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href="#content" class="menu-scroll-down"><svg class="icon icon-arrow-right" aria-hidden="true" role="img"> <use href="#icon-arrow-right" xlink:href="#icon-arrow-right"></use> </svg><span class="screen-reader-text"> Descendre au contenu </span></a> </nav> </div> </div> </header> <div class="site-content-contain"> <div id="content" class="site-content"> <div class="wrap"> <header class="page-header"> <h2 class="page-title">Articles</h2> </header> <div id="primary" class="content-area"> <main id="main" class="site-main"> <article id="post-6366" class="post-6366 post type-post status-publish format-standard hentry category-billets"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/6366" rel="bookmark"><time class="entry-date published" datetime="2025-02-19T12:44:59+02:00">19/02/2025</time><time class="updated" datetime="2025-02-19T15:01:27+02:00">19/02/2025</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/6366" rel="bookmark">Journées d’accélération de l’ICCARE-LAB – “Partition et numérique”</a></h3> </header> <div class="entry-content"> <figure class="wp-block-image size-large is-resized"><a href="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18.png"><img decoding="async" width="500" height="405" src="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18-500x405.png" alt="" class="wp-image-6373" style="width:674px;height:auto" srcset="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18-500x405.png 500w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18-300x243.png 300w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18-768x622.png 768w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.54.18.png 1372w" sizes="(max-width: 500px) 100vw, 500px" /></a></figure> <p style="text-align: justify">Plusieurs membres du Consortium HN <strong>Musica2</strong> étaient présents aux <a href="https://pepr-iccare.fr/">premières journées d’accélération du secteur Musique du PEPR ICCARE</a>, accueillies au Centre de Musique Baroque de Versailles et consacrées aux problématiques inhérentes à l’édition numérique.</p> <div class="wp-block-image"> <figure class="alignright size-large is-resized"><a href="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05.png"><img decoding="async" width="500" height="379" src="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-500x379.png" alt="" class="wp-image-6367" style="width:281px;height:auto" srcset="https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-500x379.png 500w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-300x227.png 300w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-768x581.png 768w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-1536x1163.png 1536w, https://musica.hypotheses.org/files/2025/02/Capture-décran-2025-02-19-à-11.30.05-2048x1550.png 2048w" sizes="(max-width: 500px) 100vw, 500px" /></a></figure></div> <p>Réunissant éditeurs, musicologues, bibliothécaires et musiciens, ces deux journées ont été l’occasion d’aborder des sujets aussi divers que l’encodage de la musique, l’intelligence artificielle et l’usage des OCR/OMR, mais aussi les modèles de distribution pour la partition de demain et son rôle primordial pour la formation. Ces échanges féconds ont permis d’envisager des collaborations futures et de mettre en regard différents usages de la partition numérique. </p> </div> </article> <article id="post-6292" class="post-6292 post type-post status-publish format-standard hentry category-billets tag-gt5 tag-huma-num tag-mei"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/6292" rel="bookmark"><time class="entry-date published" datetime="2025-02-14T10:16:27+02:00">14/02/2025</time><time class="updated" datetime="2025-02-17T11:22:47+02:00">17/02/2025</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/6292" rel="bookmark">GT5 > Atelier MEI > encodage et visualisation ; le cas de la musique médiévale</a></h3> </header> <div class="entry-content"> <p style="text-align: justify">Des membres du Consortium HN Musica2 se sont réunis au CESR de Tours les 11 et 12 Février 2025 pour un atelier organisé par Christelle Chaillou (CESCM UMR 7302), Philippe Vendrix et Augustin Braud (CESR UMR 7323) autour de la thématique de l’encodage et de la visualisation de la musique médiévale ; l’occasion de découvrir des projets variés et de stimuler la réflexion collective.