{"id":262,"date":"2020-11-24T22:33:25","date_gmt":"2020-11-24T21:33:25","guid":{"rendered":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/?p=262"},"modified":"2020-11-24T23:34:59","modified_gmt":"2020-11-24T22:34:59","slug":"session-3","status":"publish","type":"post","link":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/session-3\/","title":{"rendered":"SESSION 3: Musicology in the Expanded Field"},"content":{"rendered":"

Thursday, 26 November 2020<\/strong><\/p>\n\n\n\n\n\n\n
15:00 \u2013 16:30<\/strong><\/td>\nSESSION 3:<\/strong><\/p>\n

Musicology in the Expanded Field<\/em><\/strong><\/p>\n

chair: Zdravko Bla\u017eekovi\u0107<\/td>\n<\/tr>\n

15:00 \u2013 15:30<\/td>\nTatjana \u010cunko:<\/p>\n

How to Make Musicology More Visible with Help of Radio<\/em><\/td>\n<\/tr>\n

15:30 \u2013 16:00<\/td>\nJurij Dobravec:<\/p>\n

From Ladislav \u0160aban to the Future of Slovenian Organology<\/em><\/td>\n<\/tr>\n

16:00 \u2013 16:30<\/td>\nLeon Stefanija\u30fbVanessa Nina Borsan\u30fbMatija Marolt\u30fbMatev\u017e Pesek:<\/p>\n

Challenges of Computational Musicology<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Tatjana \u010cunko<\/strong><\/p>\n

Croatian Academy of Sciences and Arts, Division for the History of Croatian Music<\/p>\n

tcunko@hazu.hr<\/em><\/p>\n

 <\/p>\n

How to Make Musicology More \u201cVisible\u201d with Help of Radio<\/strong><\/p>\n

This paper is going to try to answer one of the proposed questions, namely, who are musicology audiences today? Assuming that the radio listeners make up the majority of today\u2019s musicology audience, the paper proposes one way to make scholar musicology papers accessible to them. Based on more than 30 years of experience in applied musicology (as an editor for Croatian Radio) and researching and writing scholarly musico\u00adlog\u00adi\u00adcal articles (in the fields ranging from instrumental music in Croatia in the 17th<\/sup> Century to music on the radio) the author of the paper shares and argues the idea (already tested in eight years of practice) of broad\u00adcast\u00ading scholarly musico\u00adlogical articles instead of trying to make them pop\u00adular, easy to listen to by retelling them or discussing them with their authors (two of the main for\u00admats of a radio programme). The paper gives arguments for the accept\u00adability of using scholarly papers in the domain of applied musicology (such as a radio programme) in order to reach the broader audience than could ever be reached only by printing them in spe\u00adcial\u00adised journals (although they are now available on the internet). The paper proves that with this format of present\u00ading the scholar musico\u00adlogical articles, audiences could not only broaden their interest in musi\u00adcol\u00ado\u00adgy, but also, musicology could arise as a science. Alt\u00adhough there are many research papers about music broadcasts on the radio published in the last thirty years, they are focused mostly on the various types and gen\u00adres of music (Doctor & Carpenter 1996; Doctor 1999; \u010cunko 2012), very rarely, if ever, is there research on various types of textual presen\u00adta\u00adtion of the music in the radio broadcasts. In that respect this paper relies on the author\u2019s own research on the subject and the article Klassische Musik im Radio<\/em> by Oemichen and Feurstein (2006).<\/p>\n

Key words<\/strong>: applied musicology, dissemination, radio, scholarly papers<\/p>\n

Tatjana \u010cunko<\/strong> graduated in Musicology and Music Journalism from the Zagreb Academy of Music in 1986, where she obtained her master’s degree (MSc) in 2004. with the thesis Instrumental Music in Croatia in the 17th Cen\u00adtury <\/em>and earned her doctoral degree with the thesis Croatian Music and Croa\u00adtian Radio<\/em>. She has been an editor in the Croatian Radio Music Department of the Croatian Radiotelevision (HRT) since 1986 (from 2001 to 2004 an Edi\u00adtor in the Classical Music Department). Aside from her editorial and author\u00adship work on the radio, she has published scholarly articles in the Arti musices <\/em>journal (since 1996) and in the Proceedings of Croatian Academy of Sciences and Arts<\/em> (2005), in Proceedings of the International Musicological Sympo\u00adsi\u00adum Krsto Odak \u2013 Life and Opus<\/em> (1997), Music and Heritage. Essays in Hon\u00adour of Dr Lovro \u017dupanovi\u0107<\/em> (2002), Music of Transition. Essays in Honour of Eva Sedak<\/em> (2009) and in Croatian Music in the 20th Century <\/em>(2010). She is one of the editors of the monograph Vara\u017edin Chamber Orchestra 1994-2004<\/em> (2004), the author end editor of the monograph Vara\u017edin Chamber Orches\u00adtra 1994-2014: Two Decades of Enthusiasm<\/em> (2014) and she contributed to the mono\u00adgraph Eight Decades. 1930-2010. Croatian Radio\u00adtelevision Symphony Orches\u00adtra <\/em>(2010). Since 2019 she has been a lecturer at the Zagreb Academy of Music, and since summer of 2020 a researcher in the Division for the History of Croatian Music of the Croatian Academy of Sci\u00adences and Arts.<\/p>\n

