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Journal articles on the topic 'Music digital librarie'

Author: Grafiati

Published: 9 March 2023

Last updated: 10 March 2023

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1

Hu, Xiao, and Jin Ha Lee. "Towards global music digital libraries." Journal of Documentation 72, no. 5 (September 12, 2016): 858–77. http://dx.doi.org/10.1108/jd-01-2016-0005.

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Purpose The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL). Design/methodology/approach An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding. Findings Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent. Practical implications The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood. Originality/value It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

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Bainbridge, David, Michael Dewsnip, and Ian H. Witten. "Searching digital music libraries." Information Processing & Management 41, no. 1 (January 2005): 41–56. http://dx.doi.org/10.1016/j.ipm.2004.04.001.

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3

Fujinaga, Ichiro. "Distributed digital music archives and libraries." Journal of the Acoustical Society of America 118, no. 3 (September 2005): 2031. http://dx.doi.org/10.1121/1.4785792.

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4

Fournet, Adele. "Bit Rosie: A Case Study in Transforming Web-Based Multimedia Research into Digital Archives." American Archivist 84, no. 1 (March 1, 2021): 119–38. http://dx.doi.org/10.17723/0360-9081-84.1.119.

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ABSTRACT This article is a case study in transforming web-based multimedia research initiatives into digital institutional archives to safeguard against the unstable nature of the Internet as a long-term historical medium. The study examines the Bit Rosie digital archives at the New York University Fales Library, which was created as a collaboration between a doctoral researcher in ethnomusicology and the head music librarian at the Avery Fisher Center for Music and Media. The article analyzes how the Bit Rosie archives implements elements of both feminist and activist archival practice in a born-digital context to integrate overlooked women music producers into the archives of the recorded music industry. The case study illustrates how collaboration between cultural creators, researchers, and archivists can give legitimacy and longevity to projects and voices of cultural resistance in the internet era. To conclude, the article suggests that more researchers and university libraries can use this case study as a model in setting up institutional archival homes for the increasing number of multimedia initiatives and projects blossoming throughout the humanities and social sciences.

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Alieva, Yulia B. "Digital Music Collections of National and Major Public Libraries of German-speaking Countries." Bibliotekovedenie [Russian Journal of Library Science] 71, no. 3 (September 9, 2022): 295–306. http://dx.doi.org/10.25281/0869-608x-2022-71-3-295-306.

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The article presents the brief description of freely available selected digital music collections of the national and largest public libraries of German-speaking countries: Austria, Belgium, Germany and Switzerland. The author studies the main stages of the historical formation of musical culture in the German-speaking environment, chronologically correlated with the brilliant names of composers, founders and recognized authorities of the classical music school. As an illustrative material, the author gives diagrams with quantitative characteristics of the distribution of digital content by the types and quantity of documents, as well as personalities of composers. The paper provides current links to resources and thematic portals created by libraries within the framework of sectoral collaboration.National and major public libraries collect and store documentary heritage, including musical collections, which differ by the type diversity of documents. Digital collections generated by libraries based on their own priorities and technical capabilities contribute to the physical preservation of documents. Digital music collections act as promoters of the great heritage of the classical music school, which has received recognition on the world musical Olympus. For the first time, the paper considers the combined heritage of the classical music school of the national and the largest German-language libraries of free access. Thanks to modern technologies of document digitisation, the use of thermographic camera (for reproducing filigree signs), creation of comfortable interface in language understandable to user, libraries expand the audience of researchers, going beyond the country, contribute to conducting scientific research in a remote format. Libraries are becoming a progressive, democratic platform and an equal partner of the world scientific community and at the same time receive additional funding for the implementation of the next ambitious projects.

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Khandamian, Victor, and Abdulaziz Khasanov. "Building a Library of Samples (Kontakt) of The Uzbek Traditional Dutar." Eurasian music science journal, no. 1 (May 30, 2021): 45–52. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/53.

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Sample libraries are one of the most popular music technologies in the modern world for the recreation of instruments in the digital environment.Sample library development is a rapidly growing branch of music technology. This article examines the stages of creating a library of a traditional Uzbek dutar. Particular attention is paid to methods for achieving realistic instrument sound in the digital field.