</p> <p style="text-align: justify">David Chappuis (HEM Genève, CNSMD Lyon) a présenté son projet <em>Chanter les motets de Philippe de Vitry (CMPV). </em>Un outil de code (Minimae) a notamment été développé pour travailler sur ce corpus. Ce système présente l’avantage d’une grande interopérabilité : la sortie en MEI est qualitative tandis que l’affichage VEROVIO n’est pas encore satisfaisant. La meilleure solution d’export est actuellement celle en Latex-Tikz qui vient s’ajouter à des possibilités de stockage et comparaison des variants, insistant ainsi sur la nécessité d’une approche plurielle de l’édition critique.<br /><br />Christelle Cazaux et Ugo Bindini (Schola Cantorum Basiliensis) présentent ensuite le <em>SNF-Projekt Carmina Burana Online (PI) </em>qui prend appui sur le TEI avant d’y intégrer des éléments MEI pour l’encodage des neumes du <em>Codex Buranus</em> (Munich, Bayerische Staatsbibliothek, Clm 4660-4660a). Cet exemple questionne les possibilités de visualisation de signes complexes et singuliers tout autant que les rapports entre musique et texte, notamment dans le positionnement des neumes. Le rendu utilise le format XSL pour transformer les fichiers XML en HTML et permettre leur visualisation en ligne.</p> <p style="text-align: justify">Christelle Chaillou, Léontine Fortin et Rémi Bonnin (CESCM UMR 7302) présentent l’ANR <em>MARITEM – Manuscrit du Roi</em> (2019 – 2024) étudiant le fr.844, chansonnier du XIIIe siècle composite par bien des aspects. Ce projet s’appuie sur un seul fichier TEI d’environ 300 000 lignes au sein duquel des sous-fichiers sont extraits et mis en ligne par l’intégration d’un DublinCore étendu au sein d’Omeka S. </p> <p style="text-align: justify">Richard Freedman (University of Haverford – Le Studium Visiting) nous a présenté ses derniers travaux autour des thématiques croisées de la science de données et de la musicologie. Divers scripts écrits dans les langages Python et Pandas permettent des opérations de traitement analytique de masse sur des fichiers MEI et de manière plus générale, de repenser la gestion des données dans le processus d’encodage de la musique.</p> <p style="text-align: justify">Kévin Roger (Université de Lorraine, CRULH) est quant à lui revenu sur l’outil Python SubtiliorEditor – permettant d’améliorer l’encodage et la visualisation de certaines notations inhabituelles du XIVe siècle – développé en collaboration entre le Cluster6 Biblissima+ et le Consortium HN Musica2 ainsi que sur de futurs projets tissant des liens entre musicologie, science des données et IA.<br /><br />Ailin Arjmand (CESR UMR 7223) nous présente son travail sur les tablatures dans le cadre du projet Albani (porté par le Cluster6 Biblissima+) par le biais d’un nouvel outil dédié à l’encodage des tablatures.<br /><br />Laurent Pugin (RISM) conclut cette première journée par la présentation des dernières actualités et mises à jour de Verovio, outil de visualisation et transformation des fichiers MEI. Un travail conséquent a notamment pu être accompli sur la notation mensurale et le format CMME à l’aide du NFDI4Culture ; Verovio pourra désormais détecter d’éventuels soucis de manière autonome. Pour faire écho aux soucis rencontrés dans certains projets avec la visualisation des neumes, Laurent Pugin conseille de pointer vers des fichiers SVG externes.</p> <p style="text-align: justify">À la suite de ces échanges particulièrement stimulants, une seconde journée a été consacrée à l’annotation collective du <em>Guide de l’Édition Numérique</em> en cours de rédaction par le GT5, dont la mise en ligne est prévue avant l’été 2025.