Encoding Scores for Electronic Music

• Florian Zwißler ^[1] ; Philip Schwarzbauer ^[1] ; Michael Oehler ^[1]
  1. [1] Osnabrück University, Institute for Musicology and Music Pedagogy, Germany
• Localización: Music Encoding Conference Proceedings 2021, 19–22 July, 2021 University of Alicante (Spain): Onsite & Online / Stefan Münnich (dir. congr.), David Rizo Valero (dir. congr.), 2022, ISBN 978-84-1302-173-7, págs. 189-196
• Idioma: inglés
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• Resumen

  • A perspective on the specific issues of music encoding dealing with Electronic Music is presented. In manycases the works to be discussed exist in a fixed media format and hence no prescriptive score is necessary tofacilitate a ‘valid’ performance. While there are a number of descriptive scores for pieces of Electronic Music,these are to be treated differently, as they are purely aimed at analysis and therefore contain a certain information bias. Data that is more comparable to instrumental scores is contained in rare examples of so-calledrealization scores. It is argued that these realization scores can be identified as the main subject for encodingof Electronic Music works. For this we will discuss an example from one such score by Karlheinz Stockhausen.For his piece KONTAKTE, Stockhausen released a realization score that unfolds a very detailed documentationof all steps made within the studio production of that work, including the complex patching of studio devicesand the specific transformation processes achieved by the use of tape machines. The paper presents an approach to formalize and encode all these steps within the framework of a semantic database. Using technologylike the semantic web standard, Linked Data and the corresponding RDF/OWL framework, an Electronic Musicproduction setup and its usage can be encoded, stored, and analyzed.