Search

Participants are invited to explore modelling and annotation through exercises demonstrating music research conducted in Oxford and Vienna. After hands-on ontology design exercises with pen and paper, they are introduced to cutting-edge digital tooling and led through research processes of an ongoing project investigating the Vienna Philharmonic's New Year's Concerts.

Composed to mark Franz Joseph's state visit to Wilhelm II, Strauss' Kaiser Walzer (Emperor Waltz) provokes the question: which Emperor was it for? We investigate this in a case study of interdisciplinary collaboration in digital musicology, employing a FAIR data multimedia corpus associated with the Vienna Philharmonic's New Year's Concerts.

Compte rendu des journées inaugurales du cluster 6 Biblissima+. Les journées inaugurales ont eu lieu au Centre d'études supérieures de la Renaissance de Tours, du 11 au 13 juillet 2022., Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir portant la référence « ANR-21-ESRE-0005 » (ÉquipEx Biblissima+)

Supervisor: 東条 敏, 先端科学技術研究科, 修士(情報科学)

International audience; There are many forms of representation of the sound signal: from the waveform to higher-level representations such as FFT visualization, audio descriptors or the chromagram. Some of them are commonly used by musicians or musicologists, others are used more rarely.Using a sound representation in musicology does not only mean using technology coming from acoustics and computer science, but also means using a digital method of musical analysis.

International audience; This paper presents the results of a research conducted since 2015 on the recording, archiving and study of acousmatic music performance. Based on the analysis of three interpretations of the same work, it presents the development of new methods of musical analysis and the redefinition of the electroacoustic work as a network of agents, objects, and concepts inscribed in a temporality that goes beyond the moment of the performance. It also highlights the interaction between the different members of the research project: the artistic research informs the musicological one, which in turn animates the musical practice. The musicology of artistic creation can thus be considered as a performative discipline.

International audience; This article introduces a framework for musical analysis applied to electroacoustic improvisation. After an introduction about the benefits of interdisciplinary research and research-creation practice there is a description of the different domains of the framework: acoustic analysis, music analysis itself and the design of graphic representations. The framework is based on the extraction of information from the audio signal (music information retrieval) to create data representations, some of which are very efficient for music analysis, such as the brightness standard deviation or the self-similarity matrix. The last part of the article demonstrates the use of the framework on extracts of electroacoustic improvisations performed by the Paris-based group Les Phonogénistes, of which the author is a member.

This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where theaudio signalis essential, and where we usually read that those musics arenon-writtenmusic. After an introduction on this topic, in the second section I will make a distinction between ‘before the signal’ and ‘from the signal’ to organise the theories to analyse electroacoustic music. In the third section, I will focus on computer music and I will show the historical difficulty in considering ‘code’ in musical analysis, mainly with an important exchange between two pioneers, Marco Stroppa and Jean-Claude Risset. In the fourth section I will explain with Jean-Claude Risset and Horacio Vaggione the specificity of computer music: this music is written. Finally, I will look into a recent analysis theory, theInteractive Aural Analysisby Michael Clarke, which seems to fit with the latter specificity.

