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Editorial
No full text1. Introduction: Originality of Standard IEEE 1599
Proposed and de-facto standards that deal with some aspects of music have been around for
several decades, ever since the need was felt to apply computer techniques to music and
musicology. Some deal with audio, some with the graphical representation, or score, of music,
some with performance, special ones with choreography, and so on.
Since music has been annotated for at least the past forty centuries with symbols that represent
musical events – such as notes, rests, clefs, performance indications – attempts have been made
to capitalize on this experience and create music standards based on symbols. SMDL, MEI, Hy
Time, SMIL, MusicXML, MusiXML, MusiCat & MDL, WEDELMUSIC, MNML, MML, MuTaTeD, MusicML,
ChordML are a few recommendations and standards of that kind.
However, it is not that IEEE 1599 represents simply an addition to that long lost of specialized
formats. It is, instead, global methodology for music representation, since it contains some features
not found elsewhere, such as:
* Musical events and other indications are represented with symbols – just by itself, this is not
new, even though the format is new
* The symbols are expressed in language XML, thus inheriting the features of XML such as:
natural extensibility, flexibility, durability, which may allow the standard to evolve, beyond
Common (Western) Music Notation and toward notational formats not yet established – as
used by the music avant-garde
* The concept of layers, that allow integrated representation of several aspects of music, such
as its graphic notation, texts (as in songs and opera), audio (from a recording), performance
indications, and everything that is related to the piece such as title, composer, interpreter,
dates, posters, discographical and bibliographical data
* Applications that synchronize all layers and events, as with a running indicator on the score
or the libretto during and audition, and that allow music fruition independently of the version
or the rendition, and independently of the audio or video format
* As a consequence, all representations of a piece of music made with pre-existing methods
can be recuperated as needed and desired, since they are both maintained in their original
formats (e.g., WAV, MP3, MIDI, acoustical recording) and put under a single comprehensive
meta-language in which every media file is related to all the others with links, thus creating
an all-encompassing music information system that can be navigated in all its aspects.
The idea of music navigation is akin to entering the virtual world of a great poem or novel, such as
the Iliad or Dante’s Divine Comedy. This extends the enjoyment of music beyond that of simple
listening, and provides information about what is happening, who is doing what – as in a jazz piece
or an opera – how the piece is built – both at structural and at the detailed level – and about how the
piece is built even from a musicological analysis – which can be supplied by semantics webs and
appropriate ontologies.
2. Brief History of Standard IEEE 1599, and Acknowledgements
The initial Project Authorisation Request was accepted by the IEEE SA (http://standards.ieee.org) in
2001, and the Standards Activity Board of the Computer Society, CS SAB, became the project
sponsor. It created a site describing the project (http://www.computer.
org/portal/pages/ieeecs/communities/standards/1599/par.html) in 2004 (see also http://www.lim.
dico.unimi.it).
An IEEE CS Conference dedicated to the project and its proposals took place in Milan in September
2002, which produced the Proceedings of the First International Conference MAX 2002: Musical
Applications Using XML, IEEE CS, 0-7695-1864-8/02, Milan, Italy, September 19-20, 2002).
The Abstract for a project proposal was accepted by the global fund Intelligent Manufacturing
Systems (www.ims.org) in 2002 and a preliminary project was accepted for financing by the Swiss
Commission for Innovative Technology (http://www.bbt.admin.ch/kti/index.html?lang=en) in 2004.
A first article dedicated to the standard was published in IEEE COMPUTER in 2005 [3], and since
then several publications, lectures and invited lectures at conferences followed.
A formal project proposal was accepted by IMS in 2005 and by the Swiss CTI in 2006 to realize
standard and applications, together with the Radiotelevisione della Svizzera italiana (http://www.rtsi.
ch) and the festival Jazz Ascona – New Orleans and Classics (http://www.jazzascona.com). The
Swiss government financed among others an Italian university, laboratory and its doctoral
candidates.
The draft of the standard was accepted in a vote by the IEEE SA experts on April 13 with 96% in
favor, and was approved by the New Standards Committee of the IEEE SA on June 12 with no
objection. It reached its final form in October 2008, and the DTD has been posted at http://standards.
ieee.org/standardswire/archives/sw_nov08_email.html.
The IEEE CS International Conference "The Use of Symbols To Represent Music and Multimedia
Objects" took place in Lugano, Switzerland, on October 8, 2008, and produced the Proceedings,
ISBN 88-7595-010-5, with ten articles, seven of which have been dedicated to aspects of Standard
IEEE 1599. This was part of the Symposium on Music, Mathematics and Multimedia, supported
financially by the University of Applied Science of Southern Switzerland, SUPSI, by the State
University of Milan, Italy, and by the City of Lugano, shown at http://www.cm.supsi.ch.
Several projects and applications to illustrate the power of the standard are planned for the next
future.
3. This Special Issue
It contains seven articles that describe some of the features of standard IEEE 1599. They contain,
among others, examples and detailed explanations of what is described in the bulleted paragraph
in the introduction of this writing
The New Standard IEEE 1599, Introduction and Examples
No full textIEEE 1599 is a new standard to encode music with XML symbols. It offers two important original characteristics compared to existing standards of the worlds of music, musicology and computer applications to this art and science. On one side, the encoding is in the form of symbols that can be read both by machines and humans. On the other, it allows the realization of applications in which all aspects of music, such as audio and sound, graphical representation, historical data, performance indications, represented thanks to the new concept of layers, are fully integrated, synchronized and can be accessed both individually and as parts of a whole. The article will give a brief description of the standard and of applications that have been built to show its power
The IEEE 1599 standard
No full textThis chapter gives a brief and simplified technical overview useful in the understanding of all IEEE 1599 applications, in particular from I to VII, which exist and are complete, and VIII and IX, which have been studied but not yet fully realized
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
NeurSwing: A connectionist workbench for the investigation of swing in Afro-American jazz
No full textDispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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