significant work to date on integrating content-based music retrieval with high-quality Western music notation is some 12 years old: it is implemented in my Nightingale program for the Macintosh computer. I describe how MEI-encoded scores can be converted into a form Nightingale can open, and discuss some of Nightingale's music-searching features.\n
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\n\n \n \n Meier, F.; Burghardt, M.; Bazo, A.; and Wolff, C.\n\n\n \n \n \n \n \n A Crowdsourced Encoding Approach for Handwritten Sheet Music.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 127–130, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Meier_2016,\n abstract = {We present an approach that uses \\textit{human computation} and \\textit{crowdsourcing} principles for encoding large amounts of monophonic, handwritten sheet music.},\n author = {Meier, Florian and Burghardt, Manuel and Bazo, Alexander and Wolff, Christian},\n title = {{A Crowdsourced Encoding Approach for Handwritten Sheet Music}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {127--130},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n\n
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\n We present an approach that uses human computation and crowdsourcing principles for encoding large amounts of monophonic, handwritten sheet music.\n
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\n\n \n \n Besson, V.\n\n\n \n \n \n \n \n Musica: A Musical Consortium of Digital Humanities.\n \n \n \n \n\n\n \n\n\n\n In Roland, P.; and Kepper, J., editor(s),
Music Encoding Conference Proceedings 2013 and 2014, pages 131–133, 2016. Bavarian State Library (BSB)\n
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@inproceedings{Besson_2016,\n abstract = {Consortium "Musica" combines several units and research teams around a common theme -- the development and exploitation of digital music -- using common standards and supporting the dissemination of good practices and supports the conversion of information into digital form. The Consortium is accredited by the TGIR (Very High Research Infrastructure) Huma-Num aimed at facilitating digital turning points in humanities and social science research.},\n author = {Besson, Vincent},\n title = {{Musica: A Musical \\textit{Consortium} of Digital Humanities}},\n url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},\n pages = {131--133},\n publisher = {{Bavarian State Library (BSB)}},\n editor = {Roland, Perry and Kepper, Johannes},\n booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},\n year = {2016},\n keywords = {mec-proceedings, mec-proceedings-2013},\n displayby = {Contributions from MEC 2013}\n}\n\n%%% ------------------------------------------------------\n%%% MEC 2013 and 2014 Proceedings: Contributions from 2014\n\n\n
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\n Consortium \"Musica\" combines several units and research teams around a common theme – the development and exploitation of digital music – using common standards and supporting the dissemination of good practices and supports the conversion of information into digital form. The Consortium is accredited by the TGIR (Very High Research Infrastructure) Huma-Num aimed at facilitating digital turning points in humanities and social science research.\n
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