</p> </div> </article> <article id="post-6267" class="post-6267 post type-post status-publish format-standard hentry category-billets"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/6267" rel="bookmark"><time class="entry-date published" datetime="2025-01-31T09:26:09+02:00">31/01/2025</time><time class="updated" datetime="2025-01-31T09:28:43+02:00">31/01/2025</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/6267" rel="bookmark">Journée d’accueil des Consortiums Huma-Num</a></h3> </header> <div class="entry-content"> <p style="text-align: justify">Plusieurs membres du Consortium-HN Musica2 se sont rendus le 30.01.2025 à l’Humathèque du campus Condorcet pour un temps d’échange avec l’équipe d’Huma-Num et les équipes des huit autres Consortiums-HN. Cette journée vise à encourager des collaborations et synergies entre les différents Consortiums labellisés par le biais d’un partage de nos bilans et objectifs.<br /><br />Nous avons notamment fait le point sur nos projets pour 2025 : dépôts de nouveaux projets scientifiques et continuation de chantiers en cours, avancée des livrables et outils, dispositifs de formation développés, ainsi que notre inclusion dans la communauté scientifique à travers divers événements.</p> <p> </p> <p> </p> </div> </article> <article id="post-5968" class="post-5968 post type-post status-publish format-standard has-post-thumbnail hentry category-billets tag-bases-de-donnees tag-dezede tag-gt2 tag-gt3 tag-huma-num tag-mis-en-avant tag-musicasearch tag-ontologie"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/5968" rel="bookmark"><time class="entry-date published" datetime="2025-01-21T23:42:11+02:00">21/01/2025</time><time class="updated" datetime="2025-01-22T10:17:37+02:00">22/01/2025</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/5968" rel="bookmark">Journée d’études à Évry : les Humanités numériques pour la recherche et la formation</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/5968"> <img width="2000" height="1200" src="https://musica.hypotheses.org/files/2025/01/Evry2-2000x1200.jpg" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p><a href="https://musica.hypotheses.org/files/2025/01/Evry1.jpg"><img loading="lazy" decoding="async" class="size-medium wp-image-6002 alignright" src="https://musica.hypotheses.org/files/2025/01/Evry1-212x300.jpg" alt="" width="212" height="300" srcset="https://musica.hypotheses.org/files/2025/01/Evry1-212x300.jpg 212w, https://musica.hypotheses.org/files/2025/01/Evry1-354x500.jpg 354w, https://musica.hypotheses.org/files/2025/01/Evry1-768x1086.jpg 768w, https://musica.hypotheses.org/files/2025/01/Evry1-1086x1536.jpg 1086w, https://musica.hypotheses.org/files/2025/01/Evry1.jpg 1448w" sizes="auto, (max-width: 212px) 100vw, 212px" /></a>Joann Élart (CoPil, GT3) et Thomas Bottini (GT2) ont communiqué à la journée d’études : <a href="https://rasm.univ-evry.fr/accueil/evenements/journees-detude/journee-detudes-les-humanites-numeriques-pour-la-recherche-et-la-formation/article/ufr-langues-arts-et-musique/1/1.html?q=ufr%20lam&backId=7234&cHash=7e6b636e580612e7a01046a6433bed70">“Les Humanités numériques pour la recherche et la formation”</a>, co-organisée par Pierre Couprie (GT4).</p> <p>Joann Élart est intervenu dans une première table consacrée aux <em>corpus et bases de données</em>, pour présenter <a href="https://dezede.org/" target="_blank" rel="noopener"><em>Dezède</em></a>, le consortium HN Musica2 et son action en ce domaine, et <a href="https://musica2.huma-num.fr/musicasearch/?text=">MusicaSearch</a>. Il a également participé en fin de journées à une table ronde portant sur l’institutionnalisation du numérique dans les universités.</p> <p>Thomas Bottini participe quant à lui à la table <em>Ontologies sémantiques et représentations de données. </em>Sa présentation est disponible en ligne : <a href="https://musica.hypotheses.org/files/2025/01/2025.01.17_evry_hn.pdf">“Modéliser, saisir, explorer – retour sur la mise en oeuvre du CIDOC CRM dans des bases de données en musicologie”</a>.