In this keynote, Kijas explores issues embedded in musicological traditions of canonicity and discusses the need for recovery of underrepresented composers in order to build a more inclusive digital canon.
Joshua Neumann (Ph.D. 2016, University of Florida) is a Lecturer in the University of Florida’s Innovation Academy, an interdisciplinary program focused on creativity and entrepreneurship across all fields. His work uses a variety of interdisciplinary and digital methods from data science, sociology, and information science in the study of performance practice, 19th-century Italian opera, and (more recently) Renaissance motets. Complementary interests include machine learning, music encoding, and ethical considerations of digital scholarship. Two current projects include a multi-volume edited collection of essays engaging “Opera in the Digital Age” and the development of an open-source online forum for the analysis of opera as a series of creative processes and histories. Publications have appeared in Empirical Musicology Review, Proceedings of Digital Libraries for Musicology, MLA Notes, Music Reference Services Quarterly, with a forthcoming article in Frontiers in Performance Science.
Imani Mosley is currently a PhD candidate in Musicology at Duke University. After receiving two Masters degrees from Peabody (Bassoon Performance/Musicology), she began PhD work at Columbia where she received a Master of Arts in Musicology before attending Duke. She is currently writing her dissertation entitled “‘The queer things he said’: British Identity, Social History, and Press Reception of Benjamin Britten’s Postwar Operas.” In addition to her work on Britten, she also specializes in contemporary opera, feminist and queer theory, reception history, and British and American music from 1890 to 1945. She is currently the Harsha Murthy Fellow in Digital Scholarship (Duke University Libraries) where she creates and curates projects and events in the digital humanities. She has presented papers throughout the United States and the United Kingdom.
I graduated in 2018 with a Bachelor of Music (Hons) in musicology from The University of Auckland. My dissertation investigated how players relate to music in the digital game Dota 2 with respect to style, affect, and agency. I will continue studying music internationally, focusing in my research on music, media, and popular culture.
This poster will provide an overview of the development of an open-access digital musicology project, The Encoded Medieval Antiphoner: an Open Access Digital Source for Music and Liturgical Scholarship at Boston College. This is a collaborative project between the Digital Scholarship Group and library staff at the Boston College University Libraries, musicologist Dr. Michael Noone, research assistants, and several external partners, including CANTUS database staff. In the summer of 2015 we began encoding a 14 th century Franciscan Antiphoner using the Music Encoding Initiative (MEI), as well as developing an open-access site to present the manuscript as an interactive object for research and scholarly use. The original Antiphoner is in manuscript form bound between leather-covered boards containing 119 parchment folios with text and notation for antiphons and responsories for the entire annual calendar of saints’ days (sanctorale). This poster will explain our process and workflows, which have involved transcribing and encoding over 1500 musical incipits, texts, and metadata, contributing the data to the CANTUS database, a highly-respected digital archive and index of chants, as well as, implementing open-source software for a presentation layer and search/retrieval of the content. The digitized object will be presented using Diva.js an open-source software that connects with the API of the CANTUS database to pull in metadata, transcribed music notation, and bibliographic data that we have contributed to this database. We will also present a variety of functionality options that will make this Antiphoner interactive. Additionally, this poster will highlight the collaborative aspect of this project and several positive outcomes, such as an interest to investigate rendering neume notation using Verovio rather than Volpiano font. Verovio is a software that renders MEI directly in a modern browser as SVG (scalable vector graphics: XML-based vector image format).
Gabrielle Cornish is a PhD candidate in Musicology at the Eastman School of Music. Her research broadly considers music and everyday life in the Soviet Union. In particular, her dissertation traces the intersections between music, technology, and the politics of “socialist modernity” after Stalinism. Her research in Russia has been supported by the Fulbright Program, the Glenn Watkins Traveling Fellowship, and the Cohen-Tucker Dissertation Research Fellowship from the Association for Slavic, East European, and Eurasian Studies. Other projects include Russian-to-English translation as well as a digital project that maps the sounds and music of the Space Race.
Rebecca Marchand is Professor of core studies in Music History at Boston Conservatory at Berklee. She teaches undergraduate music history, courses such as Writing About Music and Communicating About Music, and a wide range of graduate seminars in topics ranging from women and music of the Italian Renaissance to investigating the music of the Darmstadt summer courses. Marchand also directs the Graduate Music History Writing Center at Boston Conservatory. A founding member of the Haydn Society of North America, Marchand also served as the president of the New England chapter of the American Musicological Society from 2012 to 2016. She has held previous teaching and lecturing positions at Westmont College, Boston University, Longy School of Music of Bard College, and Providence College. She has presented at a variety of conferences, including a Master Teacher session at the annual meeting of the American Musicological Society and has delivered invited lectures at West Virginia University and University of New Hampshire. Marchand is also an author of digital learning content for W. W. Norton music textbook publications. Her essay “Missa Eclectica: Lou Harrison and Artistic Ideologies after Vatican II” appears in Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart, edited by Anna Zayaruznaya, Bonnie Blackburn, and Stanley Boorman (American Institute of Musicology, 2015).
The Performing Arts Librarian at Chapman University incorporated open access archives into his Music Information Literacy course in order to accomplish several learning objectives: a) introduce students to recognizing the importance of primary sources; b) interact with open access archival resources; and c) create an opportunity to discuss information privilege. This discussion takes inspiration from the “Information Has Value” frame from the ACRL Framework for Information Literacy for Higher Education, specifically related to the knowledge practice to “recognize issues of access or lack of access to information sources” and the disposition to “examine their own information privilege.” In class, students discover digital archives such as universities’ institutional repositories and open access digital collections, digital archives through other organizations (e.g., Library of Congress, Beethoven-Haus), and portals to find these collections, such as Digital Resources for Musicology. Students then complete an assignment outside of class in which they engage with and describe a digital manuscript and piece of correspondence from an open access archive. This poster will provide a method by which music librarians can discover new methods to incorporate primary sources into music information literacy instruction, as well as engage with the ACRL Framework’s concept of analyzing information privilege.