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Short intro to the Troubadour Encoding Project

eamonnbell
November 08, 2014

Short intro to the Troubadour Encoding Project

Short talk presented at the meeting of the SMT Music Informatics Group on November 8 2014

eamonnbell

November 08, 2014
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  1. Troubadour Encoding Project Eamonn Bell and Russell O’Rourke, Columbia University

    SMT Music Informatics Group, November 8 2014 Milwaukee, WI
  2. Troubadour Encoding Project Eamonn Bell and Russell O’Rourke, Columbia University

    SMT Music Informatics Group, November 8 2014 Milwaukee, WI https://speakerdeck.com/eamonnbell
  3. First strophe notated Subsequent strophes MS R, fol. 63v -

    Late-13th century, Languedoc (Occitania)
  4. Motivation for choosing this repertoire • Monophonic + No rhythmic

    notation = … • … super quick to bootstrap by “busy” graduate students • Corpus clearly delineated in minds of scholars • Undertheorized - what are the norms? • Quite diverse within rep. • (Preservation/dissemination)
  5. Hendrik van der Werf, The Extant Troubadour Melodies: Transcriptions and

    Essays for Performers and Scholars (Self-Published: NY, 1984). Methodology
  6. P-C classification MS & foliation Critical commentary on lacuna Van

    der Werf, p. 90 Lacuna in MS, note supplied by Van der Werf
  7. M-index = number of melismatic neumes total number of neumes

    Syllabic Neumatic Melismatic M-index increases Estimated fl. date of composer of song M-index M-index for all songs (where melisma ≥ 2 notes) Aubrey: “By the early thirteenth century, the textures of the troubadour melodies, largely syllabic in the early generations, become more neumatic or melismatic”
  8. Estimated fl. date of composer of song M-index M-index for

    all songs (where melisma ≥ 2 notes) Aubrey: “By the early thirteenth century, the textures of the troubadour melodies, largely syllabic in the early generations, become more neumatic or melismatic” Guiraut Riquier’s songs
  9. M-index Estimated fl. date of composer of song M-index for

    all songs, excl. Riquier (melisma ≥ 2 notes) Aubrey: “By the early thirteenth century, the textures of the troubadour melodies, largely syllabic in the early generations, become more neumatic or melismatic”
  10. The “stack” • Proprietary encoding parsed to **kern ◦ Takeaway:

    don’t roll your own ▪ Never • Ever • Humdrum/shell used for high-level stats • music21 also used ◦ Not amazing for future text underlay work • Google Docs, Wikispaces and the usual collaboration tools • Future component: web-app for gradsourcing proofreading
  11. Future Directions for Analytical Research 1. Chromatic alterations (e.g. b-durum

    v. b-mollis) 2. Cadence and Incipit Structures 3. Recurring melodic figures 4. Music and text (intractable) 5. “Mode” / relationship to contemporary secular music Conclusion