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This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library.

This article explores the collection and study of Australian mining songs, specifically those related to gold and coal mining. The author notes a lack of documentation on industrial folk songs and conducted field collecting trips to coal mining towns to gather songs and stories. The article discusses the role of songs during strikes and demonstrations, as well as the changing opportunities for collecting songs through online resources. It also examines the themes and perspectives found in mining songs, including excitement, practicality, despondency, and grievances. The article highlights the increase in literacy among coal mining workers and the circulation of songs through printed materials. It questions whether modern-day miners create songs and mentions the presence of anti-mining songs. Resources for further exploration of Australian mining folklore are provided. [Extracted from the article]

Music identification is widely regarded as a solved problem for music searching in quiet environments, but its performance tends to degrade in TV broadcast audio owing to the presence of dialogue or sound effects. In addition, constructing an accurate dataset for measuring the performance of background music monitoring in TV broadcast audio is challenging. We propose a framework for monitoring background music by automatic identification and introduce a background music cue sheet. The framework comprises three main components: music identification, music–speech separation, and music detection. In addition, we introduce the Cue‐K‐Drama dataset, which includes reference songs, audio tracks from 60 episodes of five Korean TV drama series, and corresponding cue sheets that provide the start and end timestamps of background music. Experimental results on the constructed and existing datasets demonstrate that the proposed framework, which incorporates music identification with music–speech separation and music detection, effectively enhances TV broadcast audio monitoring. [ABSTRACT FROM AUTHOR]

This article motivates, describes, and presents the PBSCR dataset for studying composer recognition of classical piano music. Our goal was to design a dataset that facilitates large-scale research on composer recognition that is suitable for modern architectures and training practices. To achieve this goal, we utilize the abundance of sheet music images and rich metadata on IMSLP, use a previously proposed feature representation called a bootleg score to encode the location of noteheads relative to staff lines, and present the data in an extremely simple format (2-dimensional binary images) to encourage rapid exploration and iteration. The dataset itself contains 40,000 62×64 bootleg score images for a 9-class recognition task, 100,000 62×64 bootleg score images for a 100-class recognition task, and 29,310 unlabeled variable-length bootleg score images for pretraining. The labeled data is presented in a format that mirrors MNIST images in order to make it extremely easy to visualize, manipulate, and train models in an efficient manner. We include relevant information to connect each bootleg score image with its underlying raw sheet music image, and we scrape, organize, and compile metadata from IMSLP on all piano works to facilitate multimodal research and allow for convenient linking to other datasets. We release baseline results in a supervised and low-shot setting for future works to compare against, and we discuss open research questions that the PBSCR data is especially well suited to facilitate research on.

The future of music scores is hybrid. In the literature and in discussion on this topic we have been noting that we will not see the eradication of print materials, nor will electronic-based scores be a passing fancy. For many academic libraries with robust sheet music collections, the idea of funding online collections is challenging, particularly when looked at in the context of clearing shelves or replacing print. This paper offers another way of viewing a shift to more digital score content. This project effectively delivered digital scores to patrons without additional cost to them, and provided experiential learning that they likely would not have had in any other context of their time earning their music degree. In light of changing budget models, the outlined project offers a new way that music libraries can participate in making valuable and highly visible contributions to their partner institutions. [ABSTRACT FROM AUTHOR]

This article explores the history and significance of the song "Home on the Range" in Kansas. It discusses the origins and evolution of the song, as well as its cultural and historical importance. The song gained popularity in the 1930s but was taken off the air due to a copyright infringement lawsuit. The authorship of the song is still debated, but evidence suggests that Dr. Brewster Higley and Dan Kelley collaborated on the song in the 1870s. The song became the state song of Kansas in 1947 and is beloved by Kansans for its emotional connection to the state. The article also discusses the controversy surrounding the selection of the song as the official state song and the investigation into its origins. The investigation concluded that the plaintiffs in the copyright infringement case had no basis for their claims to the song. [Extracted from the article]

The article explores the history of the national anthem of China that provides a new perspective on society and culture during the regimes of the Qing dynasty and People's Republic of China. It describes attempts to create a national anthem during the Qing dynasty and the controversy that surrounded the first official Qing national anthem. It discusses the creation of the song "March of the Volunteers" for a war film that became the national anthem when People's Republic of China was founded.

