Short intro to the Troubadour Encoding Project

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

Transcript

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. The Setup
8. The Wiki
9. Syllabic Neumatic Melismatic
10. 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”
11. 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
12. 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”
13. 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
14. 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
15. Comments, feedback and inquiries Contact Russell O’ Rourke rjo2114@columbia.edu Eamonn Bell epb2125@columbia.edu This presentation: https://speakerdeck.com/eamonnbell