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Littérature scientifique sur le sujet « Music digital librarie »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Music digital librarie"

Hu, Xiao, et Jin Ha Lee. « Towards global music digital libraries ». Journal of Documentation 72, n^o 5 (12 septembre 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 et Ian H. Witten. « Searching digital music libraries ». Information Processing & ; Management 41, n^o 1 (janvier 2005) : 41–56. http://dx.doi.org/10.1016/j.ipm.2004.04.001.

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Fujinaga, Ichiro. « Distributed digital music archives and libraries ». Journal of the Acoustical Society of America 118, n^o 3 (septembre 2005) : 2031. http://dx.doi.org/10.1121/1.4785792.

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Fournet, Adele. « Bit Rosie : A Case Study in Transforming Web-Based Multimedia Research into Digital Archives ». American Archivist 84, n^o 1 (1 mars 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, n^o 3 (9 septembre 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, et Abdulaziz Khasanov. « Building a Library of Samples (Kontakt) of The Uzbek Traditional Dutar ». Eurasian music science journal, n^o 1 (30 mai 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 et George A. Tsihrintzis. « Intelligent mobile content-based retrieval from digital music libraries ». Intelligent Decision Technologies 3, n^o 3 (9 octobre 2009) : 123–38. http://dx.doi.org/10.3233/idt-2009-0060.

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Lu, Meng, Du Pengcheng et Song Yanfeng. « Digital Music Recommendation Technology for Music Teaching Based on Deep Learning ». Wireless Communications and Mobile Computing 2022 (23 mai 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, n^o 1 (19 mars 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, n^o 8/9 (12 novembre 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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Thèses sur le sujet "Music digital librarie"

SIMONETTA, FEDERICO. « MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS ». Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach

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Kriesel, Verena [Verfasser]. « Music Synchronization, Audio Matching, Pattern Detection, and User Interfaces for a Digital Music Library System / Verena Kriesel ». Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1044971363/34.

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Brook, Julia. « An on-line digital video library of piano teaching : A case study with five teachers ». Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27572.

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Professional development is an integral part of one's career, providing opportunities for growth, reflection, and improving practices. In the field of piano pedagogy, most teachers work independently, often providing instruction from their home, therefore finding appropriate professional development opportunities may be limited by proximity (both in terms of time and physical distance) as well as financial constraints. To meet this need, an on-line digital video library of piano teaching (DVL) was developed and a multiple-case-study methodology was employed to examine the experiences of five piano teachers as they interacted with this tool for four weeks. Findings from this study indicated that viewing the DVL was a beneficial professional development activity, which facilitated teacher learning that could be immediately carried over into their teaching situation resulting in increased student success. Keywords. professional development, piano pedagogy, digital video library, asynchronous distance education

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Belvin, Dena L. « Facilitating Retrieval of Sound Recordings for Use By Professionals Treating Children with Asperger's Syndrome ». Thesis, School of Information and Library Science, 2007. http://hdl.handle.net/1901/432.

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Since the 1970s, music librarians have been discussing the challenges of cataloging music media. In the 1990s, they began work on a Music Thesaurus to provide a multi-faceted approach to indexing, cataloging, and retrieving music media. In 1999 Indiana University proposed a digital music library, to allow for better indexing and retrieval in addition to content-based music retrieval. In 2000, a commercial venture, The Music Genome Project ©, began cataloging sound recordings of popular music by hundreds of musical characteristics and has created a user interface that allows listeners to enter the title and artist of a certain piece of music and receive recommendations for similar music to then purchase via Pandora.com. The following paper will address the question: how might current analyzing and classifying methods be used to provide additional indexing that facilitates retrieval and use of sound recordings by special populations, specifically professionals treating children with Asperger’s syndrome?

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Meijer, Helmut. « Research into and design of a digital sound sample library for acoustic drums ». Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16388.