</p> <p>Photo : © Pierre Couprie</p> </div> </article> <article id="post-5734" class="post-5734 post type-post status-publish format-standard hentry category-billets"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/5734" rel="bookmark"><time class="entry-date published" datetime="2024-10-24T09:06:46+02:00">24/10/2024</time><time class="updated" datetime="2024-10-24T09:06:47+02:00">24/10/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/5734" rel="bookmark">GT3 > Atelier #3 > Internationalisation</a></h3> </header> <div class="entry-content"> </div> </article> <article id="post-4359" class="post-4359 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites category-ateliers tag-annuaire tag-formation-universitaire tag-gt3 tag-mis-en-avant"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4359" rel="bookmark"><time class="entry-date published" datetime="2024-10-24T09:04:30+02:00">24/10/2024</time><time class="updated" datetime="2024-11-20T19:40:03+02:00">20/11/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4359" rel="bookmark">GT3 > Atelier #2 > Numérique et formation universitaire en musicologie en France</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/4359"> <img width="2000" height="1200" src="https://musica.hypotheses.org/files/2024/11/Amphi-rouen-2000x1200.jpg" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: justify"><span id="messageContent">Le deuxième atelier du GT3 a eu lieu lundi 25 mars en visio et faisait suite <a href="https://musica.hypotheses.org/2852" target="_blank" rel="noopener">au premier</a> consacré à la réalisation de l’annuaire de la musicologie numérique. Il a consisté en un échange sur la <strong>place du numérique dans la formation universitaire en musicologie en France</strong>, dans le but de sensibiliser nos communautés : comment diffuser de l’information auprès de nos étudiants sur les outils et les corpus que nous produisons ? comment investir les offres de formation sous forme de cours de présentation, d’initiation à la manipulation et à la constitution de données, vers l’exploitation par nos usagers eux-mêmes dans le cadre de leur master ou de leur doctorat ?<br /></span></p> <p style="text-align: justify"><span id="messageContent">Force est de constater que les offres de formation sont très différentes d’une université à l’autre. À Rouen, le numérique y est très présent depuis 2012 : un parcours de culture numérique est aujourd’hui proposé sur six semestres, du L1 au L3, en plus de cours de méthodologie ou d’initiation à la recherche qui utilisent des supports numériques (notamment <em>Dezède</em>) ; en master, des cours de méthodologie numérique sont également inscrits dans l’offre de formation. <em>Dezède</em> est également présent dans les enseignements universitaires à Toulouse et à Montpellier en licence et en master. À la Sorbonne, trois TD sont également proposés par les ingénieurs de l’IReMus. À Rennes 2, il existe un master création numérique. À Évry, un atelier numérique est organisé du L2 en master, impliquant un partenariat avec une salle de spectacle. Au CESR de Tours, il existe deux masters d’humanités numériques, l’un “sciences des données” et l’autre “médiation numérique”, plutôt axés sur la TEI. Il faut distinguer dans cette démarche ce qui relève de la musicologie numérique et de l’informatique musicale. Cette dernière existe dans la plupart des départements : à Rouen depuis 1998 (cours de gravure musicale, d’arrangement et de studio) ; à la Sorbonne depuis 2007 (logiciels, méthodologie de la documentation, codicologie, ethnomusicologie) ; à Saint-Étienne (master réalisation / création contemporaine et nouvelles technologies ; informatique musicale notamment audio en licence, avec une initiation aux langages de MAX ou FAUST, à la programmation musicale, à la création d’œuvres, à l’acoustique ou à l’histoire des musiques électroniques, etc.) ; à Rennes 2 (initiation à Cubase en licence) ; à Évry (en master, acoustique et traitement du signal). </span></p> <p style="text-align: justify"><span id="messageContent"></span><span id="messageContent"></span>L’objectif principal formulé à l’issue de cet atelier est de constituer une liste de diffusion des directeurs / enseignants en musicologie en charge de ces enseignements, pour constituer un réseau de correspondants qui puissent représenter les 24 départements de musicologie en France. Cette liste sera un lieu d’échanges et de partages d’expériences dans le domaine des humanités numériques en musicologie, en même temps qu’il permettra à Musica2 d’informer la communauté sur les évolutions de la musicologie nuémrique portées par le consortium (tour de France de la MEI, annuaire de la musicologie numérique, MusicaSearch, etc.). <span id="messageContent">Le réseau des MSH serait également important à intégrer – par exemple, en Bretagne, mise en place des Datalabs et formation autour d’outils.