International audience; The interpretation of acousmatic music has been the subject of only a very few studies (Planel 1996, Féron et al. 2015, Boutard et al. 2019). This short article does not aim to produce a review of these researches or to produce a state of the art on the question of the interpretation of acousmatic music or, more broadly, of electroacoustic music and contemporary creation, but to present the results and contributions of a research in digital musicology conducted since 2015 (Couprie et al. 2017) which allowed to demonstrate the reliability of the device of recording interpretations. In this research, we postulate the double premise of acousmatics as a musical genre and acousmatic performance in concert as interpretation on an instrument, the acousmonium. Therefore, our goal is to define this interpretation as a moment of a larger process including the musician's work on the table or with headphones, the creation of an interpretation score, the rehearsals and the moment of the performance in public. Moreover, we are also part of a "general musicology" (Nattiez 2007: 1205-1206) or "interdisciplinary" (Cook 2005: 2, Couprie 2020: 25-44) aggregating around a broad musicological approach - in the sense of a "focused interdisciplinarity" (Charaudeau 2010: 195-200) - a set of practices such as the study of works through musical analysis, anthropological research on the musician's practice, or the analysis of the links between the instrument, the musician and the work. This approach is grounded both in the vast scientific current of the study of the creative process and in a new scientific discipline on which we have been working since 2006, "digital musicology" (Couprie 2020: 25-44).; L’interprétation de la musique acousmatique n’a fait l’objet que de très rares études (Planel 1996, Féron et al. 2015, Boutard et al. 2019). Ce court article n’a pas pour objectif de réaliser un bilan de ces recherches ou de produire un état de l’art sur la question de l’interprétation de la musique acousmatique ou, plus largement, de la musique électroacoustique et de la création contemporaine, mais de présenter les résultats et les apports d’une recherche en musicologie numérique menée depuis 2015 (Couprie et al. 2017) qui a permis de démontrer la fiabilité du dispositif d’enregistrement des interprétations. Dans cette recherche, nous posons le double postulat de l’acousmatique comme genre musical et de la performance acousmatique en concert comme interprétation sur un instrument, l’acousmonium. Dès lors, notre objectif est de définir cette interprétation comme un moment d’un processus plus large englobant le travail sur table ou au casque du musicien, la création d’une partition d’interprétation, les répétitions et le moment même de la performance en public. De plus, nous nous inscrivons aussi dans une « musicologie générale » (Nattiez 2007: 1205-1206) ou « interdisciplinaire » (Cook 2005: 2, Couprie 2020: 25-44) agrégeant autour d’une approche musicologique élargie – au sens d’une « interdisciplinarité focalisée » (Charaudeau 2010: 195-200) – un ensemble de pratiques comme l’étude minutieuse des œuvres grâce à l'analyse musicale, la recherche anthropologique sur la pratique du musicien ou l’analyse des liens entre l’instrument, le musicien et l’œuvre. Cette approche s’ancre aussi bien dans le vaste courant scientifique de l’étude du processus créatif que dans une nouvelle discipline scientifique sur laquelle nous travaillons depuis 2006, la « musicologie numérique » (Couprie 2020: 25-44).

Magistrsko delo se ukvarja z vprašanjem vzorcev v slovenskem medvojnem samospevu. Raziskava vključuje 83 skladb treh ključnih skladateljev takratnega časa – Marija Kogoja (1892–1956), Lucijana Marijo Škerjanca in Slavka Osterca (1895–1941). Sprva je orisano glasbeno-zgodovinsko ozadje žanra in vseh treh avtorjev, ki pripomore k lažjeum razumevanju rezultatov. Temu sledi računalniška glasbena analiza zastavljenega korpusa. Prva ustvarjena računalniška koda, pisana v jeziku Python (z uporabo music21), ki se ukvarja z (meta)podatkovnimi bazami celotnega korpusa, korpusa posameznih skladateljev ter s posameznimi skladbami. Analiza pri tem upošteva šestnajst različnih parametrov. V nadaljevanju besedilo z metodo iskanja n-gramov obravnava melodične in tri različne ritmične vzorce. Po splošnem pregledu vzorcev se osredotoči na petnajst notnih primerov. Nabor samospevov je izbran tako, da tudi v svoji okrnjenosti izrišejo določene poteze vsakega izmed skladateljev. Na koncu so podani vsebinska sinteza, ovrednotenje računalniškega modela in predlogi za nadaljnje raziskovanje. Centred topic of my master’s thesis is music patterns in Slovenian lied in-between the two World wars. The research sets its fundamental focus to three central composers of the time – Marij Kogoj (1892–1956), Lucijan Marija Škerjanc (1900–1973) and Slavko Osterc (1895–1941). Firstly, the thesis establishes musically-historical groundwork which mainly serves as a mediator between the gathered results and their interpretation. This is followed by a digital analysis of music notation which consists of two preeminent frames, both executed in Python language with music21. First model carries out corpus (meta)data processing through sixteen different parameters. N-gram analysis method establishes the second model. It returns series of melody patterns (music intervals) and three different types of rhythmic patterns. Both are commented separately and then compared. This method includes a selection of five music pieces per author. The thesis concludes its findings with content synthesis, evaluation of established computational model and encourages further research within the observed topic.