The purpose of the article is to study the main formation stages of the bandura trio "Dyvostruny" of the Lesia Ukrainka Volyn National University (city of Lutsk) in order to examine the development of its artistic activity chronologically, as well as to determine the ensemble's contribution to the development and popularisation of modern bandura art in the local and international music scene. The research methodology is based on the application of general scientific methods such as source studies, historical analysis, culture and art researches, and generalisation method all of which provide an opportunity to analyse and comprehensively highlight the ensemble's undertakings. The scientific novelty lies in the fact that for the first time vast 25-year body of work of the unique Volyn group which is all female bandura trio "Dyvostruny" is systematised chronologically and its multifaceted activities are highlighted (such as participation in professional competitions, concert performances, creation of the new bandura repertoire, sheet music publications, recording and releasing of audio and video albums, thematic programmes on radio and television, popularisation of bandura art and national culture in Ukraine and abroad). Conclusions. The bandura trio "Dyvostruny" of Lesia Ukrainka University in its many years of diverse activities (including being a productive and creative art laboratory, winners of various prestigious professional competitions, fascinating live band, bright representatives of the national artistry as an expression of Ukrainian identity and Volyn melos in inside the country and abroad) solidifies the importance of promoting national arts throughout the world and makes a significant contribution to the musical, aesthetic and patriotic education of the Ukrainian nation. [ABSTRACT FROM AUTHOR]

The purpose of the article is to the study of the specifics of high-quality voicing of musical scores in the GUITAR PRO 7.5 sequencer. Research methodology. The article uses a systematic approach, as well as applied methods of analysis and synthesis, comparison, and generalisation. The scientific novelty lies in the research of technological aspects and the development of innovative methods of working with sound in the GUITAR PRO 7.5 sequencer, which allows you to create recordings of musical works for guitar, bass guitar, banjo, as well as for many other instruments and musical groups; voice musical compositions with the help of modern software tools, as well as the possibilities of using music and information technologies in the further artistic practice of musicians, sound producers, sound engineers, producers and in professional music education. Conclusions. This software product is a powerful sheet music editor that allows you to create original musical projects at a professional level for subsequent editing. The popularity and demand of this software among guitarists around the world is due to a simple and clear interface, as well as a special file format. The programme presents a lot of necessary tools with which the user can work with a diverse set of musical notation symbols, as well as with a wide range of sound dynamics and tempo adjustments, which allows the authors to create samples of musical compositions that sound and their phonograms. High-quality voicing of scores. The sound of the RSE (Realistic Sound Engine) in Guitar Pro 7.5 is very close to the real sound of the instruments. It can be used by professionals of publishing and educational institutions, when creating music (soundtracks) for theatre, television, video games, cinema. It is also used by musicians, composers, arrangers, sound producers, sound engineers, and producers. [ABSTRACT FROM AUTHOR]

This article introduces two late-Georgian binders' volumes of printed vocal and keyboard sheet music held at Newcastle upon Tyne's Literary and Philosophical Society. Both volumes display connections with the north-east of England, and, as we argue, were most likely compiled in the region in the last decades of the eighteenth century and the opening decades of the nineteenth. These volumes have not received scholarly attention, yet a close examination enables us to expand the scope of previous studies on musical circulation and the music trade, and to contribute new insights to the emerging national picture. They shed light on patterns of the acquisition, circulation, and consumption of music alongside mapping the nexus of print centres—in this case, London, Edinburgh, and Newcastle—on which consumers of domestic sheet music in the north-east of England might have drawn to access the latest musical materials. We begin by examining the physical, bibliographical, and musical features of the volumes to explore questions of dating, ownership, and their connections with the north-east of England, and go on to consider the routes through which the music they contain might have been obtained by music consumers in the region. Finally, we explore the contents of these volumes, setting them against the national picture of domestic music consumption, and consider their contents from the perspective of gendered modes of consumption, local politics and identity, and national polite music culture. In so doing, we elucidate how two domestic musicians in the north-east of England engaged with local and national musical culture in the composition of their personal music books and the fashioning of their social and musical identities. [ABSTRACT FROM AUTHOR]

