Erratum: Toetsenstuk voor Lucien Goethals [Music Score]

Music score are the carrier of musical works, and Chinese Opera is an important part of traditional Chinese folk music. The enduring transmission method of music is an oral tradition, and only a few operatic scores (such as Kunqu Opera, Peking Opera, etc.) have been published before 1949. It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works, resulting in the publication of Chinese Opera and vocal music. After the 1980s, various operatic texts were found stacked on top of each other. In particular, during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences, the “Chinese Opera Music Integration” series was founded to compile a comprehensive collection of vocal scores from various operas. By creating a database, a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database. By providing the function of searching and browsing some of the vocal scores and images online, its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.

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Stravinsky's Music Library in the Context of His Biography and Work (Based on Archival Materials From PauL Sacher Foundation)

Музыкальная академия ◽

10.34690/148 ◽

2021 ◽

pp. 38-77

Author(s):

Татьяна Баранова-Монигетти

Keyword(s):

Compositional Process ◽

Secondary Literature ◽

Music Score ◽

Process Music ◽

Personal Library

В статье представлены результаты исследования нотной коллекции из личной библиотеки И. Ф. Стравинского, хранящейся в Фонде Пауля Захера (Базель). Собрание это представляет особый интерес как творческая лаборатория Стравинского - композитора, пианиста, дирижера. Многие экземпляры содержат дарственные надписи и пометки на полях. Издания произведений самого Стравинского с корректурами и примечаниями автора дают ценную информацию об особенностях его композиционного процесса. Нотные источники рассмотрены в статье в контексте биографии и творчества композитора, с привлечением сведений из мемуаров, корреспонденции, музыковедческой литературы. Разделы статьи отражают структуру собрания. This article presents the results of a study of the music score collection from Stravinsky's personal library, which is kept at the Paul Sacher Foundation in Basel. This collection is of particular interest as the creative laboratory of Stravinsky-a composer, pianist, conductor. Many copies have dedications, inscriptions and marginalia. The scores of Stravinsky's own works, with corrections and notes by the author, provide important information about his compositional process. Music scores from Stravinsky's library are considered in the context of his biography and work, using information from correspondence, memoirs and secondary literature. The sections of the article reflect the specifics of Stravinsky's collection.

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Optical Music Analysis for Printed Music Score and Handwritten Music Manuscript

Visual Perception of Music Notation ◽

10.4018/978-1-59140-298-5.ch004 ◽

2011 ◽

pp. 108-127 ◽

Cited By ~ 5

Author(s):

Kia Ng

Keyword(s):

Domain Knowledge ◽

Imaging System ◽

Data Representation ◽

Divide And Conquer ◽

Music Score ◽

Segmentation Approach ◽

Printed Music ◽

High Level ◽

Machine Readable ◽

Readable Format

This chapter describes an optical document imaging system to transform paper-based music scores and manuscripts into machine-readable format and a restoration system to touch-up small imperfections (for example broken stave lines and stems), to restore deteriorated master copy for reprinting. The chapter presents a brief background of this field, discusses the main obstacles, and presents the processes involved for printed music scores processing; using a divide-and-conquer approach to sub-segment compound musical symbols (e.g., chords) and inter-connected groups (e.g., beamed quavers) into lower-level graphical primitives (e.g., lines and ellipses) before recognition and reconstruction. This is followed by discussions on the developments of a handwritten manuscripts prototype with a segmentation approach to separate handwritten musical primitives. Issues and approaches for recognition, reconstruction and revalidation using basic music syntax and high-level domain knowledge, and data representation are also presented.

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Technology of Music Score Watermarking

Multimedia Systems and Content-Based Image Retrieval ◽

10.4018/978-1-59140-156-8.ch003 ◽

2011 ◽

pp. 24-61

Author(s):

M. Monsignori ◽

P. Nesi ◽

M. Spinu

Keyword(s):

Digital Watermarking ◽

Multimedia Data ◽

Data Types ◽

Content Protection ◽

Music Score ◽

Current State ◽

Media Types ◽

Image Representations ◽

Classical Image ◽

Audio Files

Content protection for multimedia data is widely recognized especially for data types that are frequently distributed, sold or shared in digital and via Internet. Particularly, the music industry dealing with audio files realized the necessity for content protection. Distribution of music sheets will face the same problems. Digital watermarking techniques provide a certain level of protection for music sheets. Classical image-oriented watermarking algorithms for images suffer from several drawbacks when directly applied to image representations of music sheets. Therefore, new solutions have been developed which are designed regarding the content of the music sheets. In comparison to other media types, the development of watermarking algorithms for music scores is a rather young technology. The chapter reviews the evolution of the early approaches and describes the current state of the art in the field.

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Toward a Total Work of Art

Art Scents ◽

10.1093/oso/9780190089818.003.0020 ◽

2020 ◽

pp. 158-177

Author(s):

Larry Shiner

Keyword(s):

Electronic Music ◽

Total Work ◽

Work Of Art ◽

Experimental Art ◽

Music Score ◽

Theater Production ◽

The 1950S ◽

Successful Integration

Chapter 9 begins with the idea of the total work of art (Gesamtkunstwerk) and considers examples of odors in theater from the Renaissance to the present, arguing that the inclusion of odors in some types of theater production is appropriate. In the case of film, the chapter discusses the difficulties faced by the first serious attempts in the 1950s and the handful of recent efforts, arguing that the combination of images with sound is able to suggests odors, whereas actual odors are likely to create more puzzles than they are worth, except in the case of highly experimental “art house” films. In the case of music, the chapter focuses on Green Aria: A Scent Opera, presented at the Guggenheim in 2009, a work that combined narrative, odors, and an electronic music score and marked a decisive step toward the successful integration of actual smells with music and narrative.

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MPEG Symbolic Music Representation

Interactive Multimedia Music Technologies ◽

10.4018/978-1-59904-150-6.ch002 ◽

2011 ◽

pp. 12-25

Author(s):

Pierfrancesco Bellini ◽

Paolo Nesi ◽

Giorgio Zioa

Keyword(s):

Music Performance ◽

Visual Display ◽

Sheet Music ◽

Music Production ◽

Visual Coding ◽

Music Score ◽

Communication Devices ◽

Audio Rendering ◽

Music Piece ◽

Music Representation

The evolution of digital communication devices and formats has recently produced fundamental changes in the practical approach to music representation and notation, transforming them from a simple visual coding model for sheet music into a composite tool for modelling music in computer and multimedia applications in general. As a consequence, a multi-layer model of music representation is needed for several purposes in addition to sheet music production or visual display, such as audio rendering, entertainment, music analysis, database query, music performance coding, music distance learning, etc. The Symbolic Music Representation is a standard for modelling music notations, proposed inside the MPEG multimedia framework. Symbolic music representation generalizes the main music notation concepts to model the visual aspects of a music score, and audio information or annotations related to the music piece, allowing integration with other audiovisual elements by multimedia references. The Symbolic Music Representation standard overcomes the limitations of a widely accepted format like MIDI, which is in line with its main purpose to model music events whereas it reveals important limitations in producing audio and visual representations with satisfactory results.

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