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Conversion of musical sounds into written notation
- Transcription is the conversion of musical sounds into written notation. Ethnomusicologists often produce transcriptions and include them in their publications to better illustrate their argument.
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Sep 8, 2021 · 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.
Just as music differs among individuals and social groups throughout the world, so do people’s ideas about it differ, and this has been so throughout history. Applied ethnomusicology puts ethnomusicological scholarship, knowledge, and understanding to practical use. That is a very broad definition.
- 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).
Finally, there’s musical analysis and transcription. Musical analysis entails a detailed description of the sounds of music, and is a method used by both ethnomusicologists and historical musicologists. Transcription is the conversion of musical sounds into written notation.
Apr 20, 2017 · Bruno Nettl (1983: 11) defined ethnomusicology as “the science of music history.”. Mantle Hood (1971) created “hardness scales” that would allow ethnomusicologists to compare reliably and objectively music from around the world along many dimensions of musical sound. Around 1980, however, there was an “interpretive turn” in ...
Aug 25, 2021 · ABSTRACT. This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in ‘translational’ ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative ...
Mar 7, 2019 · Analytical transcription incorporates all elements of the music and its performance—i.e., not only the pitches sung, but the artistic nuances of the performer as well. The problems which arise here are mainly those of accuracy within the framework of our standard notation.