Die Frage, ob «Musikalien» wie Noten oder Musikliteratur Teil der Volksbüchereien, also der Vorgänger der heutigen Öffentlichen Bibliotheken, sein sollten, wurde schon ganz am Anfang des (deutschen) Volksbüchereiwesens gestellt. Grundsätzlich wurde dies schnell bejaht und bald angefangen, eigenständige Musikabteilungen und Öffentliche Musikbüchereien einzurichten. Von 1900 bis 1945 erschien zu diesem Themenkomplex in der deutschen bibliothekarischen Fachliteratur eine überschaubare, aber doch beachtliche Zahl von Texten. Diese werden hier in chronologischer Reihenfolge vorgestellt. Sichtbar wird dabei, dass sich Volksbüchereien und deren Musikabteilungen gemeinsam entwickelten, aber auch, dass diese Entwicklung immer eingelassen war in der Entwicklung der deutschen Gesellschaft.

The life journey of the medical doctor and musician Jovan Paču (1847-1902) brought together the various branches of his prolific and richly creative personality, providing him with a prominent place in the history of Serbian 19th-century music. Although his primary vocation was medicine, he had also acquired education in music from early childhood, also working, during his active creative period, as a composer, pianist, music teacher, and writer. This first printed edition of Paču's piano rhapsodies titled Српски звуци (Serbian Sounds) comprises eight of his 12 rhapsodies, which are kept in manuscript form at the Archive of the Institute of Musicology at the Serbian Academy of Sciences and Arts in Belgrade. The edition also comprises a CD with recordings of the same works rendered by our renowned pianists and piano teachers (Dušan Trbojević, Zorica Dimitrijević Stošić, Dubravka Jovičić, and Mirjana Šuica Babić). [ABSTRACT FROM AUTHOR]

The aim of this work is to know the degree of insertion of bibliographic, institutional, and person identifiers in the bibliographic control process in national libraries and/or national bibliographic agencies of the Latin American countries that are members of the Association of Ibero-American States for Development of the National Libraries of Ibero-America (ABINIA), -Spain and Portugal are excluded-. The study was based on website research with a qualitative strategy around the analysis of identifiers. We proceeded to consult, observe, read, analyze and interpret the web pages of national libraries, national bibliographic agencies and the official websites of each of the identifiers. The results and conclusions show that Latin American national libraries rely solely and exclusively on two bibliographic identifiers for the registration of legal deposit and the preparation of national bibliographies: the ISBN (books) and the ISSN (periodical publications) and, to a lesser extent, in the ISMN (music publications, sheet music, etc.). The inexistence of networks of bibliographic agencies and agencies that manage identifiers that work collaboratively with national libraries show the limitations that exist in the dissemination of documentary heritage and, therefore, the limitations to be able to carry out exhaustive universal bibliographic control. [ABSTRACT FROM AUTHOR]

While music libraries fundamentally face the same preservation concerns as any other library, their collections face unique problems. Sheet music is heavily used in distinct ways, and comes in a wide variety of sizes, shapes, and formats, all of which lead to maintenance issues that apply specifically to these materials. Arguing that genre and use inform the formats and damage we see in sheet music, this paper systematically explores the different features of scores, including bindings, sizes, and uses. I discuss the major preservation issues faced by circulating, printed music collections and suggest possible solutions. [ABSTRACT FROM AUTHOR]