International audience; Electroacoustic music is a meta-genre that includes many artistic practices in which electricity is used for the creation and transformation of sounds. Among these genres, acousmatics developed, on the one hand, in the heritage of musique concrète - and its opposition to the abstraction of written instrumental composition (Schaeffer, 1966, p. 23) - and, on the other hand, to differentiate itself from all the live practices of the late 1960s - mixed music or live electronics. In the middle of the 1970s, François Bayle imagined an instrument, an orchestra of loudspeakers called "acousmonium", allowing acousmatic music to be played in concert.The performance of acousmatic music has been the subject of very few studies (Planel, 1996; Féron, et al., 2015; Boutard, et al., 2019; Couprie, et al., 2017 and Webster, et al., 2020). This short article does not aim to present all of this research, but to reflect on a project conducted since 2015 by the Motus music company, the Institute for Research in Musicology, and more recently, the Center for Cultural History of Contemporary Societies at the University of Paris-Saclay, who are collaborating on a project to record, archive, study, and transmit acousmatic performance. The challenges of this research are threefold. The first is to consider the analysis in a global manner using methods of studying devices and documents, interviews with musicians, and comparative research between different types of data: audio files of the work, performance data, surveys, etc. The second issue concerns the development of a performance recording system. Finally, the last issue concerns the articulation between the interpretation practice and the musicological study. We explain how the two disciplines mutually enrich each other in a dynamic of research-creation.; La musique électroacoustique est un métagenre regroupant de nombreuses pratiques artistiques dans lesquelles l’électricité est utilisée pour la création et la transformation des sons. Parmi ces genres, l’acousmatique s’est développée, d’une part dans l’héritage de la musique concrète – et de son opposition à l’abstraction de la composition écrite instrumentale (Schaeffer, 1966, p. 23) – et d’autre part pour se différencier de l’ensemble des pratiques live de la fin des années 1960 – la musique mixte ou le live electronics. Au milieu des années 1970, François Bayle a imaginé un instrument, un orchestre de haut-parleurs nommé « acousmonium », permettant de mettre en valeur la musique acousmatique en concert.L’interprétation de la musique acousmatique n’a fait l’objet que de très rares études (Planel, 1996 ; Féron, et al., 2015 ; Boutard, et al., 2019 ; Couprie, et al., 2017 et Webster, et al., 2020). Ce court article n’a pas pour objectif de présenter l’ensemble de ces recherches mais de témoigner d’un projet mené depuis 2015 par la compagnie musicale Motus, l’Institut de recherche en musicologie et, plus récemment, le Centre d’histoire culturelle des sociétés contemporaines de l’université Paris-Saclay, qui collaborent sur un projet d’enregistrement, d’archivage, d’étude et de transmission de l’interprétation acousmatique. Les enjeux de cette recherche sont triples. Le premier consiste à envisager l’analyse d’une manière globale à l’aide de méthodes d’étude de dispositifs et de documents, d’entretiens avec les musiciens et d’études comparatives entre des données de différentes natures : fichier audio de l’œuvre, données d’interprétations, relevés, etc. Le deuxième enjeu concerne le développement d’un dispositif d’enregistrement des interprétations. Enfin le dernier enjeu porte sur l’articulation entre la pratique d’interprétation et l’étude musicologique. Nous expliquons la manière dont les deux disciplines s’enrichissent mutuellement dans une dynamique de recherche-création.

Produção relacionada ao projeto de pesquisa "Estudo quantitativo assistido por computador dos Quartetos de Cordas de Haydn, Mozart e Beethoven". Submitted by Marcos Sampaio (marcos@sampaio.me) on 2020-10-01T23:16:16Z No. of bitstreams: 1 Sampaio et al. - 2020 - A quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn.pdf: 11034122 bytes, checksum: aeee09cc6ef9543c34838e6841b129ca (MD5) Approved for entry into archive by Biblioteca de Musica (bibmus@ufba.br) on 2020-10-14T16:25:41Z (GMT) No. of bitstreams: 1 Sampaio et al. - 2020 - A quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn.pdf: 11034122 bytes, checksum: aeee09cc6ef9543c34838e6841b129ca (MD5) Made available in DSpace on 2020-10-14T16:25:42Z (GMT). No. of bitstreams: 1 Sampaio et al. - 2020 - A quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn.pdf: 11034122 bytes, checksum: aeee09cc6ef9543c34838e6841b129ca (MD5) Previous issue date: 2020-09-23 CNPQ e Fapesb In this paper, we present an exploratory study of the pitch registers on the string quartets Opus 17, by Joseph Haydn, according to a quantitative approach. This subject is relevant because the pitch registers studies have revealed noteworthy issues in the Musical Analysis area, the statistical techniques help to detect musical subtleties with a small potential for bias, and because on this corpus, Haydn has established standards for the string quartet genre. The pitch registers study allowed us to identify relevant musical aspects in the repertoire, understand the role of extreme registers in the form segmentation, and observe the prominence of the development and second theme sections, and the feasibility of the quantitative methods. We present a brief theoretical foundation, the methodological framework, the results of the investigation on the quartets' instrument pitches, a discussion about these results, and the conclusions.

