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Article

French

ID: <

10670/1.eezg3t

>

Where these data come from
Music and Computer

Abstract

Issue Summer: http://archive-edutice.ccsd.cnrs.fr/edutice-00000838 within the Human Sciences, music is a very special case. On the one hand, musical language may be sufficient for itself (this is the case for instrumental works). Having his vocabulary and syntax rules, he is a subject of semmiological and linguistic studies. On the other hand, this language may be based on a literary medium (in the case of voice works). This medium is then subject to a literary study. Finally, the result of the association, resulting from the interaction between the two, can be the subject of a third type of approach, not yet defined and addressed to date — although it is the most new and promises. From the IT point of view, music language first poses two key problems: data entry and editing of musical texts. The elements of the rating used nowadays (note figures, silences, rhythm signs, etc.) do not correspond to the data commonly processed and edited by the computer. In addition, those elements are responsible for a plurality of information which must be taken into account. Music publishing also poses problems that have long appeared to be insoluble. The ‘printers’ of the 1960s hardly allowed for the writing of notes, silences, alterations (diresis or bémol) and, above all, rhythmic indications (croch, double croch, etc.), with a hammer ending with the necessary number of hooks. Once again, it was necessary to wait until the equipment had evolved in order to arrive at a valid solution.

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