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Presents the Center for Computer Assisted Research in the Humanities (CCARH), located at Stanford University in California. Notes that CCARH focuses on the development of data resources and software for applications in musical history, theory, analysis, performance, perception, cognition, and related areas of study in other disciplines. Contains information about CCARH, its objectives, teaching and research activities, publications, cooperative projects, conferences, and other items. Includes details about MuseData, a CCARH database containing full electronic scores of standard repertory. Posts contact information via mailing address, telephone number, and e-mail address.
Introduces the Center for Computer Assited Research in the Humanities (CCARH) at Stanford University. Develops and disseminates data resources for applications in music research and allied areas of humanities study. Offers a catalog of works available, and various publications: Computing in Musicology, Handbook of Musical Codes, the Humdrum Toolkit, and Musical Information in Desktop Publishing.
Computer-Assisted Research in the Humanities describes various computer-assisted research in the humanities and related social sciences. It is a compendium of data collected between November 1966 and May 1972 and published in Computer and the Humanities. The book begins with an analysis of language teaching texts including the DOVACK system, a program used for remedial reading instruction. It then discusses the objectives, types of computer used, and status of the Bibliographic On-line Display (BOLD), semiotic systems, augmented human intellect program, automatic indexing, and similar research. The remaining chapters present computer-assisted research on language and literature, philosophy, social sciences, and visual arts. Students who seek a single reference work for computer-assisted research in the humanities will find this book useful.
In the first musicological study of Kurt Weill’s complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater’s key figures. Hinton shows how Weill’s experiments with a range of genres—from one-act operas and plays with music to Broadway musicals and film-opera—became an indispensable part of the reforms he promoted during his brief but intense career. Confronting the divisive notion of "two Weills"—one European, the other American—Hinton adopts a broad and inclusive perspective, establishing criteria that allow aspects of continuity to emerge, particularly in matters of dramaturgy. Tracing his extraordinary journey as a composer, the book shows how Weill’s artistic ambitions led to his working with a remarkably heterogeneous collection of authors, such as Georg Kaiser, Bertolt Brecht, Moss Hart, Alan Jay Lerner, and Maxwell Anderson.
With the prolific changes in the electronic environment, do you sometimes feel overwhelmed by the multiplying of electronic information resources, the different methods of access, and their combined impact on collection development? If so, Collection Development is the book to help you get a handle on what’s out there! In no time at all, you’ll be able to select and integrate electronic resources into collection development programs at even the most traditional of libraries! In the process, you will learn alternative approaches for dealing with electronic databases, on-line access, and fiscal planning for the integration of the new information technologies into collection development. Collection Development offers useful strategies for dealing with electronic resources in terms of selection and evaluation, collection development policies, organizational structure, and budgeting. You also acquire important information on: Internet information resources accessible through Gophers and World Wide Web sites access vs. ownership issues serving the remote user at an extended campus site the relationship of selection to acquisitions managing a CD-Rom collection development process planning issues of cooperation, collaboration, and change pricing and planning issues and their impact on library budgets negotiating site licenses Librarians in collection development, academic librarians, and personnel in technology/authomation development will find Collection Development an indispensable tool for grappling with the demands and pressures of screening and choosing the most suitable information resources from the dynamic, even saturated, world of technology. The book’s insights and practical methodologies will help you integrate new on-line and electronic information resources into your program with relative ease.