Der Band thematisiert zwei zentrale Bereiche der gegenwärtigen Renaissancemusikforschung: in der Hauptsache die Erfassung und Analyse größerer Werk- und Quellengruppen mit Hilfe digitaler Methoden sowie in drei weiteren Beträgen den Umgang mit fragmentarisch überlieferten Kompositionen des 15. und 16. Jahrhunderts. Neben ausführlichen Überblicksdarstellungen werden einzelne Forschungsprojekte wie das "Josquin Research Project", Online-Editionen wie die "Marenzio Online Digital Edition" oder Datenbanken wie das "Verzeichnis deutscher Musikfrühdrucke" oder das digitale "Verzeichnis der Werke Giovanni Pierluigi da Palestrinas" vorgestellt. Im zweiten Teil stehen Fragen der Rekonstruktion fehlender Stimmen und Techniken der improvisierenden Stimmenergänzung im Zentrum., Vorwort (Klaus Pietschmann) ..... 7 Advancing Music Scholarship in a Digital Age: A View from the Renaissance (Richard Freedman) ..... 9 Why Should Musicologists Do Digital Humanities? (Julie E. Cumming) ..... 35 (In) Noten suchen – Das Josquin Research Project (Jesse Rodin) ..... 47 The Catalogue of Early German Printed Music (vdm.sbg.ac.at) – Experiences and perspectives on the construction of a multi-faceted database as a research tool (Andrea Lindmayr-Brandl) ..... 69 Digital humanities projects by Ricercar: from research tools to musical spatial installations (Camilla Cavicchi) ..... 87 Aruspix and the Marenzio Online Digital Edition: Some Lessons and the Evolution of the Project Plan (Laurent Pugin) ..... 103 Das digitale Verzeichnis der Werke Giovanni Pierluigi da Palestrinas (PdPWV). Struktur und Schnittstellen (Peter Ackermann) ..... 125 Das zweite Gesicht einer Josquin zugeschriebenen Kontrafaktur (Jaap van Benthem) ..... 141 Reconstructing (and) the Composer’s Voice (Paul Kolb) ..... 163 Zur Rekonstruktion improvisierter Mehrstimmigkeit der Renaissance am Fall der si placet -Praxis (Philippe Canguilhem) ..... 183

International audience; The general aim of this article is to sketch the processes of understanding music as a set of phenomena intricately involved with the IT novelties within the Slovenian research community from the three basic perspectives of ethno/musicologist, librarian (essential when approaching music computationally), and IT. It assesses what these perspectives have brought to the understanding of music, but more importantly indicates thatthe three perspectives are not arbitrary. Together they form digital musicology in Slovenia. First, it lays out the Slovenian contributions to e-music research, and illustrates academic specificities, both Slovenian and global. Lastly, the article offers some thoughts on current academic challenges and reflects on possible solutions.

International audience; The analytical research of this chapter concerns this last period and takes as its support two emblematic works, rarely presented and analyzed: Taurhiphanie (1987) and the Voyage absolu des Unari vers Andromède (1989). The difficulty in finding sources, the very important difference between concert versions and those published on CD, but also the technical context of their production or the surprising strangeness of their sound and musical rendering make it an exciting field of research for the musicologist. I will show that these characteristics are obviously strongly linked to the UPIC, the instrument on which Xenakis worked both as a designer and as a user for the composition of these works.

Cet article examine les possibilités apportées par l’informatique pour l’étude d’unités sémiotiques musicales. Il dresse une cartographie des logiciels et projets d’analyse musicale assistée par ordinateur qui ont été réalisés au cours des dernières décennies, étudie différents aspects sémiotiques qui ont trait à la représentation des unités et mène sur ces bases une réflexion sur les enjeux épistémologiques, heuristiques et méthodologiques du numérique dans l’appréhension du sens et de la signification en musique., This article examines the possibilities provided by computers for the study of semiotic units in music. It maps the computer analysis software and projects that have been developed during the last decades; it studies different semiotic aspects related to the representation of musical units; on these bases, it finally reflects on the epistemological, heuristic and methodological challenges of digital approaches for investigating sense and meaning in music.