</span></p> </div> </article> <article id="post-5731" class="post-5731 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites category-billets tag-gt3 tag-mis-en-avant tag-musicasearch"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/5731" rel="bookmark"><time class="entry-date published" datetime="2024-10-24T08:49:49+02:00">24/10/2024</time><time class="updated" datetime="2025-03-10T11:40:48+02:00">10/03/2025</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/5731" rel="bookmark">Inauguration de MusicaSearch</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/5731"> <img width="1828" height="1200" src="https://musica.hypotheses.org/files/2024/09/Capture-décran-2024-09-05-à-22.53.18-1828x1200.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p>Le cons</p> <p>Conformément au <a href="https://musica.hypotheses.org/4102" target="_blank" rel="noopener">projet formulé en février 2024</a>, le consortium Musica<span style="color: #ff6600">2</span> a livré à l’automne la première version de Musica<span style="color: #ff6600">Search</span>, le moteur de recherche de la musicologie numérique. Musica<span style="color: #ff6600">Search</span> a été inauguré officiellement le 6 septembre 2024 au campus Condorcet lors de la journée annuelle du consortium Musica<span style="color: #ff6600">2</span>. Outil de signalement permettant croiser les données hébergées dans différentes bases de données, Musica<span style="color: #ff6600">Search</span> a passé une première étape dans son développement à partir de quatre sources, trois musicologiques (Bru Zane Mediabase, Dezède, ReFar) et une généraliste (Databnf) dont seules les données musicales sont interrogées. Musica<span style="color: #ff6600">Search</span> interroge les les entrepôts des différents sites (API, OAI- PMH, sparql endpoint, etc.)</p> <p> </p> <p> </p> </div> </article> <article id="post-4302" class="post-4302 post type-post status-publish format-standard hentry category-billets tag-colloque tag-gt2 tag-huma-num tag-langages-controles tag-patrimoine-musical tag-rome"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4302" rel="bookmark"><time class="entry-date published" datetime="2024-06-10T14:00:41+02:00">10/06/2024</time><time class="updated" datetime="2024-06-11T21:37:42+02:00">11/06/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4302" rel="bookmark">Colloque “Des langages contrôlés pour le patrimoine musical”</a></h3> </header> <div class="entry-content"> <p style="text-align: justify">Le colloque “Des langages contrôlés pour le patrimoine musical” s’est tenu à la Biblioteca Nazionale Centrale di Roma les 3 et 4 juin. Organisées par Manuella Grillo et Michela Berti, Elda Merenda et Angelina De Salvo, Achille Davy-Rigaux, Thomas Bottini et Joann Élart – avec le soutien du Consortium Musica2, de l’École française de Rome, du CESR et Ricercar Lab, de l’IReMus, la Biblioteca Nazionale Centrale di Firenze, l’Istituto di Bibliograpfia Musicale, la Société française de Musicologie, la Società Italiana di Musicologia, l’Associazione Italiana per la Terminologia, la Società Italianna di Sciennze Bibliografiche e Biblioteconomiche, et du projet ERC Perform Art –, ces deux journées ont été l’occasion de faire le point sur des réflexions et usages récemment menés dans le cadre de projets scientifiques faisant appel à des vocabulaires contrôlés, avec la contribution de représentants du RILM et du RISM, auquel se sont ajoutés les présentations le 4 juin de Lorenzo Fiorito, ainsi que d’Eleonora Marzi pour le projet <em>Polifonia: a digital harmoniser for musical heritage knowledge.