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Lampropoulou, Paraskevi S., Aristomenis S. Lampropoulos, and George A. Tsihrintzis. "Intelligent mobile content-based retrieval from digital music libraries." Intelligent Decision Technologies 3, no. 3 (October 9, 2009): 123–38. http://dx.doi.org/10.3233/idt-2009-0060.

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Lu, Meng, Du Pengcheng, and Song Yanfeng. "Digital Music Recommendation Technology for Music Teaching Based on Deep Learning." Wireless Communications and Mobile Computing 2022 (May 23, 2022): 1–8. http://dx.doi.org/10.1155/2022/1013997.

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With the rapid development of music streaming media service industry, users can easily hear any song on mobile devices. Internet has become a huge music storage platform. With the development of network and large-scale digital music industry, the acquisition and listening of music are presented to users in a more convenient way. How to find the music loved by users from the massive Internet digital music data has become the key problem and main goal to be solved in the field of music information retrieval. Personalized music recommendation system can accurately find and push songs that users may be interested in from tens of millions of huge music libraries according to users’ information under the condition that users only have vague demand for listening to songs. Relying on the traditional search method to find the music that you are interested in can no longer meet the needs of users, so the current music recommendation system needs to dig out the music that has no clear needs in the long tail to help people find their favorite songs.

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Hu, Xiao. "Evaluating mobile music services in China: An exploration in user experience." Journal of Information Science 45, no. 1 (March 19, 2018): 16–28. http://dx.doi.org/10.1177/0165551518762070.

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Most digital music repositories and services have mobile applications (apps) that facilitate convenient access for users via smartphones. Although China has one of the largest music listener populations in the world, there is little research evaluating Chinese online or mobile music services. To bridge this gap, this study evaluated mobile apps of three of the most popular Chinese music services from the user’s perspective, using usability testing and semi-structured interviews with a sample of active users in China. Nielsen’s 10 user experience heuristics and four criteria in recommender evaluation were examined. Results identified criteria that create a positive user experience, and those that need further improvement. This study contributes to the literature in user-centred evaluation in music information retrieval (MIR) and music digital libraries (MDL), and provides practical insights for music application design, use and evaluation.

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Lavranos, Charilaos. "Music librarianship and creativity." Library Management 39, no. 8/9 (November 12, 2018): 553–68. http://dx.doi.org/10.1108/lm-09-2017-0100.

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PurposeInternational Association of Music Libraries, Archives and Documentation Centres (IAML) aims to promote activities and cooperation between music libraries worldwide. IAML configures policies affecting to set up their working framework as well as music information services at national and international level. Furthermore, IAML’s function promotes the role of music libraries linking the cultural life of every place, fostering musical creativity. Therefore, the purpose of this paper is to present the crucial role of IAML’s function in enhancing musical creativity.Design/methodology/approachThe paper provides theoretical and practical issues on topics related to music information employed for musical creativity in the context of music librarianship. It presents the function of music information management organizations and especially that of IAML as a mechanism for enhancing musical creativity, and at the same time it discusses suggestions and practices for the interrelation between them. More specifically, it discusses perspectives about educational programs on information literacy for musical creativity, the enhancement of the digital presence of all musical trends (the long tail to the demand of music information services), the strengthening of the culture of openness to a wider scale and the use of music information management software, as well as the linkage and stimulation of synergies between music information management organizations for the benefit of various music communities.FindingsThe outcomes of the study set up a theoretical connection between music librarianship issues and musical creativity, in terms of identifying that musical creativity is directly linked to music information and to the operation of the music libraries, and it can also be influenced by the availability of music information services and the information profile of the musicians involved.Originality/valueThe significance and originality of the study should be emphasized since it is the first study providing theoretical and practical issues linking music librarianship with musical creativity.

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Morent, Stefan. "Zu einigen Aktivitäten der Digital Musicology auf dem Gebiet der Älteren Musik." Die Musikforschung 71, no. 4 (September 22, 2021): 358–65. http://dx.doi.org/10.52412/mf.2018.h4.294.

