Difference between revisions of "ADAM"
| Line 19: | Line 19: | ||
==Research of Norbert Böker-Heil== | ==Research of Norbert Böker-Heil== | ||
| − | The German 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 <i>Tenorlied</i> (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. | + | 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 <i>Tenorlied</i> (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. |
Among his most sophisticated projects were the color-coded music-analysis tools he developed for fourteenth-century music in his last years as head of the [http://www.sim.spk-berlin.de/ Staatsliches institut für Musikforschung] in Berlin. | Among his most sophisticated projects were the color-coded music-analysis tools he developed for fourteenth-century music in his last years as head of the [http://www.sim.spk-berlin.de/ Staatsliches institut für Musikforschung] in Berlin. | ||
Revision as of 01:38, 26 September 2015
UNDER DEVELOPMENT
Archive of Digital Applications in Musicology (ADAM)
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.
- DARMS — Digital Alternative Representation of Musical Scores (DARMS)
- EsAC — Essen Associative Code (EsAC)
- Fastcode — Fastcode
- IML-MIR — Intermediate Musical Language - Music Information Retrieval (IML-MIR)
- Teletau — Telematics on the TAU system (Teletau)
- ZIPI — ZIPI Music Parameter Description Language
Research of Norbert Böker-Heil
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.
Among his most sophisticated projects were the color-coded music-analysis tools he developed for fourteenth-century music in his last years as head of the Staatsliches institut für Musikforschung in Berlin.
Return to Digital Resources in Musicology