Ontologien spielen eine zentrale Rolle für die formalisierte Repräsentation von Wissen und Informationen sowie für die Infrastruktur des sogenannten semantic web. Trotz früher Initiativen der Bibliotheken und Gedächtnisinstitutionen hat sich die deutschsprachige Musikwissenschaft insgesamt nur sehr zögerlich dem Thema genähert. Im Rahmen einer Bestandsaufnahme werden neben der Erläuterung grundlegender Konzepte, Herausforderungen und Herangehensweisen bei der Modellierung von Ontologien daher auch vielversprechende Modelle und bereits erprobte Anwendungsbeispiele für eine ‚semantische‘ digitale Musikwissenschaft identifiziert. Ontologies play a crucial role for the formalized representation of knowledge and information as well as for the infrastructure of the semantic web. Despite early initiatives that were driven by libraries and memory institutions, German musicology as a whole has turned very slowly to the subject. In an overview the author adresses basic concepts, challenges and approaches for ontology design and identifies models and use cases with promising applications for a ‚semantic‘ digital musicology.

Cilj je ovoga članka predstaviti osnovne pojmove digitalne humanistike u vezi s glazbom i muzikologijom, kao i pojam digitalne muzikologije, kako bi se potaknulo korištenje novih istraživačkih mogućnosti koje ovo područje nudi. U pregled su uključena sljedeća područja: programi za pisanje nota, uključujući optičko prepoznavanje glazbenih zapisa; tehnički standardi MIDI i MP3; baze podataka; računalne aplikacije za istraživanje glazbe; te sustavi za pristupanje podacima o glazbi. Za svako područje ponuđeni su osnovni izvori i materijali te su predstavljene neke od aktualnih aktivnosti i projekata., The field of digital humanities, a convergence of humanities and computer sciences, has recently become a growing focus of interest. The aim of this paper is to present basic concepts of digital humanities as they relate to music and musicology, as well as the term digital musicology, in order to encourage in Croatia a greater use of the new possibilities of research provided by this field. Based on A Companion to Digital Humanities (chapter Music by I. Fujinaga and S. Forscher Weiss), this overview includes the following subjects: notation software and optical music recognition (OMR); MIDI and MP3 as technical standards; databases; computer applications for music scholars; and music information retrieval (MIR) systems. For each subject, some basic sources and materials are offered and some (more or less) current activities and projects are presented, with special consideration of Croatian perspectives.

How does one make sense of the rapidly growing array of resources for musicologists online? In part, the answer depends on what specific interests are topical in the local environment. User needs vary widely. This contribution examines some organization issues in large repositories that available without cost in Europe and North America. Obstacles to finding sites with relevant material are many and generally parallel those familiar from using physical libraries., Područje digitalne muzikologije proširilo se vrlo brzo, ali i ponešto nepravilno. Povremeno se doima poput izobličenoga stabla ili karte za tumačenje – s ubrzanim rastom malenoga područja koje odjednom postaje vrlo krupno (optičko skeniranje izvora odgovarajuć je primjer tog fenomena) nakon čega uskoro dolazi do ubrzanog rasta u nesrodnom području. Mnogi digitalni projekti suočeni su s velikim brojem tehničkih problema koje je potrebno rješiti prije nego što se išta može uspješno predstaviti javnosti. Pregledom nekih od najpoznatijih i najkorištenijih digitalnih projekata (ViFaMusik, e-codices, Gallica, Gaspari Online, rana glazba, DIAMM i RISM) vidimo da ovise o opsežnoj suradnji te da i imaju povijest široke suradnje koja je u podlozi njihovih digitalnih napora. Prava inovacija koja više ovisi o digitalnim mogućnostima koje nisu bile dostupne prije deset godina uključuje Josquin Research Project, Beethoven Werkstatt i web-stranicu Machaut Society sa svojim Mirador preglednikom detalja u rukopisima. Kao online alat, RISM Manuscript Inventory uzoran je primjer križanja starih i novih metoda istraživanja. On objedinjuje informacije sakupljene tijekom desetljeća od strane knjižničara u preko šezdeset zemalja. Trenutno nudi više od milijun zapisa, te visoko kvalitetne bibliografske podatke zajedno s nedavno razvijenim alatima za pretraživanje glazbe. Stotine ljudi i znatna financijska sredstva učinili su njihovo trenutno djelovanje mogućim. Stavljanje RISM-a na mrežu (od 2011.) pretvorilo ga je iz ezoteričnog akronima u resurs koji naširoko konzultiraju izvođači i znanstvenici. Ne možemo znati što digitalnu muzikologiju čeka u budućnosti. Ipak, samo površan pregled prethodno nedostupnih primarnih izvora ponuđenih na web-stranicama brojnih nacionalnih knjižnica obećava da će poljuljati mnoga ustaljena znanja o glazbenoj prošlosti. Generacije i generacije udžbenika i monografija oslanjale su se na najbolje dostupne sekundarne izvore kada nije bilo pristupa primarnim izvorima. Za stotine tema više nije potrebno oslanjati se na sekundarne izvore. Primarnim izvorima od ranih napjeva do djela iz dvadesetog stoljeća lako je pristupiti preko mreže. Pristup tim izvorima duboko će promijeniti znanstveno istraživanje uklanjanjem furnira bezbrojnih slojeva akademske proze i otkrivanjem onoga što je glazba prošlosti doista bila. Pitanja interpretacije neće nestati, ali poboljšani pristup može im olakšati procjenu. (Priča o repertoarima izvan europskih umjetničkih glazbenih tradicija različita je samo u pojedinostima: izvori su vjerojatno dostupni kao audio ili video datoteke i često nema opširne ostavštine ranih spisa koju bi se propitivalo.) Svi izvori navedeni u ovom članku dostupni su bez naknade ili drugih zapreka.