Music transcription is the process of transforming recorded sound of musical performances into symbolic representations such as sheet music or MIDI files. Extensive research and development have been carried out in the field of music transcription and technology. This comprehensive review paper surveys the diverse methodologies, techniques, and advancements that have shaped the landscape of music transcription. The paper outlines the significance of music transcription in preserving, analyzing, and disseminating musical compositions across various genres and cultures. It also provides a historical perspective by tracing the evolution of music transcription from traditional manual methods to modern automated approaches. It also highlights the challenges in transcription posed by complex singing techniques, variations in instrumentation, ambiguity in pitch, tempo changes, rhythm, and dynamics. The review also categorizes four different types of transcription techniques, frame-level, note-level, stream-level, and notation-level, discussing their strengths and limitations. It also encompasses the various research domains of music transcription from general melody extraction to vocal melody, note-level monophonic to polyphonic vocal transcription, single-instrument to multi-instrument transcription, and multi-pitch estimation. The survey further covers a broad spectrum of music transcription applications in music production and creation. It also reviews state-of-the-art open-source as well as commercial music transcription tools for pitch estimation, onset and offset detection, general melody detection, and vocal melody detection. In addition, it also encompasses the currently available python libraries that can be used for music transcription. Furthermore, the review highlights the various open-source benchmark datasets for different areas of music transcription. It also provides a wide range of references supporting the historical context, theoretical frameworks, and foundational concepts to help readers understand the background of music transcription and the context of our paper. [ABSTRACT FROM AUTHOR]

The piano fingering annotation task refers to assigning finger labels to notes in piano sheet music. Good fingering helps improve the smoothness and musicality of piano performance. In this paper, we propose a method for automatically generating piano fingering using a model-based reinforcement learning algorithm. We treat fingering annotation as a partial constraint combinatorial optimization problem and establish an environment model for the piano performance process based on prior knowledge. We design a reward function based on the principle of minimal motion and use reinforcement learning algorithms to decide the optimal fingering combinations. Our innovation lies in establishing a more realistic environment model and adopting a model-based reinforcement learning approach, compared to model-free methods, to enhance the utilization of samples. We also propose a music score segmentation method to parallelize the fingering annotation task. The experimental section shows that our method achieves good results in eliminating physically impossible fingerings and reducing the amount of finger motion required in piano performance. [ABSTRACT FROM AUTHOR]

Innovations in higher music education are a way of reasonable use of information and communication technologies that increase interactivity and facilitate classroom learning. The study aims to evaluate the effectiveness of introducing the application aimed at improving the skill of sheet music reading. Using a mobile app to enhance the perception of music education is a relevant innovation in a large number of educational institutions. The hypothesis was that a three-month premium subscription to Complete Music Reading Trainer would improve student performance in the Multiple-Choice Questions test from AP Music Theory Practice Exam. The control and experimental groups consisted of 50 first-year pianists each from the College of Music of Xinjiang Normal University, China, whose average age was 18.7 years. The experimental group used the application not only in the classroom but also outside the educational institution while following the application program. The test results were compared with the help of the Student's t test. The average value in the experimental group was 60.88 points out of 75, which exceeds the control group indicator by 14.55 points (on average, a pianist scored 46.34 points there). The difference in the mean values across the groups turned out to be statistically significant (p = 0.000), and the t-criterion value was negative (t = −7.858). This demonstrates the effectiveness of a three-month use of a mobile application for reading sheet music. Thus, the research hypothesis was confirmed. The research results partially coincide with the findings of similar scientific studies. However, there is a small number of such publications that can promote further discussion. The study will be useful to anyone who is interested in an interactive learning environment in the field of higher music education or just wants to use a mobile phone for professional self-improvement while studying. [ABSTRACT FROM AUTHOR]

The recognition of printed music sheets in camera-based realistic scenarios is a novel research branch of optical music recognition (OMR). However, special factors in realistic scenarios, such as uneven lighting distribution and curvature of staff lines, can have adverse effects on OMR models designed for digital music scores. This paper proposes a stave-aware method based on object detection to recognize monophonic printed sheet music in camera-based scenarios. By detecting the positions of staff lines, we improve the accuracy of note pitch effectively. In addition, we present the Camera Printed Music Staves (CPMS) dataset, which consists of labels and images captured by mobile phones under different angles and lighting conditions in realistic scenarios. We compare our method after training on different datasets with a sequence recognition method called CRNN-CTC on the test set of the CPMS dataset. The results show that the accuracy, robustness, and data dependency of our method perform better. [ABSTRACT FROM AUTHOR]