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This paper discusses some of the increasing activities in the field of digital musicology. The focus being on early music prior to 1600 doesn't mean that the questions and methods presented here can't be applied to other periods or to musicology in general. However, particularly early music seems to profit in a special way by the use of digital methods, especially in the fields of notation history, transmission of manuscripts and performance practice. The paper presents an overview over various projects, approaches and techniques that were developed in recent years or that are still under development. It covers the fields of music encoding and visualization, digital editing, reconstruction of manuscripts and libraries, of melodies and parts, of virtual sound spaces and historical tuning and how this will open up new horizons for research in early music history.

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Colvin, Jenny. "For Your Consideration: Models for Digital Music Distribution in Libraries." Music Reference Services Quarterly 13, no. 1-2 (May 28, 2010): 35–38. http://dx.doi.org/10.1080/10588167.2010.494425.

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Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.

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In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method, the piano sheet music feature matrix is extracted to get the piano sheet music multiplication frequency points and the envelope function needs to be extracted for better electronic synthesis of piano sheet music. The envelope function can represent the relationship between piano sound intensity and time change and finally achieve the recognition of the piano score. We extract the music information from the digital score, thus converting the music information into MIDI files, reconstructing the score, and providing an audio carrier for the score transmission. The experimental results show that the system has a correct rate of 94.4% in extracting music information from piano scores, which can meet the needs of practical applications and provide a new way for music digital libraries, music education, and music theory analysis.

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Ceriani, Davide. "Internet culturale: Catalogs and Digital Collections of Italian Libraries – Addendum." Nineteenth-Century Music Review 16, no. 01 (September 18, 2018): 173. http://dx.doi.org/10.1017/s1479409818000459.

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Free, David. "News from the Field." College & Research Libraries News 81, no. 8 (September 3, 2020): 370. http://dx.doi.org/10.5860/crln.81.8.370.

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Apply for ACRL 2021 scholarships by October 9SDSU acquires “game-changing” music collectionCLIR, Stanford Libraries announce Digital Library of the Middle EastGetty Publications joins Project MUSEProQuest adds audio descriptions to video collectionsGOBI Library Solutions from EBSCO partners with Books at JSTORThe MIT Press launches Rapid Reviews: COVID-19

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Ávila Torres, Víctor. "Selling digital music, formatting culture." Information, Communication & Society 22, no. 12 (March 27, 2019): 1848–51. http://dx.doi.org/10.1080/1369118x.2019.1598136.

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Brinegar, Justin, and Robert Capra. "Understanding personal digital music collections." Proceedings of the American Society for Information Science and Technology 47, no. 1 (November 2010): 1–2. http://dx.doi.org/10.1002/meet.14504701378.

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Funtenberger, Verena. "German Music Libraries in the Age of Digital Transformation—Challenges and Perspectives." Fontes Artis Musicae 64, no. 1 (2017): 86–91. http://dx.doi.org/10.1353/fam.2017.0009.

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Watson, Elizabeth F. "From drum to digital: popular music collections in libraries – a Bajan1 perspective." New Review of Libraries and Lifelong Learning 4, no. 1 (January 2003): 5–25. http://dx.doi.org/10.1080/1468994042000240197.

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Lemmers, Frédéric. "Digitizing Sound Archives at Royal Library of Belgium." Bibliothek Forschung und Praxis 42, no. 2 (June 1, 2018): 263–71. http://dx.doi.org/10.1515/bfp-2018-0035.

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Abstract Music in general and recorded music in particular are rarely a priority for libraries’ digitization policies, although wax cylinders and 78rpm discs might be digitized for preservation and accessibility reasons. The respect of the original recording technique during the digitization process will ensure the scientific and artistic credibility of the digitized sources. The Royal Library of Belgium started in 2016 the digitization of its whole collection of 78rpm. Realized by subcontracting, this project of about 4,000 hours will constitute a large corpus of sources for the digital musicology upcoming needs.

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Valera, Adrián, Álvaro Lozano Murciego, and María N. Moreno-García. "Context-Aware Music Recommender Systems for Groups: A Comparative Study." Information 12, no. 12 (December 7, 2021): 506. http://dx.doi.org/10.3390/info12120506.