The establishment of the Musical Instrument Digital Interface (MIDI) in the late 1980s allowed hobbyists and musicians to experiment with sound control in ways that previously had been possible only in research studios. MIDI is now the most prevalent representation of music, but what it represents is based on hardware control protocols for sound synthesis. Programs that support sound input for graphics output necessarily span a gamut of representational categories. What is most likely to be lost is any sense of the musical work. Thus, for those involved in pedagogy, analysis, simulation, notation, and music theory, the nature of the representation matters a great deal. An understanding of the data requirements of different applications is fundamental to the creation of interchange codes. The contributors to Beyond MIDI present a broad range of schemes, illustrating a wide variety of approaches to music representation. Generally, each chapter describes the history and intended purposes of the code, a description of the representation of the primary attributes of music (pitch, duration, articulation, ornamentation, dynamics, and timbre), a description of the file organization, some mention of existing data in the format, resources for further information, and at least one encoded example. The book also shows how intended applications influence the kinds of musical information that are encoded. Contributors David Bainbridge, Ulf Berggren, Roger D. Boyle, Donald Byrd, David Cooper, Edmund Correia, Jr., David Cottle, Tim Crawford, J. Stephen Dydo, Brent A. Field, Roger Firman, John Gibson, Cindy Grande, Lippold Haken, Thomas Hall, David Halperin, Philip Hazel, Walter B. Hewlett, John Howard, David Huron, Werner Icking, David Jaffe, Bettye Krolick, Max V. Mathews, Toshiaki Matsushima, Steven R. Newcomb, Kia-Chuan Ng, Kjell E. Nordli, Sile O'Modhrain, Perry Roland, Helmut Schaffrath, Bill Schottstaedt, Eleanor Selfrdige-Field, Peer Sitter, Donald Sloan, Leland Smith, Andranick Tanguiane, Lynn M. Trowbridge, Frans Wiering
How a team of musicians, engineers, computer scientists, and psychologists developed computer music as an academic field and ushered in the era of digital music. In the 1960s, a team of Stanford musicians, engineers, computer scientists, and psychologists used computing in an entirely novel way: to produce and manipulate sound and create the sonic basis of new musical compositions. This group of interdisciplinary researchers at the nascent Center for Computer Research in Music and Acoustics (CCRMA, pronounced “karma”) helped to develop computer music as an academic field, invent the technologies that underlie it, and usher in the age of digital music. In The Sound of Innovation, Andrew Nelson chronicles the history of CCRMA, tracing its origins in Stanford's Artificial Intelligence Laboratory through its present-day influence on Silicon Valley and digital music groups worldwide. Nelson emphasizes CCRMA's interdisciplinarity, which stimulates creativity at the intersections of fields; its commitment to open sharing and users; and its pioneering commercial engagement. He shows that Stanford's outsized influence on the emergence of digital music came from the intertwining of these three modes, which brought together diverse supporters with different aims around a field of shared interest. Nelson thus challenges long-standing assumptions about the divisions between art and science, between the humanities and technology, and between academic research and commercial applications, showing how the story of a small group of musicians reveals substantial insights about innovation. Nelson draws on extensive archival research and dozens of interviews with digital music pioneers; the book's website provides access to original historic documents and other material.
The study of music is always, to some extent, "empirical," in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kinds of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to inter-disciplinary areas such as psychology and sociology of music. Rather than advocating a new kind of musicology, Empirical Musicology provides a guide to empirical approaches that are ready for incorporation into the contemporary musicologist's toolkit. Its nine chapters cover perspectives from music theory, computational musicology, ethnomusicology, and the psychology and sociology of music, as well as an introduction to musical data analysis and statistics. This book shows that such approaches could play an important role in the further development of the discipline as a whole, not only through the application of statistical and modeling methods to musical scores but also--and perhaps more importantly--in terms of understanding music as a complex social practice.
The Digital Humanities is a comprehensive introduction and practical guide to how humanists use the digital to conduct research, organize materials, analyze, and publish findings. It summarizes the turn toward the digital that is reinventing every aspect of the humanities among scholars, libraries, publishers, administrators, and the public. Beginning with some definitions and a brief historical survey of the humanities, the book examines how humanists work, what they study, and how humanists and their research have been impacted by the digital and how, in turn, they shape it. It surveys digital humanities tools and their functions, the digital humanists' environments, and the outcomes and reception of their work. The book pays particular attention to both theoretical underpinnings and practical considerations for embarking on digital humanities projects. It places the digital humanities firmly within the historical traditions of the humanities and in the contexts of current academic and scholarly life.