Raffaele Viglianti is a Research Programmer at the Maryland Institute for Technology in the Humanities (MITH) at the University of Maryland. He holds a PhD in Digital Musicology from King’s College London (UK). Raffaele’s work revolves around digital editions and textual scholarship. He is currently an elected member of the Text Encoding Initiative technical council and an advisor for the Music Encoding Initiative, which produces guidelines for the digital representation of music notation with a focus on scholarly requirements. As a researcher, Raffaele specializes in editions of music scores, contributing to the ongoing change to scholarly editorial theory and practice in the digital medium. His work also focuses on the shaping of music performance practice by the digital consumption of music scores, or the performance of a music score from a digital device.
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Digital Libraries have grown substantially and are including a larger variety of content, including musical scores. In the US, the New York Philharmonic Leon Levy Digital Archives are an example of the richness and scholarly relevance of these resources; in Europe, Gallica (the digital library of the BnF), Digital Bodleian, the Berlin State Library, and more offer digitized musical scores to consult online. All these collections have this in common: they focus on primary sources (such as manuscripts) and provide scanned images as the only mode of access to the material. Distribution of images on the web rapidly became a reliable and efficient way of providing access to a library’s holdings, both because of advancements in digitization and the advent of standardized publication systems, in particular the International Image Interoperability Framework. A smaller number of digital libraries provide machine readable scores and these collections are more often positioned as data sets or corpora for large-scale music analysis. Machine readable scores, however, are also crucial to the creation of digital editions that can take full advantage of interactive web publication. A recent and notable example is the Digitale Mozart-Edition (https://dme.mozarteum.at/). This presentation will focus on this kind of digital scores: where are they being published and used? What are their affordances? How are they relevant to scholarship and music performance?