Map of Spanish Music Heritage

Anuario Musical, 79, 2024

This article brings together the contribution of the participants in a Short-Term Scientific Mission (STSM) of the European COST Action EarlyMuse (CA21161) which took place at the IMF-CSIC in Barcelona (June 2024): Emilio Ros-Fábregas, Kevin Page, Mark Saccomano, Olivier Lartillot, and Anastasiia Mazurenko. The discussions involved different aspects of projects with digital music edition, annotation, analysis, and the problems related to preservation of music heritage, with particular attention to the situation in Ukraine. The diverse geographical and professional background and expertise of the authors provides, in their respective sections of the article, a rich panorama on technological projects, issues, models, interoperability, and digital tools. A final Appendix contains a useful list, with links, of the projects, websites, and tools mentioned during the STSM meeting. The article, as the entire journal Anuario Musical 79 (2024) is in open access. Article download: https://anuariomusical.revistas.csic.es/index.php/anuariomusical/article/view/560

1998

Antonio Ezquerro (Barcelona)':' En dix ans, RISM-Espana est devenu le centre du catalogagc normali~é des sources musicales a travers I'Espaf.,'Tle. Devant le difficulté a imposer des normes extérieures a des projets en cours, le groupe se concentre sur les collections non encore cataloguées. Des équipes de catalogueurs, s'appuyant sur les Guidelines récemment traduites et tra vaillant en contact étroiL avec les bureaux national et international, ont entrepris de cou vrir I'intégralilé du répertoire musical de leur pays. PJusieurs facteurs redent leur tache complexe , comme la dénomination variable des formes et des instruments, dont certains sont particuliers al'Espagne, et le manqué de documentation bibliographique concernant les noms et les dates de nombreux compositeurs espagnols. In den vergangenen zehn Jahre n wurde RISM-Spallien zu einem Zentrum für die nor mierte Katalogisierung von Quellen zu Musik in ganz Spanien. Da es schwierig ist, be reits laufende Projekte nachtraglich nach den RlSM-Richtlinien durchzuführen, konzcn triert sich die RISM-Gruppe auf bisher unkataJogisierte Sammlungen. Ein Team von Katalogisierern versucht , aufgrund der kürzlich ins Spanische übersetzten RichtJinien und in Zusammenarbeit mit den intemationalen und nationalen Katalogisierungs-Zentren, samtliche Quellen des Landes zu erfassen. Einige Faktoren erscl1weren ihre Aufgabe, so die verschiedene Terminologie für Formen und Instrumente, von denen einige nur in Spanien vorkommen, und das Fehlen einer bibliographischen Dokumentation für Namen und Daten zu vielen spanischen Komponisten. From the perspective of the RISM central headquarters in Spain, it is apparent almost daily that there are many frequently complex problems in cataloguing musical sources, not only in Spain but, by extension, in many of the Spanish speaking countries. These problems aftect both the cataloguing process and the critical study of the sources, from the first "in situ" treatrnent at the cataloguing center, to the time the information reaches the Spanish editorial staft, on its further journeys to the international center in Frankfurt, to the point where it rebounds in a standardized format back to the initial cataloguing center. As the work is done today, cataloguing in Spain, with a few complex excep tions, is accompanied by a series of preparatory steps, both administrative and •Antonio Ezquerro is in the Department of Musicology oí the "Mila y Fontanal s" Institute oí the Consejo Superior de Investigaciones Cientificas (CSIC) in Barcelona. Trus paper was translated by Susana Friedmann (Bogota, Colombia).

2006

Digital libraries focused on developing humanities resources for both scholarly and popular audiences face the challenge of bringing together digital resources built by scholars from different disciplines and subsequently integrating and presenting them. This challenge becomes more acute as libraries grow, both in terms of size and organizational complexity, making the traditional humanities practice of intensive, manual annotation and markup infeasible. In this paper we describe an approach we have taken in adding a music collection to the Cervantes Project. We use metadata and the organization of the various documents in the collection to facilitate automatic integration of new documents—establishing connection from existing resources to new documents as well as from the new documents to existing material.