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Nowadays, recommender systems are present in multiple application domains, such as e-commerce, digital libraries, music streaming services, etc. In the music domain, these systems are especially useful, since users often like to listen to new songs and discover new bands. At the same time, group music consumption has proliferated in this domain, not just physically, as in the past, but virtually in rooms or messaging groups created for specific purposes, such as studying, training, or meeting friends. Single-user recommender systems are no longer valid in this situation, and group recommender systems are needed to recommend music to groups of users, taking into account their individual preferences and the context of the group (when listening to music). In this paper, a group recommender system in the music domain is proposed, and an extensive comparative study is conducted, involving different collaborative filtering algorithms and aggregation methods.

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Free, David. "News from the Field." College & Research Libraries News 80, no. 3 (March 4, 2019): 130. http://dx.doi.org/10.5860/crln.80.3.130.

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The March digital exhibit at University of OregonNevada State Library launches virtual reality cataloging projectIDEAL ’19: Advancing Inclusion, Diversity, Equity, and Accessibility in Libraries and ArchivesACRL information literacy programs, special collections security guidelines revisedFive librarians selected as 2019 IFLA/OCLC FellowsOASIS adds Project MUSE ebooksRecent Researches in Music OnlineEBSCO acquires StacksPALNI, WRLC, PALCI collaborate on IR solutionsProQuest One Academic debuts

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Szeto, Kimmy. "The Roles of Academic Libraries in Shaping Music Publishing in the Digital Age." Library Trends 67, no. 2 (2018): 303–18. http://dx.doi.org/10.1353/lib.2018.0038.

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Kabongo, Jonathan, Craig Arthur, and Freddy Paige. "Dusty & Digital Media Literacy Workshops." International Journal of Information, Diversity, & Inclusion (IJIDI) 6, no. 1/2 (May 6, 2022): 64–78. http://dx.doi.org/10.33137/ijidi.v6i1.37118.

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Digging in the Crates: Hip Hop Studies at Virginia Tech, or VTDITC, is a pedagogical model that exists to foster a sense of community among artists, fans, and scholars. Based in our campus’ main library, we hope to model that students’ and community members’ personal interests are worthy of academic study and further establish Hip Hop Studies’ presence at Virginia Tech, the academy, and in the larger community. To that end, the VTDITC community has designed, taught, and assessed more than 150 community-based media literacy workshops over the past half decade. We have demonstrated, explained, and created opportunities for a wide variety of learners to experience the science, technology, engineering, art, and mathematics inherent to the hip hop culture. We have learned alongside a diversity of audiences—from elementary school children to adults. To name just a few of our partner organizations, we have worked with the 4H Virginia Congress, the Boys & Girls Clubs of Southwest Virginia, Higher Achievement, Inc., a variety of public libraries including our regular collaborator Roanoke Public Libraries, the Science Museum of Western Virginia, Virginia’s Summer Residential Governor's School for Humanities, and the West End Center for Youth. In our contribution to The Global Drumbeat: Permeations of Hip Hop across Diverse Information Worlds, we will outline and explain an example lesson plan from one of our workshops. We will provide our learning outcomes as well as our assessment plan. Additionally, we will detail the theoretical underpinnings and guiding principles that inform our pedagogical decision making. Our workshops take a hands-on, practitioner-minded, and co-creation approach to teaching media literacy. Inasmuch, this contribution will also provide a recommended list of music creation equipment and other appropriate classroom technology that will accommodate a variety of budgets. Furthermore, we will include several promising practices and recommendations gained from more than 50 years of collective experience creating hip hop music and 10 years of collective experience teaching the hip hop arts. Our hope is that this contribution will inspire other library workers and educators to remix our workshops to suit the needs of their communities.

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Wakimoto, Diana K. "Younger Adults Derive Pleasure and Utilitarian Benefits from Browsing for Music Information Seeking in Physical and Digital Spaces." Evidence Based Library and Information Practice 7, no. 3 (September 12, 2012): 92. http://dx.doi.org/10.18438/b8dg7z.