</em></p> <p style="text-align: justify">Le Consortium Musica2 était représenté par Achille Davy-Rigaux et Augustin Braud qui ont tout deux pris part à la table ronde du lundi 3 juin et présenté les travaux du Consortium, plus particulièrement les réflexions menées au sein des ateliers du GT2 “Ontologies et <em>thesaurii</em>“.</p> <p style="text-align: justify">La journée du 4 juin a permis un partage des réflexions autour de diverses problématiques, qu’il s’agisse de la diachronie inhérente à l’usage des <em>thesaurii</em>, aux liens entretenus par ces derniers avec des systèmes d’ontologie, ou encore la question du multilinguisme. Des pistes collaboratives ont été esquissées à l’issue de ces discussions.</p> <figure class="wp-block-image size-large is-resized"><a href="https://musica.hypotheses.org/files/2024/06/IMG_6531-scaled.jpg"><img loading="lazy" decoding="async" width="500" height="375" src="https://musica.hypotheses.org/files/2024/06/IMG_6531-500x375.jpg" alt="" class="wp-image-4312" style="aspect-ratio:1.332512315270936;width:671px;height:auto" srcset="https://musica.hypotheses.org/files/2024/06/IMG_6531-500x375.jpg 500w, https://musica.hypotheses.org/files/2024/06/IMG_6531-300x225.jpg 300w, https://musica.hypotheses.org/files/2024/06/IMG_6531-768x576.jpg 768w, https://musica.hypotheses.org/files/2024/06/IMG_6531-1536x1152.jpg 1536w, https://musica.hypotheses.org/files/2024/06/IMG_6531-2048x1536.jpg 2048w" sizes="auto, (max-width: 500px) 100vw, 500px" /></a></figure> </div> </article> <article id="post-4254" class="post-4254 post type-post status-publish format-standard hentry category-actualites tag-gt2 tag-langages-controles tag-mis-en-avant tag-rome"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4254" rel="bookmark"><time class="entry-date published" datetime="2024-06-03T14:57:32+02:00">03/06/2024</time><time class="updated" datetime="2024-06-04T10:41:25+02:00">04/06/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4254" rel="bookmark">Des langages contrôlés pour le patrimoine musical</a></h3> </header> <div class="entry-content"> <p style="text-align: right"><strong>État de l’art, outils, perspectives</strong></p> <p style="text-align: right">Rome, 3 et 4 juin</p> <p><span style="color: #993300"><strong>Journées d’études internationales</strong></span></p> <p style="text-align: justify">Le Consortium-HN <strong>Musica<span style="color: #ff6600">2</span></strong> s’associe à l’IReMus, le CESR et Ricercar Lab, la Société française de Musicologie, l’École française de Rome, la Biblioteca Nazionale Centrale di Romas, la Biblioteca Nazionale Centrale di Firenze, la Società Italiana di Musicologia, l’Associazione Italiana per la Terminologia, l’Istituto di Bibliograpfia Musicale, la Società Italianna di Sciennze Bibliografiche e Biblioteconomiche et Perform Art, pour proposer ces deux journées dédiées aux langages contrôlés pour le patrimoine musical.</p> <p style="text-align: justify"><span style="color: #ff6600"><strong>Affiches</strong></span></p> <p><a href="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4261" src="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48-216x300.png" alt="" width="192" height="267" srcset="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48-216x300.png 216w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48-360x500.png 360w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48-768x1067.png 768w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.48.png 1104w" sizes="auto, (max-width: 192px) 100vw, 192px" /></a><a href="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4266" src="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10-214x300.png" alt="" width="191" height="267" srcset="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10-214x300.png 214w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10-357x500.png 357w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10-768x1075.png 768w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.10.png 1066w" sizes="auto, (max-width: 191px) 100vw, 191px" /></a><a href="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4271" src="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30-213x300.png" alt="" width="188" height="265" srcset="https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30-213x300.png 