Fontes Artis Musicae, 2016

Fahrenkrog, Laura y Fernanda Vera, “Recently Catalogued Music Archives and Fonds in Santiago, Chile: A Contribution to the Dissemination of Written Musical Heritage of the Nineteenth and Twentieth Centuries”, Fontes Artis Musicae, vol. 63, nº2, abril-junio 2016, pp. 100-119.

HAL (Le Centre pour la Communication Scientifique Directe), 2020

The need to valorise our musical heritage is keenly felt by the great museums, which preserve for posterity collections of instruments and musical sources, for instance the Cité de la musique in Paris or the Musée des instruments de musique in Brussels. For decades such institutions have been using technology to give voice to musical objects that would otherwise remain silent, and to educate the uninitiated public. The Cité de la musique, for example, uses several multimedia aids for this purpose, from audio-guides, which explain the instruments to the public and give them the opportunity to hear their music, to sensory games which enable them to ›feel‹ how the instruments work. In addition, the Cité de la musique makes use of documentaries featuring in-depth interviews with musicians, instrument makers and performers, who shed light on various aspects of the history of music. By giving their visitors opportunity to hear, as well as see, the instruments, images and documents they house, museums can do much to raise awareness and engage the general public by providing them with emotional, not just visual, encounters with our shared musical heritage. This explains why such communication tools are becoming ever more common in museums, effectively bringing musical objects back to life. An example par excellence is the Victoria & Albert Museum, whose Medieval and Renaissance galleries were set up with the following aims: (i) to enable visitors »to imagine the Renaissance world«; (ii) to complete thematic displays by adding music; and (iii) to allow visitors to hear the sound of the instruments that are exhibited 1 . The curators of this project, Stuart Frost and Giulia Nuti, achieved these goals by selecting from the available historically informed recordings, and in certain cases even commissioned recordings, in collaboration with the Royal College of Music. They set out to follow three thematic lines, namely musical notation, musical instruments and figurative sources on musical themes. They have provided musical ›hotspots‹, where visitors can hear a brief explanation and musical excerpt through headphones, and explore musical sources via a touch-screen. By these means the museum encourages interaction and audience participation to enhance its educational impact.

Music Encoding Conference 2021 - Proceedings (19-22 July 2021, Universidad de Alicante, Spain), ed. Stephan Münnich and David Rizo (Alicante: Universidad de Alicante, 2022), pp. 21-29. [http://rua.ua.es/dspace/handle/10045/123638] , 2022

This paper presents the recent implementation of encoded music notation in two open access platforms of the Spanish National Research Council (CSIC, Consejo Superior de Investigaciones Científicas) devoted to traditional music and polyphony, respectively: Fondo de Música Tradicional IMF-CSIC (FMT: https://musicatradicional.eu/) and Books of Hispanic Polyphony IMF-CSIC (BHP: https://hispanicpolyphony.eu/). Even though, at first, both repertories seem unconnected, they have many textual/literary and musical points in common, such as the presence/survival of old 15th–17th century texts and/or melodies of polyphonic romances (ballads) in the 20th century oral tradition; future technological developments will facilitate further connections beyond the ones already found through search by text incipits and numeric melodic incipit connecting both platforms. The presentation will have two parts devoted to FMT (with more than 45.000 references to melodies in open access, it is the largest online archive of folklore in the Hispanic world; it is used also for OMR research) and BHP (a reference online platform for polyphonic choir books in Spain and books with Hispanic polyphony elsewhere). After a brief explanation about the origin and scope of the repertories covered in each platform, a few examples of encoded transcriptions of a melody, of an incipit in mensural notation, and of a polyphonic work (in MusicXML, **mens, and **kern, respectively; MEI can be used, too) rendered through Verovio will illustrate the potential development of FMT and BHP. Both websites constitute leading educational and musicological resources of the very rich Spanish music heritage, inviting national and international collaboration (crowdsourcing) to expand the contents of both platforms and to develop their digital technology.

2006

Abstract This poster proposes a discussion on concepts evolving from the role of digital libraries on the preservation of tangible and intangible cultural inheritance, including concepts developed in 2003 by UNESCO and the World Summit on the Information Society.