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Objective – This study’s objective was to identify the utilitarian and hedonic features of satisfying music information seeking experiences from the perspective of younger adults when using physical and digital music information retrieval (MIR) systems in their daily lives. Design – In-depth, semi-structured interviews. Setting – Large public library in Montreal, Canada. Subjects – 15 French-speaking younger adults, 10 males and 5 females (aged 18 to 29 years, mean age of 24 years). Methods – A pre-test was completed to test the interview guide. The guide was divided into five sections asking the participants questions about their music tastes, how music fit into their daily lives, how they discovered music, what music information sources were used and how they were used, what made their experiences satisfying, and their biographical information. Participants were recruited between April 1, 2006 and August 8, 2007 following maximum variation sampling for the main study. Recruitment stopped when data saturation was reached and no new themes arose during analysis. Interviews were recorded and the transcripts were analyzed via constant comparative method (CCM) to determine themes and patterns. Main Results – The researchers found that both utilitarian and hedonic factors contributed to satisfaction with music information seeking experiences for the young adults. Utilitarian factors were divided between two main categories: finding music and finding information about music. Finding information about music could be further divided into three sub-categories: increasing cultural knowledge and social acceptance through increased knowledge about music, enriching the listening experience by finding information about the artist and the music, and gathering information to help with future music purchases including information that would help the participants recommend music to others. Hedonic outcomes that contributed to satisfying information seeking experiences included deriving pleasure and feeling engaged while searching or browsing for music. Especially satisfying experiences were those where the participants felt highly engaged in the process and found new, independent, non-mainstream music. Not finding new music did not automatically lead to an unsatisfying experience for the participants; however, technology malfunctions in digital MIR systems and unpleasant environments such as those with unfriendly staff in physical music spaces (libraries and stores), led to unsatisfying experiences for the participants. Conclusions – As the results show that the hedonic aspects of music information seeking are very important, designers of MIR systems must take into account the hedonic as well as utilitarian outcomes when creating user interfaces. MIR systems should be designed with browsing as well as searching capabilities so searchers can make serendipitous discoveries of new music and information about music. In other words, MIR systems need to be engaging to ensure satisfying interactions for searchers.

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Oramas, Sergio, and Mohamed Sordo. "Knowledge Is Out There: A New Step in the Evolution of Music Digital Libraries." Fontes Artis Musicae 63, no. 4 (2016): 285–98. http://dx.doi.org/10.1353/fam.2016.0035.

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Im, Hyunsuk, Haeyeop Song, and Jaemin Jung. "The effect of streaming services on the concentration of digital music consumption." Information Technology & People 33, no. 1 (June 7, 2019): 160–79. http://dx.doi.org/10.1108/itp-12-2017-0420.

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Purpose The purpose of this paper is to articulate whether consumers’ use of music via streaming service benefits niche products and diversified consumption of music. It examines does winner take all or is long tail achieved in the digital music market. Design/methodology/approach To investigate the degree of concentration in the digital music sales, this study measures multiple concentration metrics using the top 100 songs for 245 weeks listed on the Korean music ranking chart. Findings Conflicting results are found between the analyses based on short-run and long-run data. When sales distributions are compared weekly or monthly, the results show that streaming services have a less concentrated sales distribution than download services. However, the result becomes the opposite in the long-run analysis (i.e. one year). Originality/value This study proposes that the non-technological drivers such as the beneficial addiction of music consumption can be a crucial driver affecting the usage concentration in music industry, coupled with the royalty policy of access-based services.

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Dhaenens, Frederik, and Jean Burgess. "‘Press play for pride’: The cultural logics of LGBTQ-themed playlists on Spotify." New Media & Society 21, no. 6 (October 30, 2018): 1192–211. http://dx.doi.org/10.1177/1461444818808094.

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This article explores the cultural practice of creating lesbian, gay, bisexual, transgender, and queer (LGBTQ)-themed playlists on music streaming services. It aims to understand how LGBTQ identities and cultures are represented and negotiated through the use of, and shaped by, digital media platforms. Through the textual analysis of 37 LGBTQ-themed Spotify playlists, we identified four cultural logics that structure the practice of playlist curation, each of which demonstrates the significance of music consumption to individual identity work and collective belonging. We conclude that the practice of playlist curation engages with LGBTQ culture in three productive ways: first, the curators contribute to a library of libraries by sharing their diverse perspectives on what constitutes LGBTQ music culture; second, the Spotify platform engages in community-building through enabling the sharing of tastes, pleasures, and experiences; and third, the curation of playlists brings diverse identity politics to the table, resulting in playlists that are politically queer, heteronormative, or ideologically ambiguous.

