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Introduction
Get PDFThis introduction outlines the aims and themes of this volume. We discuss the central position of notation in the foundations of music scholarship as well as the various moves towards disciplinary innovation since the late twentieth century that have challenged it. We argue that the study of notation as material culture, understood in a broad sense in the wake of recent arguments for a general ‘material turn’, provides a fruitful way to attend to musical practices of reading and writing while avoiding a traditional work-based ideology. We connect this materialist approach to notation to recent developments in the study of musical instruments while also identifying precursors in the study of early music as well as the ethnomusicological study of non-western forms of notation. We conclude by outlining four important themes in the study of notation as material culture that also form the four parts of the volume: epistemology, embodiment, social relations, and technology
Material Cultures of Music Notation:New Perspectives on Musical Incription
No full textBudaya Material Notasi Musik menyatukan kumpulan esai yang mengeksplorasi pertanyaan mendasar dalam lanskap musikologi saat ini: bagaimana menulis dan membaca musik dapat dipahami sebagai praktik material yang konkret dalam konteks budaya yang lebih luas? Menggambar pada pendekatan interdisipliner dari musikologi, studi media, studi kinerja, dan banyak lagi, bab-bab dalam buku ini menawarkan beragam perspektif baru yang mengedepankan materialitas notasi musik. Dari partitur digital hingga transmisi manuskrip di Abad Pertengahan, volume ini dengan sengaja mendobrak batasan disiplin, periode sejarah, genre, dan tradisi, dengan mendekati materialitas notasi melalui empat tema kunci yang saling terkait: pengetahuan, tubuh, hubungan sosial, dan teknologi. Bersama-sama, bab-bab ini menangkap karya baru yang penting dalam bidang keilmuan yang penting
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Music and Time::the Work of Notation in the Visual Culture of Medieval Devotion
Get PDFThis chapter argues that just as images and texts are treated expansively in the context of the visual culture of late medieval religious devotion, and are understood to have multivalent meanings and significances, so should musical notation. Sound and music have lately been integrated into the study of visual culture, as part of an approach to reception that seeks to analyse the multisensory nature of the experience of medieval devotional objects and images. Despite this greater sensitivity to sound, and to the important links between the visual and the aural in medieval religious experience, music is sometimes assumed by scholars trained in the analysis of visual and material culture to enjoy a concrete reality only when the music is sung. Thus, musical notation within visual images is either considered as mere ‘decoration’, and as an evocation of the general idea of ‘music’, or as a record of or a prescription for performance. This chapter will suggest that notation can do similar devotional work to that performed by images and texts, and should be considered more readily as part of the study of the visual culture of late medieval devotion.<br/
Variations on the Author
Get PDF“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
Get PDFWe 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
Music as Extended Agency: On Notation and Entextualization in Improvised Music
Get PDFThis article presents results from fieldwork with two groups of improvisers using different forms of notation in their creative practice. Such practices raise fundamental questions about the relation of notation to performance. Drawing on theories of entextualization in linguistic anthropology, I argue that, contrary to many arguments for a performative understanding of music, performance is partly about creating something that has an identifiable existence, transcending space and time. The notations and compositional systems used by improvisers are a means of achieving this entextualization of their musical utterances. One of the main findings of my fieldwork was that improvisers frequently speak of acting ‘in service of the music’, a phrase commonly associated with composition-centred musical discourse. Drawing on the work of Karin Barber and Alfred Gell, I argue that this idea represents a process of entextualization that is not a negation of performers’ creative agency, but an extension of it
Compositions in Improvisation: The Instant Composers Pool Orchestra
Get PDFDer 1967 gründete und bis jetzt bestehende Instant Camposers Pool (ICP) ist eine der ältesten Gruppen der europäischen improvisierten Musik. Dieser Beitrag präsentiert einige Aspekte ihrer gegenwärtigen Aufführungspraxis und ihrer Ansichten über Improvisation. Die Performances des ICP drehen sich zu einem beträchtlichen Grade um die Kompositionen des Gründungmitglieds und klassisch ausgebildeten Komponisten Misha Mengelberg. Obwohl die Improvisationsforschung einen wichtigen Beitrag zur Bewegung weg von der auf Kompositionen zentrierten Tradition der Musikwissenschaft hin zu Fragen der Performance und musikalischen Interaktion geleistet hat, sei in diesem Beitrag betont, dass die Untersuchung dieser Aspekte nicht unbedingt mit jenen über Komposition in Opposition stehen müssen.The Instant Composers Pool (ICP), founded in 1967 and still performing, is one of the oldest groups in European improvised music. This article presents some aspects of their current performance practice and their views on improvisation. The performances of the ICP revolve to a significant degree around the compositions of Misha Mengelberg, who is one of the founders of the group and a classically trained composer. Even though the study of improvisation has been an important part of a crucial move away from the composition-centred tradition of musicology towards issues of performance and musical interaction, I suggest that consideration of these topics need not be opposed to that of composition
Talking scores and the dismediation of notation
No full textIn the 1990s, specialized libraries in the Netherlands developed an audio-based form of notation known as “talking scores” to be used as an assistive technology for blind and visually impaired musicians. A talking score, similar to the audiobooks on which it was based, narrates the information found in staff notation that would otherwise be accessed visually. The spoken instructions are divided into fragments and alternated with audio examples. This article discusses the working of such scores and analyzes the score for Debussy’s “Clair de Lune” to make detailed observations about the transformation from staff notation to talking score. This discussion is theoretically framed by a consideration of the “dismediation” of notation, i.e., of the centrality of questions of (dis)ability to discussions of the interactions between human bodies and media infrastructures, which forms the basis of a critique of Peter Szendy’s theory of musical arrangement
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