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Circulating Song from the Century Before Print.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Circulating Song from the Century Before Print./
作者:	Watson, William Clovis.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	456 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
Contained By:	Dissertations Abstracts International82-12A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27742567
ISBN:	9798516931482

Circulating Song from the Century Before Print.
Watson, William Clovis.

Circulating Song from the Century Before Print. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 456 p.

Source: Dissertations Abstracts International, Volume: 82-12, Section: A.

Thesis (Ph.D.)--Yale University, 2020.

This item must not be sold to any third party vendors.

While music from medieval and early-modern Europe has long been an object of digitally and computationally inflected musicological research, such efforts have tended to focus either on issues of musical style or on the publication of primary sources such as manuscript images, machine-readable notation, and textual documents. The present study takes a fresh approach by using a new digital tool to explore the material circulation of polyphonic vernacular song across fifteenth-century Europe. This new tool is a database called the Digital Index of Late Medieval Song (DILMS), which aims to describe every extant copy of every polyphonic song written down in the fifteenth century.DILMS itself is as deserving of critical scrutiny as the music into which it yields new insights is. Thus, while this study uses DILMS to launch statistical inquiries, social network analyses, and other such computationally intensive explorations, it also lingers over moments in which the materials of music history resist easy assimilation to DILMS's digital world. Thus, not only can DILMS help us to estimate the proportion of fifteenth-century polyphonic songs that have survived into the present day, but the regimented data architecture it enacts can also invite critiques of longstanding ideas about musical work-ontologies in fifteenth-century Europe. Similarly, not only can close analysis of the networked structures that DILMS articulates across manuscripts and songs pinpoint those fifteenth-century materials that were (and often remain) relatively widely known, but it can also gesture toward other, unexpected collections of materials that ask us to imagine novel, hitherto-unwritten histories of polyphonic song. In these and other ways this study aims to strike a balance between leveraging the productive potential of a new digital tool and critically interrogating the kinds of knowledge that such tools offer up to humanistic inquiry.

ISBN: 9798516931482Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Critical data studies

Circulating Song from the Century Before Print.
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500 $a Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
500 $a Advisor: Zayaruznaya, Anna.
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506 $a This item must not be sold to any third party vendors.
520 $a While music from medieval and early-modern Europe has long been an object of digitally and computationally inflected musicological research, such efforts have tended to focus either on issues of musical style or on the publication of primary sources such as manuscript images, machine-readable notation, and textual documents. The present study takes a fresh approach by using a new digital tool to explore the material circulation of polyphonic vernacular song across fifteenth-century Europe. This new tool is a database called the Digital Index of Late Medieval Song (DILMS), which aims to describe every extant copy of every polyphonic song written down in the fifteenth century.DILMS itself is as deserving of critical scrutiny as the music into which it yields new insights is. Thus, while this study uses DILMS to launch statistical inquiries, social network analyses, and other such computationally intensive explorations, it also lingers over moments in which the materials of music history resist easy assimilation to DILMS's digital world. Thus, not only can DILMS help us to estimate the proportion of fifteenth-century polyphonic songs that have survived into the present day, but the regimented data architecture it enacts can also invite critiques of longstanding ideas about musical work-ontologies in fifteenth-century Europe. Similarly, not only can close analysis of the networked structures that DILMS articulates across manuscripts and songs pinpoint those fifteenth-century materials that were (and often remain) relatively widely known, but it can also gesture toward other, unexpected collections of materials that ask us to imagine novel, hitherto-unwritten histories of polyphonic song. In these and other ways this study aims to strike a balance between leveraging the productive potential of a new digital tool and critically interrogating the kinds of knowledge that such tools offer up to humanistic inquiry.
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