213w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30-356x500.png 356w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30-768x1079.png 768w, https://musica.hypotheses.org/files/2024/06/Capture-décran-2024-06-03-à-14.45.30.png 1056w" sizes="auto, (max-width: 188px) 100vw, 188px" /></a></p> <p><span style="color: #ff6600"><strong>Programme</strong></span></p> <p style="text-align: center"><span style="color: #ff9900"><strong>Lundi 3 juin (Salle 1-2)</strong></span></p> <p>8h45 > Accueil</p> <p>9h ><em>Salutations institutionelles</em>, Stefano Campagnolo (Biblioteca Nazionale Centrale di Roma), Achille Davy-Rigaux (Consortium Musica2)</p> <p>9h30<em> > Introduction</em>, Michela Berti (Conservatorio “F. Morlacchi”, Perugia), Manuela Grillo (Sapienza Università di Roma)</p> <p style="text-align: center"><strong>Première session</strong></p> <p style="text-align: center">Chair Luca Aversano (Università Roma Tre)</p> <p>10h > Zdravko Blažeković (Répertoire International de Littérature Musicale, New York), <em>RILM’s Resources in their Global Multilingual Environment</em></p> <p>10h20 > Mariateresa Dellaborra (Conservatorio di Musica “G. Verdi”, Milano), Gabriele Gamba (Conservatorio di Musica “G. F. Ghedini”, Cuneo), <em>ITMI (Indici della Trattatistica Musicale Italiana) versione 2.1</em></p> <p>10h40 > Daniela Castaldo (Università del Salento),<em> Il progetto RIMAnt: una riflessione sul thesaurus degli strumenti musicali del Mediterraneo antico</em></p> <p>11h > Questions</p> <p>11h20 > Pause café </p> <p style="text-align: center"><strong>Deuxième session</strong></p> <p style="text-align: center">Chair Francesca Tomasi (Università di Bologna)</p> <p>11h50 > Ilario Meandri (Università di Torino), Giulia Ferdeghini (Università di Torino), <em>Gestione dei vocabolari controllati (Thesauri) nel sistema di inserimento dati e nell’ontologia computazionale di Acusteme</em></p> <p>12h10 > Angelo Pompilio (Università di Bologna), Marcello Ranieri (Università di Bologna), Paolo Bonora (Università di Bologna), <em>Un titolo per legarli tutti, un numero per ordinarli. Presentazione ordinata dei documenti del melodramma: numero di posizione della parte di un’opera nel titolo dell’opera musicale</em></p> <p>12h30 > Teresa Cascudo (Universidad de La Rioja), José María Domínguez (Universidad Complutense), <em>LEXIMUS: A Spanish Lexicon and Ontology for Music</em></p> <p>12h50 > Questions</p> <p>13h15 > Pause déjeuner</p> <p style="text-align: center"><strong>Troisième session</strong></p> <p style="text-align: center">Chair Paola Castellucci (Sapienza Università di Roma)</p> <p>14h15 > Sara Taglietti (Ufficio Ricerca Fondi Musicali, Milano),<em> Vocabolari controllati, thesauri e linked open data per la catalogazione della musica. L’esperienza di SBN</em></p> <p>14h35 > Michela Grossi (Conservatorio di musica L. D’Annunzio, Pescara), <em>Resounding the library catalogue. Proposte e prospettive dell’applicazione del Nuovo soggettario alle risorse musicali nell’OPAC del Servizio Bibliotecario Nazionale (SBN) </em></p> <p>14h55 > Questions</p> <p style="text-align: center"><strong>Quatrième session</strong></p> <p style="text-align: center">Chair Anna Lucarelli (Biblioteca Nazionale Centrale di Firenze)</p> <p>15h15 > Luca Aversano (Università Roma Tre), <em>L’esperienza del Lessico della letteratura musicale italiana (LESMU) 1490-1950. Selezione dei lemmi, ordinamento delle accezioni, utilità della prospettiva diacronica</em></p> <p>15h35 > Michela Berti (Conservatorio “F. Morlacchi”, Perugia), Manuela Grillo (Sapienza Università di Roma), <em>L’esperienza del progetto ERC PerformArt: le tappe per la costruzione di PATh (PerformArt Thesaurus)</em></p> <p>15h55 > Questions</p> <p>16h10 > Pause café</p> <p>16h40 > Table ronde</p> <p>Animation de la table: Anna Lucarelli (Biblioteca Nazionale Centrale di Firenze), Augustin Braud (Consortium Musica2). Participants: Associazione Italiana per la Terminologia (Claudio Grimaldi); Biblioteca Nazionale Centrale di Roma (Elda Merenda); Bibliothèque nationale de France (Colin Rameaux); Consortium Musica2-SFM (Achille Davy-Rigaux); Répertoire International des Sources Musicales (Laurent Pugin); Società Italiana Scienze Bibliografiche e Biblioteconomiche (Paola Castellucci)</p> <ol> <li>Sur quels principes construire un thésaurus pour assurer un bon niveau de réponse dans un domaine de recherche donné, notamment en musicologie ?