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Lutz, Marilyn. "The Maine music box: a pilot project to create a digital music library." Library Hi Tech 22, no. 3 (September 2004): 283–94. http://dx.doi.org/10.1108/07378830410560080.

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Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.

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Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.

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Wang, Chaokun, Jianzhong Li, and Shengfei Shi. "The design and implementation of a digital music library." International Journal on Digital Libraries 6, no. 1 (February 2006): 82–97. http://dx.doi.org/10.1007/s00799-005-0125-0.

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Pierce, Pamela. "Livin’ Like Jagger: The Hardcore Life of a Digitizing Librarian." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 17, no. 1 (March 1, 2016): 47–49. http://dx.doi.org/10.5860/rbm.17.1.458.

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I watched a little too much VH1 as a kid during summers in “It’s a dry heat” Tucson, Arizona: countdowns of the 100 greatest rock songs known to man, tales of sordid behind-the-music history, and “best weeks ever” that read like a grocery store checkout magazine with better humor. Mick Jagger entered into the VH1 programming about every other day. To be clear, he’s not my role model. I’m the digital library coordinator and archivist for the Theodore Roosevelt Center at Dickinson State University. I love the academic world and I’m the ultimate bookworm. I have a personal archive of . . .

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De Pra, Yuri, and Federico Fontana. "Programming Real-Time Sound in Python." Applied Sciences 10, no. 12 (June 19, 2020): 4214. http://dx.doi.org/10.3390/app10124214.

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For its versatility, Python has become one of the most popular programming languages. In spite of its possibility to straightforwardly link native code with powerful libraries for scientific computing, the use of Python for real-time sound applications development is often neglected in favor of alternative programming languages, which are tailored to the digital music domain. This article introduces Python as a real-time software programming tool to interested readers, including Python developers who are new to the real time or, conversely, sound programmers who have not yet taken this language into consideration. Cython and Numba are proposed as libraries supporting agile development of efficient software running at machine level. Moreover, it is shown that refactoring few critical parts of the program under these libraries can dramatically improve the performances of a sound algorithm. Such improvements can be directly benchmarked within Python, thanks to the existence of appropriate code parsing resources. After introducing a simple sound processing example, two algorithms that are known from the literature are coded to show how Python can be effectively employed to program sound software. Finally, issues of efficiency are mainly discussed in terms of latency of the resulting applications. Overall, such issues suggest that the use of real-time Python should be limited to the prototyping phase, where the benefits of language flexibility prevail on low latency requirements, for instance, needed during computer music live performances.

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Waters, James, and Robert B. Allen. "Music Metadata in a New Key: Metadata and Annotation for Music in a Digital World." Journal of Library Metadata 10, no. 4 (November 17, 2010): 238–56. http://dx.doi.org/10.1080/19386389.2010.524863.

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Samples, Mark C. "Selling Digital Music, Formatting Culture by Jeremy Wade Morris." Music Reference Services Quarterly 19, no. 3-4 (October 2016): 256–58. http://dx.doi.org/10.1080/10588167.2016.1235925.

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김지현. "Characteristics and Use of Digital Music Archives in National libraries of the U.S., Canada and Australia." journal of Ewha Music Research Institute 19, no. 2 (September 2015): 107–26. http://dx.doi.org/10.17254/jemri.2015.19.2.005.

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Duggan, Bryan, and Brendan O'Shea. "Tunepal: searching a digital library of traditional music scores." OCLC Systems & Services: International digital library perspectives 27, no. 4 (October 31, 2011): 284–97. http://dx.doi.org/10.1108/10650751111182597.

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Webster, Jack. "The production and consumption of music in the digital age." Information, Communication & Society 20, no. 12 (November 17, 2016): 1837–38. http://dx.doi.org/10.1080/1369118x.2016.1259345.

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Dubnjakovic, Ana. "Navigating Digital Sheet Music on the Web: Challenges and Opportunities." Music Reference Services Quarterly 12, no. 1-2 (June 2009): 3–15. http://dx.doi.org/10.1080/10588160902894972.

