Archive of Digital Applications in Musicology (ADAM)

UNDER DEVELOPMENT

The aim of ADAM is to preserve information about projects in digital musicology that were ground-breaking in their time but lack a substantial online presence. Projects end for a variety of reasons—discontinuation of funding, insurmountable changes of technology, or the retirement of a director. These projects remain stand-outs for the careful musical thinking that underlies them and the innovative approaches they introduced. For curated digital and hybrid editions, see EVE: Electronic and Virtual Editions. Also see Digital Resources for Musicology.

Encoding Systems

Click the link to find a description of these systems:

• DARMS — Digital Alternative Representation of Musical Scores (DARMS)

• EsAC — Essen Associative Code (EsAC)

• Fastcode — Fastcode

• Mustran — Mustran

• IML-MIR — Intermediate Musical Language - Music Information Retrieval (IML-MIR)

• SMUT — System for Music Transcription (SMUT)

• Teletau — Telematics on the TAU system (Teletau)

• ZIPI — ZIPI Music Parameter Description Language

Analysis-oriented projects

Essen Associative Code (EsAC)

Website: EsAC

The Essen Associative Code for folk-song research is still actively used. Encoded materials have been used extensively (usually in translation to other codes) to test algorithms for melodic search and folksong analysis. The latter differs from most analytical aims in observing strict rules for phrase segmentation based on underlying texts. It is generally the case in EsAC that lyrics are not included in the music encoding. An exception was made for some Norwegian and Polish folksongs. Adaptations of the code were required to accommodate multiple syllables to one pitch and vice versa. Conventional EsAC is strictly monophonic and the addition of lyrics requires a synchronized second stream of information.

While little new encoding in EsAC has occurred over the past decade, several large corpora of typescript encodings of folksongs in Central Europe suggest that preservation of a knowledge of EsAC is essential.

Research of Norbert Böker-Heil

Color-mapping of the three voices in the first phrase of Anthonello de Caserta's "Beaute parfaite".

The German systematic musicologist Norbert Böker-Heil carried out numerous trials of computer-assisted research in multiple German locations in the 1970s and 1980s. Seizing every opportunity to explore mainframe computer use for musicological purposes, he delved into music printing, database development, and music analysis, always with a focus on repertories of the later middle ages and early Renaissance. Apart from his noted multi-volume survey of sources for the Tenorlied (1979-1988) and his collaborations with other scholars on the integration of textual and musical information, he explored computer-driven sound synthesis (1983) before the establishment of MIDI protocols; outlined the computer possibilities of the RISM AII (manuscript inventory) project (1975) two decades before there was public access to the internet; developed a system for input and plotter output of white mensural notation (1971); producing a near facsimile of the original notation; sought to develop a tool to automatically identify musical structure in polyphonic music (1972); and help up a beacon to future researchers in his thoughts on problems that computer-based researcher would encounter as machine capabilities improved.

Cumulative durations in the first phrase of "Beaute parfaite".

Among his most sophisticated projects were the color-coded music-analysis tools he developed for fourteenth-century music in his later years at the Staatliches Institut für Musikforschung in Berlin. From his substantial, multi-faceted evaluations of particular Tenorlieder we are able to reproduce this series of images from his work on Anthonello de Caserta's "Beaute parfaite". The composer came from the generation following Machaut and lived around 1500. Böker-Heil explores (1) rhythmic and pitch movement in this three-voice work and the kinds of intervals that occur between voices; (2) the three-part harmonies that occur in specified time-slices; and (3) contrapuntal details deriving average duration and phrase length. (Each "view" consists of two panels, as there was no way at the time to scale output.)

Encoded score archives

Werner Icking Music Archive (WIMA)

The recent history of the Werner Icking Music Archive. Icking and several colleagues developed a music-printing capability that was modeled on the TeX metafont and typesetting system. He built an online capability for users to share scores they had edited and typeset themselves. In many cases this included full sets of parts. Some editions were arrangements. MusiTeX (and related dialects) were often traded within the community, but some of the contributions predated the widespread use of the internet. After Icking's death (2001), his archive was administered by a contributor, Christian Mondrup. In 2011-12 it was amalgamated with the IMSLP aggregation. Icking offered an important prototype for current score-interchange sites.

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