\n

Jurij Dobravec<\/strong><\/p>\n

Ars organi Sloveniae \u2013 Dru\u0161tvo JARINA Bohinj
\njurij.dobravec@jarina.org<\/em> <\/p>\n

<\/em><\/p>\n

From Ladislav \u0160aban to the Future of Slovenian Organology<\/strong><\/p>\n

In 1980 Ladislav \u0160aban, a prominent Croatian musicologist, published a pa\u00adper on organs in Croatia made by Slovenian organ builders. His out\u00adstand\u00ading contribution represents a triple milestone, at least. Firstly, for him, a final outline of the study started with J. G. Eisl ten years before at the very inception of the Musicological Institute at the Academy of Music in Zagreb. Secondly, the first research paper on organs for Slovenia after the WW II. And thirdly, for the musicology of the area, a thorough meth\u00adod influencing structure and wording of future texts on pipe organs. Two researchers followed his achievements in Slovenia: his graduate student Milko Bizjak, and Dr Edo \u0160kulj, professor emeritus, still active in the field today.<\/p>\n

The presentation shortly displays analytical milestones in Slovenian organ research. Beginning with the oldest known critical treatise concerning Ljubljana cathedral organ by Fran\u010di\u0161ek Kri\u017eman in 1762, we proceed with the surveys of organs in Maribor and Ljubljana dioceses at the beginning of the 20th century and finish with the mutually interconnected book Orgle Slovenije <\/em>(Slovenian Organs) and web page www.orgle.si<\/em> (2018).<\/p>\n

Special attention will be given to the future and so-called digital humanities <\/em>in organ research, which the institute Ars organi Sloveniae<\/em> has been developing since 2005 and is summarised in the mentioned book-web hybrid. By its structure, the digital approach does not differ from \u0160aban\u2019s fundamentals or the paradigms of his followers. What distin\u00adguishes considerably is the effectiveness of data survey and organisation, a capacity of the advanced analyses, and an openness for syntheses and visualisation using digital tools. The experience of our institute shows that the attractive interpretation of scientific results accompanied by ac\u00adtive communication can raise awareness for organ and organ music in society. Community feedback, on the other hand, initiates and contrib\u00adutes to the direction of needed research activities.<\/p>\n

Key words<\/strong>: Ladislav \u0160aban, organology, digital humanities, data inter\u00adpreta\u00adtion, awareness raising<\/p>\n

Jurij Dobravec<\/strong> finished education in biology at Ljubljana University in 1993. During his university study, he attended the Ljubljana Organists school for four years, receiving music-history and organology lessons in the class of professor Edo \u0160kulj. Later on, in parallel to managing the Science and Research department at the Triglav national park administration, he volun\u00adteered as a choir conductor and church organist, and in 2005 estab\u00adlished a national organ database managed by a non-governmental institute Ars organi Sloveniae<\/em>. In 2018, in co-authorship with Dr \u0160kulj, this comprehensive data system summarised into an innovative complex of the printed book Pipe Organs of Slovenia <\/em>and web page www.orgle.si. Besides other activities, Dobravec participated in the Slovenian part for the inter\u00adnational Organ dictionary<\/em>, published in 2015 in 23 languages, while his articles on the organ and results of musicology research appeared in profes\u00adsional publications like Acta organologica, Cerkveni glasbenik, Arhivi, Informazione organistica, Varstvo spomenikov, Ars Organi, ISO journal, Ecce organvm!<\/em> and others.<\/p>\n

\n

Leon Stefanija1<\/sup><\/strong>\u30fbMatev\u017e Pesek2<\/sup><\/strong>\u30fbVanessa Nina Borsan3<\/sup><\/strong>\u30fbMarija Marolt4<\/sup><\/strong><\/p>\n