2019

Information engineering has always expanded its scope by inspiring innovation in different scientific disciplines. In particular, in the last sixty years, music and engineering have forged a is a paradigmatic case that includes several multi-faceted cultural artifacts and traditions. Several issues arise from the analog-digital transfer of cultural objects, concerning their creation, preservation, strong connection in the discipline known as “Sound and Music Computing”. Musical heritage access, analysis and experiencing. The keystone is the relationship of these digitized cultural objects with their carrier and cultural context. The terms “cultural context” and “cultural context awareness” are delineated, alongside the concepts of contextual information and metadata. Since they maintain the integrity of the object, its meaning and cultural context, their role is critical. This thesis explores three main case studies concerning historical audio recordings and ancient musical instruments, aiming to delineate models to preserve, analyze, access and experience the digital versions of these three prominent examples of musical heritage. The first case study concerns analog magnetic tapes, and, in particular, tape music, a particular experimental music born in the second half of the XX century. This case study has relevant implications from the musicology, philology and archivists’ points of view, since the carrier has a paramount role and the tight connection with its content can easily break during the digitization process or the access phase. With the aim to help musicologists and audio technicians in their work, several tools based on Artificial Intelligence are evaluated in tasks such as the discontinuity detection and equalization recognition. By considering the peculiarities of tape music, the philological problem of stemmatics in digitized audio documents is tackled: an algorithm based on phylogenetic techniques is proposed and assessed, confirming the suitability of these techniques for this task. Then, a methodology for a historically faithful access to digitized tape music recordings is introduced, by considering contextual information and its relationship with the carrier and the replay device. Based on this methodology, an Android app which virtualizes a tape recorder is presented, together with its assessment. Furthermore, two web applications are proposed to faithfully experience digitized 78 rpm discs and magnetic tape recordings, respectively. Finally, a prototype of web application for musicological analysis is presented. This aims to concentrate relevant part of the knowledge acquired in this work into a single interface. The second case study is a corpus of Arab-Andalusian music, suitable for computational research, which opens new opportunities to musicological studies by applying data-driven analysis. The description of the corpus is based on the five criteria formalized in the CompMusic project of the University Pompeu Fabra of Barcelona: purpose, coverage, completeness, quality and re-usability. Four Jupyter notebooks were developed with the aim to provide a useful tool for computational musicologists for analyzing and using data and metadata of such corpus. The third case study concerns an exceptional historical musical instrument: an ancient Pan flute exhibited at the Museum of Archaeological Sciences and Art of the University of Padova. The final objective was the creation of a multimedia installation to valorize this precious artifact and to allow visitors to interact with the archaeological find and to learn its history. The case study provided the opportunity to study a methodology suitable for the valorization of this ancient musical instrument, but also extendible to other artifacts or museum collections. Both the methodology and the resulting multimedia installation are presented, followed by the assessment carried out by a multidisciplinary group of experts.

2009

This paper illustrates a number of active projects about music and cultural heritage in Italy. First, the matter of designing and implementing a multimedia database oriented to music will be introduced. Then, the paper will address the advantages of the adoption of IEEE 1599 standard inside a multimedia database. The latter aspect represents a new perspective to interact with music contents, and it can enrich the models of music fruition currently available on the Web.

Fontes Artis Musicae, 2017

Until recently, Catalonia was one of the few European regions still unaware of the richness of its musical heritage in terms of the repertory of compositions by its chapel masters, organists and musicians, which are conserved but forgotten in numerous, mainly ecclesiastic, archives. For this reason, at the beginning of the 2001-2002 academic year and in the Department of Art and Musicology of the Universitat Autònoma de Barcelona, a group of researchers and students, initiated a new line of research with the immediate priority of working to recover the collections of manuscripts that constitute the musical heritage of Catalonia. This project has continued to the present, becoming the IFMuC project, acronym of Inventaris dels Fons Musicals de Catalunya (‘Inventories of the Catalan Musical Collections’). The aim of this article is to present the IFMuC project at an international forum in order to make it known beyond the Catalan boundaries. Over these years the IFMuC project has registered almost 300 collections of musical manuscripts; 17 of them have been catalogued, with an index of approximately 1,000 composers and 10,358 recorded works, including manuscripts and printed materials; and a considerable number of musical collections are still in the cataloguing process. The dissemination process has been conducted through different strategies, including the publishing of printed copies of some series, articles in magazines and above all the creation of a web-site (<http://ifmuc.uab.cat>) with an open-access digital database, undoubtedly the greatest milestone hitherto of the IFMuC project.