In case anyone of the GDP feels in urgent need of more writing...
---------- Forwarded message ---------- From: Jacques Steyn <[EMAIL PROTECTED]> Date: Wed, Jul 9, 2008 at 6:55 AM Subject: Call for Chapter Proposal: Structuring Music through Markup Language: Designs and Architectures To: [EMAIL PROTECTED] Dear Han-Wen This email serves as a personal invitation to you as expert in a discipline related to Musicology and Music Informatics. You are cordially invite you to consider contributing your expertise to a forthcoming book edited by Jacques Steyn, entitled Structuring Music through Markup Language: Designs and Architectures. Questions about the nature of music have been asked from different perspectives: from the point of view of Systematic Musicology, or from the point of view of Cultural Musicology. Systematic Musicology, or Scientific Musicology, investigates music from the perspective of the physics of sound, acoustics, cognitive sciences, physiology, neurosciences, computing and technology. Systematic Musicology focuses on music in general. Cultural Musicology focuses on hermeneutic, phenomenological and mystic interpretations of music. Music Informatics and computer technology provide a different perspective on the nature of music than offered by intellectual paradigms of earlier eras. Music Informatics focuses on the information structure of music. Developing an XML-based language for music, that needs to result in practically working systems, requires both an epistemological and ontological description of music. In this context, Music Informatics brings together Systematic Musicology and Cultural Musicology, two approaches which lacked constructive discussion in the past. In the past, most approaches to music from a computing perspective have focused on using the computer as a tool for performance, archiving, and recording. The World Wide Web and particularly markup languages, such as XML, offer a whole new set of tools not only for practical implementations, but also for a new investigation into the theory of music. The rigour of an XML language serves as a conceptual tool to ask penetrating questions about the nature of music. This book investigates music from both a systematic and cultural musicological point of view, and the effect of such a view on the design of a markup language of music. A general and universal approach to music is a high level abstraction from which cultural variations derive. To make possible the universal exchange of different cultural expressions of music by means of computing technologies, this high level abstraction needs to be described along ontological lines. The outcome of such an investigation provides a framework within which to design and develop an XML-based language that makes translation possible between different cultural music systems. Such an approach should also assist in the development of a culture-neutral descriptive markup language that could be used to express symbolic music representation that is not biased toward Common Western Music Notation. Several XML-based languages for music are available. Most focus on Common Western Music Notation, which is only one particular cultural manifestation of music, and more specifically only one particular writing system of music. This book takes the physics of music and acoustics as point of departure for the development of an XML-based music markup language, rather than Common Western Music Notation, which is regarded merely as a specific writing system for a specific cultural expression of music. Yet, while developing basic music concepts on physics, the cultural aspect is factored into the design process. OBJECTIVE OF THE BOOK This book will be the first publication in the field of Music Informatics and will provide a framework for the design and development of an XML-based general music markup language. Designing an XML-based language depends on ontological questions, which in turn depend on the philosophical paradigm of how music is defined – an epistemological question. The approach followed in this book is an attempt to combine the highly technical matter of an XML-based language for computing with philosophical musicological issues. Systematic Musicology is often positivistic, while cultural musicology is often hermeneutic, phenomenological and mystic. This book attempts to bridge the gap by using philosophical concepts for the design of a computer markup language. The themes to be addressed in this book will be of value to scholarly theory as well as music application developers. The Symbolic Music Representation (SMR) initiative provided input into an ISO/MPEG extension for MPEG4 for music representation. Although this initiative did address cross-cultural music notations, it was on a very high level, and lacks details for implementation. That initiative also only focused on written music, and did not touch on the multitude of general music concepts that are also important for the description of music to be used in computer use for music. This limited scope needs to be extended. One particular outcome of this book will be to provide an understanding of music in general, on ontologies of music that may be used to develop XML-based languages for music. There is currently no book addressing this. TARGET AUDIENCE The target audience will be both musicologists and developers of music for computers as well as those interested in Music Informatics. For scholars the value will be initiating debate between Systematic Musicology and Cultural Musicology, while for application builders the value will be a practical framework of music ontology that could be used as basis to develop products. This should enable any web builder (from hobbyists to software corporations) to build music applications within the context of the Web. RECOMMENDED TOPICS You are invited to contribute a chapter on one (or more) of the following themes: Defining music The physics of music The ontology of music The nature of music: duration, frequency Cultural music systems – eg. tuning systems, scales, etc. Orthographic music systems - characteristics Common Western Music Notation: brief history, basic concepts and purpose Descriptive music and computers – eg. how to handle the intrinsic events and objects of music, as oppose to the extrinsic aspects currently handled by applications Mapping ontology to a markup language – requirements, guidelines, principles A general, universal music markup language The way forward Appendix: Present XML-based music applications. * Origin of the application language – history * Purpose of the language – the music domain addressed * Particular approach followed mapping music to XML – the ontological model You are most welcome to submit other possible themes for our consideration. Contributions will be double-blind peer reviewed. HOW TO SUBMIT To submit your chapter proposal, please use the web form at: http://www.musicmarkup.info/ WEB ADDRESS http://www.musicmarkup.info/ DEADLINES 30 September 2008 Proposal submissions 30 October 2008 Proposal acceptance/rejection notification to authors 28 February 2009 Chapter submission deadline 30 April 2009 Review results to authors 30 May 2009 Revised chapters due from authors 31 July 2009 Final acceptance/rejection PUBLISHER This book is scheduled to be published by IGI Global (www.igi-global.com) under their Information Science Reference imprint in 2010. If you have any questions or concerns, please do not hesitate to contact me. We appreciate your consideration of this invitation and hope to hear from you soon! Best wishes, Jacques Steyn (PhD) School of Information Technology Monash South Africa +27-11-950-4132 Phone +27-11-950-4033 Fax jacquezzteyn Skype [EMAIL PROTECTED] -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
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