Department of Musicology, Faculty of Arts1<\/sup>\u30fbFaculty of Computer and Information Science2, 4<\/sup>, University of Ljubljana1, 2, 4<\/sup>\u30fbindependent researcher3<\/sup><\/p>\n

leon.stefanija@ff.uni-lj.si<\/em>1<\/sup><\/em>\u30fb<\/em>matevz.pesek@fri.uni-lj.si2<\/sup><\/em>\u30fb<\/em>vninaborsan@gmail.com3<\/sup><\/em>\u30fb<\/em>matija.marolt@fri.uni-lj.si4<\/sup><\/em><\/p>\n

 <\/p>\n

Crisis of Musicology: Challenges of Computational Musicology<\/strong><\/p>\n

The basic etymological interpretation of crisis stems from the Greek \u03ba\u03c1\u03af\u03bd\u03c9:<\/em> to \u2018pick out, choose\u2019, \u2018decide\u202fdisputes\u2019, \u2018decide\u202fa contest\u2019, \u2018ad\u00adjudge\u2019, \u2018judge, give judgement\u2019, \u2018estimate\u2019, \u2018expound, interpret\u202fin a par\u00adtic\u00adular way\u2019, \u2018bring to trial, accuse\u2019, \u2018pass sentence upon, condemn\u2019.<\/p>\n

As the root \u03ba\u03c1\u03af\u03bd\u03c9<\/em> suggests, it is an action of picking up, choosing or decid\u00ading, preferring, determining. Today\u2019s choices of music research may be sche\u00admatically summed up as follows (on the next page). The scheme raises an omnipresent question in music research: \u201cWho sells knowl\u00adedge on music to whom?\u201d. The contribution offers a historical sketch of the com\u00adputational musicology in Slovenia that traces different levels, and levers, of music research pointing to a rathe banal fact: why have been musicologists accepting only certain forms of computer-as\u00adsisted music analysis while the concept of \u201cbig data\u201d analysis of musical facts remains outside of ethno\/musicology?<\/p>\n

Key words<\/strong>: computational musicology, axiology of music, systematic musicology, music analysis, Slovenian music<\/p>\n

Leon Stefanija<\/strong> (Ljubljana 1970) is a professor\u202fof musicology at the Faculty of Arts in Ljubljana. He served as the chair of systematic musicology, between 2008 and 2012 also as the chair of the Department of Musicology.\u202fHis main\u202fresearch interests and teaching areas are the epistemology\u202fof music re\u00adsearch, sociology of music, and history of contemporary, primarily Slovenian music since 1918. He cooperates regularly with the Music Academy in Zagreb, Faculty of Music Belgrade, University of Graz, Music Academy in Sarajevo, and Ballet College in Ljubljana.<\/p>\n

Matev\u017e Pesek<\/strong> is an assistant professor and a researcher at the Faculty of Computer and Information Science, University of Ljubljana, where he re\u00adceived his BSc in computer science in 2012 and his PhD in 2018. He has been a member of the Laboratory of Computer Graphics and Multimedia since 2009. His research interests are music information retrieval, mu\u00adsic e-learn\u00ading, biologically inspired models and deep architectures. He has also re\u00adsearched compositional hierarchical modelling as alterna\u00adtive deep trans\u00adparent architectures, and music multi-modal perception, including human-computer interaction, and visualisation for audio analy\u00adsis and music gen\u00aderation.<\/p>\n

Vanessa Nina Borsan<\/strong> is currently a master\u2019s student of Music and Sound Computing at the Pompeu Fabra University in Barcelona. She graduated at the department of Musicology University of Ljubljana, where she also got her master\u2019s degree in 2020. Her master\u2019s thesis incorporated a com\u00adpu\u00adtational approach to research music patterns of Slovenian lied in-be\u00adtween the two World wars. Her main research focuses on Western music of the 20th century, digital and applied musicology.<\/p>\n

Matija Marolt<\/strong> is an Associate Professor and the Head of La\u00adbor\u00adatory for Com\u00adputer Graphics and Multimedia at the Faculty of Computer and In\u00adfor\u00admation Science, University of Ljubljana. His research interests in\u00adclude mu\u00adsic \/audio information retrieval, computer graphics and visual\u00adi\u00adsa\u00adtion. He focus\u00ades on problems, such as melody and rhythm estimation, au\u00addio seg\u00admen\u00adtation and organisation, and search and visualisation of music collections.<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, 26 November 2020 15:00 \u2013 16:30 SESSION 3: Musicology in the Expanded Field chair: Zdravko Bla\u017eekovi\u0107 15:00 \u2013 15:30 Tatjana \u010cunko: How to…   Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[9,1],"tags":[],"class_list":["post-262","post","type-post","status-publish","format-standard","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/comments?post=262"}],"version-history":[{"count":3,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/262\/revisions"}],"predecessor-version":[{"id":307,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/262\/revisions\/307"}],"wp:attachment":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/media?parent=262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/categories?post=262"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/tags?post=262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}