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Thesis (M.Phil.)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale behind the sampling of a drum kit is carefully depicted in the light of various other factors influencing the instrument, as well as being influenced by the instrument itself. A professional drummer was engaged to play a state-of-the art Gretsch acoustic drum kit. Samples of the kit, consisting of various individual instrument parts, were recorded in three locations within the Konservatorium of Stellenbosch University, for reasons carefully explained in the text. These numerous drum hits were mixed and cut into individual drum samples. The samples were mapped into a digital software sampler, GigaStudio, creating five distinct collections of drum samples that faithfully represent the quality of the drum kit, the recording rooms as well as the equipment used in the process. The outcome of the study is a professional product in the form of a Gretsch drum sample collection, prepared for commercial release. Many of the drum samples have already been used successfully in commercial music releases over the past 12 months. Whilst the drum sample library is currently being published, the product and documentation clearly depict the viability of the study in terms of the artistic and academic expectations that have been met. The study anticipates future research on the subject.
AFRIKAANSE OPSOMMING: Klankbiblioteke heet die formaat waarin versamelings van klankmonsters beskikbaar gestel word vir gebruik in digitale samplers1 en/of ander digitale klankprogrammatuur. Nieteenstaande die feit dat klankbiblioteke reeds jare in gebruik is, is geen studie waarin die ontwerp en saamstel van so ‘n biblioteek beskryf word, bekend nie. In hierdie navorsingsprojek word die faktore wat die ontwerp, opneem en vrystelling van ‘n klankbiblioteek beïnvloed bestudeer deur die skep van so ‘n biblioteek. Die oorwegings vir die keuse van ‘n tromstel is noukeurig uiteengesit in die lig van die faktore wat betrekking het tot, en wederkerig beïnvloed is deur die instrument en opname-omgewing. ‘n Professionele tromspeler is vir die projekdoeleindes gekontrakteer om ‘n Gretsch akoestiese tromstel te speel. Klankmonsters van die tromstel se individuele komponente is in drie lokale binne die Konservatorium van die Universiteit van Stellenbosch opgeneem, met redes soos uiteengestip in die teks. Klankopnames van die talle tromslae is gemeng en opgesny in individuele klankmonsters. Laasgenoemde is in GigaStudio, ‘n digitale sagteware sampler, gekarteer sodat vyf duidelik-onderskeibare klankveramelings geskep is. Hierdie versamelings lig die kwaliteit van die tromstel asook die verskeie opnamelokale en toerusting wat gebruik is duidelik uit. Die resultaat van die studie is ‘n professionele produk in die vorm van ‘n Gretsch kommersiële klankbiblioteek, waarvan verskeie klankmonsters reeds oor die afgelope 12 maande in plaaslike musiekvrystellings gebruik is. Hoewel die klankbiblioteek huidiglik vrygestel word, toon die produk en dokumentasie duidelik die artistiese en tegniese waardigheid van die studie. Die studie antisipeer toekomstige navorsings-moontlikhede wat uit die onderwerp mag voortspruit.

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Damm, David [Verfasser]. « A Digital Library Framework for Heterogeneous Music Collections : from Document Acquisition to Cross-Modal Interaction / David Damm ». Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1044971967/34.

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Häll, Jörgen. « From Sound to Score : A search for a post-genre compositional process ». Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68859.

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In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.

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Bicher, Katrin, et Barbara Wiermann. « Normdaten zu „Werken der Musik“ und ihr Potenzial für die digitale Musikwissenschaft ». De Gruyter, 2018. https://slub.qucosa.de/id/qucosa%3A36381.

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Der Aufsatz diskutiert Normdaten zu musikalischen Werken in der GND und erörtert Möglichkeiten ihrer (Nach-)Nutzung in bibliothekarischen und musikwissenschaftlichen Kontexten. Herausforderungen sowohl des theoretischen Konzepts als der praktischen Umsetzung werden benannt und das Potenzial der in den Normdaten enthaltenen Informationen wird aufgezeigt.
The paper discusses conceptual matters and implementation practices for authority information for musical works in the German authority file (GND). Options of re-use of the authority data in libraries as well as in musicological contexts are introduced. Challenges of theoretical concepts as well as practical realization are shown and potentials of information included in authority files are demonstrated.

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Kim, Jeong Ah. « Study on developing a potential way-finding map design of an iPhone & ; iPod web application for Rochester Institute of Technology (RIT) Library / ». Online version of thesis, 2010. http://hdl.handle.net/1850/11752.

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Rytinki, M. (Markus). « Musiikkialan tekijänoikeuksien kesto, ansaintalogiikat ja digitaalisen aineiston saatavuus internetissä ». Doctoral thesis, Oulun yliopisto, 2018. http://urn.fi/urn:isbn:9789526221182.

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Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland. The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki. The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services
Tiivistelmä Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa. Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista. Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen

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Livres sur le sujet "Music digital librarie"

Audio and video equipment basics for libraries. Lanham, MD : Scarecrow Press, 2007.

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Farrington, Jim. Audio and video equipment basics for libraries. Lanham, Md : Scarecrow Press, 2006.

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Connolly, Matthew, et Tony Cosgrave. Using Iphones, Ipads, and Ipods : A Practical Guide for Librarians. Rowman & Littlefield Publishers, Incorporated, 2014.

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Using iPhones, iPads, and iPods : A Practical Guide for Librarians. Lanham, MD : Rowman and Littlefield Publishers, 2014.

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Connolly, Matthew, et Tony Cosgrave. Using Iphones, Ipads, and Ipods : A Practical Guide for Librarians. Rowman & Littlefield Publishers, Incorporated, 2014.

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Chapitres de livres sur le sujet "Music digital librarie"

Bainbridge, David, Michael Dewsnip et Ian Witten. « Searching Digital Music Libraries ». Dans Lecture Notes in Computer Science, 129–40. Berlin, Heidelberg : Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-36227-4_13.

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Pinto, J. Caldas, P. Vieira, M. Ramalho, M. Mengucci, P. Pina et F. Muge. « Ancient Music Recovery for Digital Libraries ». Dans Research and Advanced Technology for Digital Libraries, 24–34. Berlin, Heidelberg : Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-45268-0_3.