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Carpenter, Bob. "MIDI (Musical Instrument Digital Interface) Technology in Music Education." Computers in the Schools 7, no. 4 (March 19, 1991): 75–82. http://dx.doi.org/10.1300/j025v07n04_04.

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Marcum, Deanna. "The Digital Transformation of Information, Education, and Scholarship." International Journal of Humanities and Arts Computing 8, supplement (March 2014): 1–11. http://dx.doi.org/10.3366/ijhac.2014.0095.

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Digital technology has profoundly altered nearly every aspect of our lives. The little iPhone we carry in our pocket or purse connects us with those we know and love, while also connecting us to news channels, daily newspapers, music, television, movies, this afternoon's weather, and much more. We should expect that same digital technology that is now nearly ubiquitous to have similarly dramatic effects on information, education,and scholarship. This paper explores the changes in expectations that faculty and students have for gaining access to digital information, and how librarians are responding to those expectations. The online learning landscape is changing rapidly, and and institutions of higher education are responding to a system that was designed to be delivered directly to students. Although online learning systems are regularly discussed in the media, there continues to be a dearth of hard evidence about the efficacy of these sytems. Finally, the paper takes a look at the scholarly enterprise, ietsef. After a century or more of the ‘sage on stage’ teaching model and the lone scholar alone in his office or laboratory doing research, these methods have been dramatically influenced by digital technology. These changes wrought by digital technology compel libraries, faculty, and universities to consider collaborative and consortial approaches to providing services and improving the scholarly enterprise.

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Pereira, Adrian Estrela, Daria Borodina, Pedro A. Dias, Do T. Dung, Irênio C. P. Coelho, and György Mészáros. "MIDI in Formal Music Education: Reflections on the Application of MIDI-Oriented Tools in Traditional Teaching and Learning Processes." Journal of e-learning Research 1, no. 3 (July 24, 2022): 44–60. http://dx.doi.org/10.33422/jelr.v1i3.87.

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Since 1983, with the release of the MIDI protocol, new resources have been developed for musical editing, composition, arrangement and performance. Due to the growing expansion of computers’ storage and processing capacities, it has also been possible to increase the quality and specificity of sample libraries. In this context, the following work reflects on possible educational impacts of the research which investigate different audiences’ perceptions regarding audios recorded by drummers’ performances and by MIDI tools. Supported by the respondents’ perceptions, the general aim of this paper is to reflect on the challenges for the application of MIDI-oriented approaches in formal teaching and learning music processes. Excerpted from this, four specific aims can be drawn: 1) to present the basic elements of sampling and MIDI protocol; 2) to systematically and pedagogically describe the procedures employed in the process of sequencing the selected drummers’ performances; 3) to apply quality-assessment questionnaires for the sequencing-generated audios; 4) to reflect on the connections between the questionnaires’ results and the use of MIDI in formal music education contexts. Pursuing these aims, the current investigation employs qualitative and quantitative methods to gather the data, to analyze the materials and to develop the knowledge that will guide the proposed discussions. It is defended that the employment of MIDI resources in music education can be beneficial not only for the development of knowledge connected with digital and modern technologies but also for the improvement of traditionally pursued music competences.

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Menoche, Charles. "Music Engraving Today: The Art and Practice of Digital Notesetting (review)." Notes 59, no. 4 (2003): 911–12. http://dx.doi.org/10.1353/not.2003.0069.

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Kaczmarek-Templin, Berenika. "Unclear Status of Digital Content in Polish Consumer Rights Regulation." Masaryk University Journal of Law and Technology 9, no. 2 (September 30, 2015): 85–93. http://dx.doi.org/10.5817/mujlt2015-2-5.

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This paper aims to focus on the influence of the new consumer rights directive (2011/83/UE) on polish law. Till now there was not any regulation of electronic commerce, which deals with digital content, although music, movie and book single sales are mostly digital downloads. Regarding to polish Civil Code and the other acts, it has never been defined what the digital content is, it has never been resolved weather it is the product or the service.

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Roberts, Charles, Graham Wakefield, Matthew Wright, and JoAnn Kuchera-Morin. "Designing Musical Instruments for the Browser." Computer Music Journal 39, no. 1 (March 2015): 27–40. http://dx.doi.org/10.1162/comj_a_00283.

