2024 Proceedings
DLfM '24: Proceedings of the 11th International Conference on Digital Libraries for Musicology
Direct labelling of form of Classical-period piano sonata movements from audio recordings
- Paul Burger and J. P. Jacobs
Acoustic classification of guitar tunings with deep learning
- Edward Hulme, David Marshall, Kirill Sidorov and Andrew Jones
Svara-forms and coarticulation in carnatic music: An investigation using deep clustering
- Thomas Nuttall, Xavier Serra and Lara Pearson
(Re-)capturing the emotional geography of lost venues: A case study of the Willow Community Digital Archive
- Rachel Cowgill, David Bainbridge, Alan Dix, Victoria Hoyle, Vicki Fong and David Thomas
The loss of many high-street music venues in recent years has highlighted their connectedness to place and communities. Understanding the emotional geographies of these venues, as experienced by their patrons, is key to explaining the outcry that can accompany such closures. In these circumstances it can be challenging to try to (re)capture the intangible elements that defined a lost venue and widen the scope for musicological enquiry. This paper sets out to address that challenge by exploring methods developed by the Willow Community Digital Archive to co-create a community archive in celebration of The Willow, a family-run restaurant-cum-nightclub that operated in York, UK, for over 40 years. Further, we report on how these methods informed the crafting of a general-purpose digital library system to form the archive. We also detail some initial experiments with ChatGPT, embedded into the archive, to investigate its potential to encourage visitors to engage with and inspire further contributions to the archive.
Popular musical arrangements in the nineteenth century home: A study of the Harmonicon supported by digital tools
- David Lewis and Kevin Page
Open Edirom: From hybrid music edition to open data publication
- Lena Frömmel, Tobias Bachmann, Anna Plaksin and Andreas Münzmay
A preliminary proposal for a systematic GABC encoding of Gregorian chant
- Martha E. Thomae, David Rizo, Eliseo Fuentes-Martínez, Cristina Alís Raurich, Elsa De Luca and Jorge Calvo-Zaragoza
In the last years, several approaches have addressed the encoding of the different music scripts used for plainchant. One of these approaches is the GABC format. While being a comprehensive symbolic representation of square notation, the lack of a formal specification for GABC usually leads to ambiguities, which must be avoided in the specification of any encoding format. Sometimes, the simple trial-and-error approach of entering the GABC code into an engraving system—such as Illuminare, Scrib.io, or GABC Transcription Tool—can solve this ambiguity. However, these engraving systems have shown some inconsistency among themselves when rendering GABC, sometimes displaying different music for the same code snippet. This paper presents a systematic approach to encoding Gregorian chant originally written in Aquitanian neumes and square notation to eliminate ambiguities inherent in the GABC specification. By formalizing the grammar of GABC, we address the challenges of inaccurate renderings in current music notation software. Our methodology includes developing a “Systematic GABC” (S-GABC) following a critical and scientific mentality to ensure the endurance of the notation. This paper demonstrates our system’s effectiveness in standardizing Gregorian chant encoding, offering significant contributions to digital musicology and enhancing the accuracy of musical heritage digitization.
Navigating the RISM data with RISM Online
- Andrew Hankinson and Laurent Pugin
In 2021, the RISM Digital Center introduced RISM Online. This represented a shift in how we present the RISM data to a global audience, supporting new methods of digital research and keeping the RISM project central to modern music scholarship. RISM Online is designed from the ground-up to move past a simple descriptive catalogue, treating the results of over 70 years of indexing, collating, organizing, and curating musical source descriptions and authorities as a significant and valuable data resource in itself. In this paper we explore the shift from catalogue to dataset more closely, looking at some of the unique and valuable information captured by RISM that can be of use to data-driven musicology. On the way we will identify how RISM Online is making this data available through the tools and access points we have built. Finally, we will report on some ongoing experiments with the RISM data as we seek to exploit the relationships captured therein as an active area of future work.
FACETS: A tool for improved exploration of large symbolic music collections
- Tiange Zhu, Raphaël Fournier-S'Niehotta and Philippe Rigaux
Large collections of symbolic music documents need efficient information retrieval tools. We introduce FACETS, a versatile tool for exploring and management of such collections. FACETS is a scalable and flexible content-based search engine, offering melodic and rhythmic querying modes. For improved navigation, a faceted interface orders the results, to reduce information overloading, and it may be used as a primary entry point in the tool. FACETS is available as a standalone Docker image and Github repository, aiming to help musicologists, composers, MIR researchers and the interested public.
An online tool for semi-automatically annotating music scores for optical music recognition
- Stanisław Graczyk, Zuzanna Piniarska, Mateusz Kałamoniak, Tomasz Łukaszewski, Ewa Łukasik
The paper describes an online tool, OMRAT, for semi-automatic annotation of music scores for Optical Music Recognition (OMR) systems. OMRAT uses deep neural networks, machine learning, and music notation ontologies at different stages to respectively detect musical objects, establish relationships between them, and convert them into a machine-readable format MEI. A human editor verifies the output of the recognition stage to correct potential errors and remove incorrect labels as needed. The tool can create training/testing datasets for OMR systems and may be used for notation editors or audio synthesizers.
JazzDAP: Collaborative research tools for digital jazz archives
- Kevin Allain, Tillman Weyde
This paper introduces a novel web platform designed for exploration, analysis, and collaboration in the jazz music domain called JazzDAP. Our platform integrates advanced music information retrieval techniques with user-friendly interfaces, tailored for musicologists, archivists, and jazz enthusiasts. The platform employs a contour based algorithm for pattern recognition, enabling users to search for specific musical motifs, with filters based on metadata, e.g. artist, location and year of recording. Users can listen to audio sections or MIDI excerpts from the matches and delve into detailed metadata, including the years of recordings, prevalence of specific patterns, and information about the artists associated with them. Visualizations aid in uncovering trends, evolution, and connections in the development of jazz. A key innovation of our platform is the introduction of workflow objects, allowing users to save elements of interest accompanied by notes, named workflows, and engage in collaborative discussions. Users can use workflows to annotate, share insights, and communicate with each other, fostering a community-driven exploration of jazz music. This collaborative aspect enhances the platform’s utility for researchers and enthusiasts alike, aiming to create a dynamic environment for the exchange of knowledge and discoveries. This paper outlines the platform’s structure, highlights its key features, and presents preliminary user feedback. We believe that our work opens new avenues for the exploration and understanding of jazz music, offering a valuable resource for researchers, archivists, and enthusiasts passionate about the intricate patterns that shape the genre.