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Clausen, Michael, Frank Kurth, Meinard Müller et Andreas Ribbrock. « Content-Based Retrieval in Digital Music Libraries ». Dans Research and Advanced Technology for Digital Libraries, 292–303. Berlin, Heidelberg : Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30230-8_27.

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Cunningham, Sally Jo, David Bainbridge et Annette Bainbridge. « Exploring Personal Music Collection Behavior ». Dans Digital Libraries : Data, Information, and Knowledge for Digital Lives, 295–306. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-70232-2_25.

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Wang, Chaokun, Jianzhong Li et Shengfei Shi. « HIT-DML : A Novel Digital Music Library ». Dans Digital Libraries : Technology and Management of Indigenous Knowledge for Global Access, 265–74. Berlin, Heidelberg : Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-24594-0_25.

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Liem, Cynthia C. S. « From Water Music to ‘Underwater Music’ : Multimedia Soundtrack Retrieval with Social Mass Media Resources ». Dans Research and Advanced Technology for Digital Libraries, 227–38. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-43997-6_18.

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Rauber, Andreas, et Markus Frühwirth. « Automatically Analyzing and Organizing Music Archives ». Dans Research and Advanced Technology for Digital Libraries, 402–14. Berlin, Heidelberg : Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44796-2_34.

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Baum, Doris, et Andreas Rauber. « Emotional Descriptors for Map-Based Access to Music Libraries ». Dans Digital Libraries : Achievements, Challenges and Opportunities, 370–79. Berlin, Heidelberg : Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11931584_40.

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Miotto, Riccardo, Nicola Montecchio et Nicola Orio. « Content-Based Cover Song Identification in Music Digital Libraries ». Dans Communications in Computer and Information Science, 195–204. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15850-6_19.

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Yoon, Won-Jung, Kang-Kue Lee, Kyu-Sik Park et Hae-Young Yoo. « Automatic Classification of Western Music in Digital Library ». Dans Digital Libraries : Implementing Strategies and Sharing Experiences, 293–300. Berlin, Heidelberg : Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11599517_33.

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Actes de conférences sur le sujet "Music digital librarie"

Abdula, Ghaleb. « Session details : Music digital libraries ». Dans JCDL02 : Joint Conference on Digital Libraries 2002. New York, NY, USA : ACM, 2002. http://dx.doi.org/10.1145/3247745.

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Byrd, Donald. « Music-notation searching and digital libraries ». Dans the first ACM/IEEE-CS joint conference. New York, New York, USA : ACM Press, 2001. http://dx.doi.org/10.1145/379437.379662.

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Bainbridge, David, Gerry Bernbom, Mary Wallace, Andrew P. Dillon, Matthew Dovey, Jon W. Dunn, Michael Fingerhut, Ichiro Fujinaga et Eric J. Isaacson. « Digital music libraries - research and development ». Dans the first ACM/IEEE-CS joint conference. New York, New York, USA : ACM Press, 2001. http://dx.doi.org/10.1145/379437.379765.

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Ehmann, Andreas F., Mert Bay, J. Stephen Downie, Ichiro Fujinaga et David De Roure. « Exploiting music structures for digital libraries ». Dans Proceeding of the 11th annual international ACM/IEEE joint conference. New York, New York, USA : ACM Press, 2011. http://dx.doi.org/10.1145/1998076.1998195.

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Downie, J. Stephen, et Xiao Hu. « Review mining for music digital libraries ». Dans the 6th ACM/IEEE-CS joint conference. New York, New York, USA : ACM Press, 2006. http://dx.doi.org/10.1145/1141753.1141796.

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Viglianti, Raffaele. « The Music Addressability API ». Dans DLfM 2016 : 3rd International Digital Libraries for Musicology workshop. New York, NY, USA : ACM, 2016. http://dx.doi.org/10.1145/2970044.2970056.

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Liem, Cynthia C. S. « Music in newspapers ». Dans DLfM '18 : 5th International Conference on Digital Libraries for Musicology. New York, NY, USA : ACM, 2018. http://dx.doi.org/10.1145/3273024.3273032.

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De Roure, David, Graham Klyne, Kevin R. Page, John P. N. Pybus et David M. Weigl. « Music and Science ». Dans DLfM '15 : 2nd International Workshop on Digital Libraries for Musicology. New York, NY, USA : ACM, 2015. http://dx.doi.org/10.1145/2785527.2785530.

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Stoessel, Jason, Denis Collins et Scott Bolland. « Using Optical Music Recognition to Encode 17th-Century Music Prints ». Dans DLfM '20 : 7th International Conference on Digital Libraries for Musicology. New York, NY, USA : ACM, 2020. http://dx.doi.org/10.1145/3424911.3425517.

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McNab, Rodger J., Lloyd A. Smith, Ian H. Witten, Clare L. Henderson et Sally Jo Cunningham. « Towards the digital music library ». Dans the first ACM international conference. New York, New York, USA : ACM Press, 1996. http://dx.doi.org/10.1145/226931.226934.

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Rapports d'organisations sur le sujet "Music digital librarie"

Kerrigan, Susan, Phillip McIntyre et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Kerrigan, Susan, Phillip McIntyre et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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