A centralized access to sources, editions, and further kinds of publications facilitates the research process and provides a comprehensive overview of existing information. To connect musicological collections and repositories, we created a metasearch for annotated music: IncipitSearch. It is a tool and a service specifically tailored for research on music incipits, the initial sequences of notes that characterize a work. IncipitSearch is a service to interconnect musical pieces via metadata. It is also a tool that can be reintegrated into existing digital research platforms. By connecting some of the largest digital collections of music metadata it already offers access to around 1 million incipits. In four comprehensible steps, this poster will be a guide explaining how data owners can add their data to IncipitSearch and how the reimplementation of the search functionality can be carried out. Further Resources: IncipitSearch Platform: https://incipitsearch.adwmainz.net Publication: Anna Neovesky, Frederic von Vlahovits: IncipitSearch - Interlinking Musicological Repositories. DH 2018 Bridges / Puentes Book of Abstracts, Mexico City, 2018. URL: https://dh2018.adho.org/en/incipitsearch-interlinking-musicological-repositories.

International audience; iAnalyse 5 is the result of more than ten years of development and research in the field of musical analysis and digital musicology. By combining three software pieces into one, I have tried to meet the main expectations of musicologists who are often deprived of the lack or complexity of the tools needed to analyse audiovisual recordings, to create multimedia examples or to study raw data. This article contextualises the development of iAnalyse 5 in an interdisciplinary digital musicology and presents the main functions of the software.; iAnalyse 5 est l’aboutissement de plus d’une dizaine d’an- nées de développement et de recherches dans le domaine de l’aide à l’analyse musicale et de la musicologie numé- rique. En réunissant trois logiciels en un seul, j’ai tenté de répondre aux principales attentes des musicologues souvent démunis devant le manque ou la complexité des outils néces- saires à l’analyse d’enregistrements audiovisuels, la création d’exemples multimédias ou l’étude de données brutes. Cet article contextualise le développement d’iAnalyse 5 dans une musicologie numérique interdisciplinaire et présente les principales fonctions du logiciel.

iAnalyse 5 is the result of more than ten years of development and research in the field of musical analysis and digital musicology. By combining three software pieces into one, I have tried to meet the main expectations of musicologists who are often deprived of the lack or complexity of the tools needed to analyse audiovisual recordings, to create multimedia examples or to study raw data. This article contextualises the development of iAnalyse 5 in an interdisciplinary digital musicology and presents the main functions of the software., iAnalyse 5 est l’aboutissement de plus d’une dizaine d’an- nées de développement et de recherches dans le domaine de l’aide à l’analyse musicale et de la musicologie numé- rique. En réunissant trois logiciels en un seul, j’ai tenté de répondre aux principales attentes des musicologues souvent démunis devant le manque ou la complexité des outils néces- saires à l’analyse d’enregistrements audiovisuels, la création d’exemples multimédias ou l’étude de données brutes. Cet article contextualise le développement d’iAnalyse 5 dans une musicologie numérique interdisciplinaire et présente les principales fonctions du logiciel.

We introduce the first prototype of a web application for digital musicology: BeyondTheNotes (working title). The goal of the tool is to support the in-depth analysis of individual pieces of music as well as the large scale analysis and comparison of summative features of multiple pieces of music. In contrast to existing tools, BeyondTheNotes is ready to use without installation, enables the upload and analysis of own material and offers different visualizations of musical metrics like chords, pitches, durations and key. We design the tool according to the User Centered Design Approach to improve the usability and address the specific needs of musicologists. We describe the results of the requirement analysis and discuss future steps.