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This is what transcription does in all circumstances. Creating a visual representation of the music – whether it is intended to allow the transcriber and reader to engage with the music more actively or to perform complex analyses – serves as an aid to processing and understanding the notator’s experience of the music.
Peripheral within ethnomusicology until the late 1970s, when ethnomusicology took a humanistic turn, and ethical considerations such as “giving back” and partnerships with musical communities became normal ethnomusicological practice, applied ethnomusicology moved from a marginal activity to its current place as a significant sub-discipline.
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Aug 25, 2021 · This article sets out to examine the trajectory and scholarly potential of practice research in ethnomusicology and to examine the utility of performance in ethnomusicological research. Ethnomusicologists have always been people who play music or dance in their fieldwork, with different emphases on its function, agency and reception, depending ...
- Simon McKerrell
- 2021
- 1 Introduction
- 2 Background
- 3 Method
- 4 Results
- 5 Conclusion
- Funding
Music transcription is a process of creating a notation of musical sounds, with music notation being the representation of musical sound through some other medium. This can take many forms, but this article, and the field of Music Information Retrieval (MIR) in general, is concerned with static, visual representations of sound, and specifically wit...
2.1 Music transcription in ethnomusicology
If they transcribe music at all, ethnomusicologists usually aim to document a specific performance on the basis of a recording (so-called ‘descriptive music-writing’), rather than to provide a model for performance (‘prescriptive music-writing’; Seeger, 1958). An ethnomusicologist may choose to make a ‘close transcription’ that includes details of playing style—melodic or rhythmic nuances, ornaments, timbral effects, etc.; or a ‘broad transcription’ in which such details are omitted in order...
2.2 Music transcription in MIR
In the MIR field, AMT is typically defined as the process of converting an audio recording or audio stream into some form of human- or machine-readable notation (Klapuri and Davy, 2006). The first approaches for automatic transcription of musical audio to machine-readable notation originated from the 1970s (e.g. Moorer, 1975), with the problem gaining attention from the early 2000s with the development of signal processing and pattern recognition methods for analysing audio signals. AMT is ge...
2.3 Music transcription in between the fields
In ethnomusicology, mechanical devices for automatic transcription and analysis have been used since before the advent of computer technology (Ellingson, 1992; Cooper and Sapiro, 2006), but their application has been limited mainly to the analysis of pitch (tonometry) and melodic contour (melography). The melograph devices developed and advocated by Seeger (1958) and Hood (1971; 1993) were a response to the limitations of staff notation and manual transcription: a melogram or spectrogram coul...
The methodology employed in this article consists of four main steps, which will be discussed in the following subsections. First, a previously conducted user study (Holzapfel and Benetos, 2019) has been extended, in which a group of musicology students with experience in transcription was asked to compile transcriptions for a series of short music...
In order to establish the basis for our analysis, we investigate the consistency between the two experts in the ratings of the transcriptions. As depicted in Fig. 1, there is a large consistency between the two experts in their ratings, with a correlation coefficient of 0.754. The ratings cover a large range of the overall scale, with about two-thi...
By comparing ratings of human experts with computational metrics through corpus and close analysis, we documented differences in how the quality of a transcription is assessed in ethnomusicology and in MIR. We revealed several aspects that the metrics seem to be ‘missing’ in Section 4.3. Computational metrics are only partially correlated with huma...
This work was supported by the Swedish Research Council (2019-03694 to A.H.); the Marianne and Marcus Wallenberg Foundation (MMW 2020.0102 to A. H.); E.B. is supported by a Turing Fellowship under the Engineering and Physical Sciences Research Council (grant EP/N510129/1).
In the field of ethnomusicology, transcription has long been considered as an important skill which should lead the ethnomusicologist toward the analysis of folk music, non-Western art music and contemporary music in oral tradition.
Mar 7, 2019 · The problems of transcription and transnotation in ethnomusicology are especially important in Israel today because the concentration of so many different ethnic groups has led to increased research in their various folk musics.
Here's the post, which includes the tools you need for transcription as well as the a step-by-step guide on actually putting notes on paper (or software). TL;DR. Use MuseScore or Sibelius | First (free notation software) Prepare the transcription by finding time signature, key signature, and tempo. Listen a LOT.