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Native Web technologies provide great potential for musical expression. We introduce two JavaScript libraries towards this end: Gibberish.js, providing heavily optimized audio DSP, and Interface.js, a GUI toolkit that works with mouse, touch, and motion events. Together they provide a complete system for defining musical instruments that can be used in both desktop and mobile Web browsers. Interface.js also enables control of remote synthesis applications via a server application that translates the socket protocol used by Web interfaces into both MIDI and OSC messages. We have incorporated these libraries into the creative coding environment Gibber, where we provide mapping abstractions that enable users to create digital musical instruments in as little as a single line of code. They can then be published to a central database, enabling new instruments to be created, distributed, and run entirely in the browser.

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Maple, Amanda, and Tona Henderson. "Prelude to a Digital Music Library at the Pennsylvania State University." Library Resources & Technical Services 44, no. 4 (October 1, 2000): 190–95. http://dx.doi.org/10.5860/lrts.44n4.190.

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Kostagiolas, Petros A., Charilaos Lavranos, Nikolaos Korfiatis, Joseph Papadatos, and Sozon Papavlasopoulos. "Music, musicians and information seeking behaviour." Journal of Documentation 71, no. 1 (January 12, 2015): 3–24. http://dx.doi.org/10.1108/jd-07-2013-0083.

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Purpose – The purpose of this paper is to examine information seeking behaviour targeted to music information seeking by amateur musicians, accompanied with empirical evidence from a survey on a community concert band. While several studies in the literature have examined information seeking in the context of hedonic motives (e.g. entertainment oriented), music information can also be used for utilitarian purposes by providing amateur musicians the necessary tools to improve their skill and become better in their practice. Design/methodology/approach – A review of the literature on music information seeking and an empirical study on members of an amateur concert band are presented. The theoretical construct of the survey is informed by Wilsons’ macro model of information seeking behaviour. This is employed in order to understand information motives and needs, as well as obstacles in information seeking of musicians. Findings – Musicians seek information not only for entertainment but for educational purposes as well as for the acquisition of certain music works. The use of the internet for information seeking as well as the gradual adoption of online social networks has provided access to new musical resources within the digital music networks. Originality/value – A person-centred approach for information seeking behaviour is studied and adapted for musicians. The survey provides new information behaviour results for designers of music information spaces which in turn are creating a new model of the relationship between music and society.

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Ward, Jennifer A. "Documenting Historical Printed Music in RISM: New Opportunities for the Digital Age." Notes 77, no. 1 (2020): 9–32. http://dx.doi.org/10.1353/not.2020.0059.

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de la Fuente, Carlos, Jose J. Valero-Mas, Francisco J. Castellanos, and Jorge Calvo-Zaragoza. "Multimodal image and audio music transcription." International Journal of Multimedia Information Retrieval 11, no. 1 (November 11, 2021): 77–84. http://dx.doi.org/10.1007/s13735-021-00221-6.

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AbstractOptical Music Recognition (OMR) and Automatic Music Transcription (AMT) stand for the research fields that aim at obtaining a structured digital representation from sheet music images and acoustic recordings, respectively. While these fields have traditionally evolved independently, the fact that both tasks may share the same output representation poses the question of whether they could be combined in a synergistic manner to exploit the individual transcription advantages depicted by each modality. To evaluate this hypothesis, this paper presents a multimodal framework that combines the predictions from two neural end-to-end OMR and AMT systems by considering a local alignment approach. We assess several experimental scenarios with monophonic music pieces to evaluate our approach under different conditions of the individual transcription systems. In general, the multimodal framework clearly outperforms the single recognition modalities, attaining a relative improvement close to $$40\%$$ 40 % in the best case. Our initial premise is, therefore, validated, thus opening avenues for further research in multimodal OMR-AMT transcription.

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Padron, Marcos Fragomeni, Fernando William Cruz, and Juliana Rocha de Faria Silva. "Extending the IFLA Library Reference Model for a Brazilian popular music digital library." International Journal on Digital Libraries 21, no. 3 (January 31, 2020): 289–306. http://dx.doi.org/10.1007/s00799-020-00277-5.

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