</li> <li>Les thésaurus “institutionnels”, qui trouvent leur garantie dans la bibliographie propre à leurs contextes respectifs, sont-ils suffisamment spécifiques du point de vue des spécialistes et des chercheurs dans des domaines particuliers ? Quelle relation existe- t-il, ou devrait-il y avoir, entre les contextes spécialisés et les contextes documentaires de type “institutionnel” ?</li> <li>La recherche d’informations est-elle facilitée davantage par la spécialisation d’un vocabulaire contrôlé ou, à l’inverse, par une plus grande généralité ?</li> <li>Quelles solutions peut-on trouver pour gérer la diachronie, c’est-à-dire pour s’assurer que la relation entre les termes et les concepts est également valable dans différentes sphères temporelles (et géographiques) ? Comment gérer, dans un langage contrôlé, les termes dans une perspective à la fois synchronique et diachronique ?</li> <li>Quelles perspectives les thésaurus multilingue s’ouvrent-ils à la recherche musicologique ? À quels exemples peut-on se référer ?</li> <li>À quelle(s) condition(s) un lexique ou un thésaurus spécialisé peuvent-ils servir de réservoirs (de mots, de définitions, de relations etc.) pour un thésaurus pluridisciplinaire?</li> <li>L’utilisation de thésaurus empêche-t-elle de décrire des ressources documentaires (ou d’en développer le contenu ) à travers une sphère syntaxique possible, c’est-à-dire à travers la combinaison de termes pour exprimer des significations complexes et des relations entre concepts?</li> <li>La complémentarité entre thésaurus et ontologies permet-elle une meilleure solution pour l’ expression des relations structurelles entre les choses et leur contexte quant à la combinaison de termes selon des règles syntaxiques.</li> </ol> <p>18h > Fin des travaux</p> <p style="text-align: center">***</p> <p style="text-align: center"><span style="color: #ff9900"><strong>Mardi 4 juin (Salle Macchia) – Workshop réservé aux conférenciers</strong></span><br /><br /></p> <p style="text-align: center"><strong>Participants</strong></p> <p>Luca Aversano, Michela Berti, Zdravko Blažeković, Paolo Bonora, Augustin Braud, Teresa Cascudo, Daniela Castaldo, Paola Castellucci, Achille Davy-Rigaux, Mariateresa Dellaborra, José María Domínguez, Giulia Ferdeghini, Lorenzo Fiorito, Gabriele Gamba, Manuela Grillo, Michela Grossi, Anna Lucarelli, Eleonora Marzi, Ilario Meandri, Elda Merenda, Angelo Pompilio, Valentina Presutti, Laurent Pugin, Colin Rameaux, Marcello Ranieri, Sara Taglietti, Francesca Tomasi.</p> <p>10h > Début des travaux</p> <p>11h30 > Pause café</p> <p>12h > Reprise des travaux</p> <p>13h30 > Pause déjeuner</p> <p>14h30 > Reprise des travaux</p> <p>16h30 > Pause café</p> <p>17h > Fin des travaux</p> <p style="text-align: center">***</p> <p><strong>Comité scientifique</strong></p> <p>Luca Aversano, Università degli Studi Roma Tre<br />Michela Berti, Conservatorio Statale di Musica “F. Morlacchi”, Perugia<br />Thomas Bottini, IReMus — Institut de Recherche en Musicologie<br />Stefano Campagnolo, Biblioteca Nazionale Centrale di Roma<br />Paola Castellucci, Sapienza Università di Roma<br />Achille Davy-Rigaux, CNRS Centre national de la recherche scientifique<br />Joann Élart, Université de Rouen Normandie<br />Anne-Madeleine Goulet, CESR – Tours (UMR 7323 du CNRS)<br />Manuela Grillo, Sapienza Università di Roma<br />Anna Lucarelli, Biblioteca Nazionale Centrale di Firenze<br />Elda Merenda, Biblioteca Nazionale Centrale di Roma<br />Francesca Tomasi, Alma Mater Studiorum Università di Bologna<br />Philippe Vendrix, CESR – Tours (UMR 7323 du CNRS)</p> <p><strong>Comité d’organisation </strong></p> <p>Michela Berti, Conservatorio Statale di Musica “F. Morlacchi”, Perugia<br />Thomas Bottini, IReMus — Institut de Recherche en Musicologie<br />Achille Davy-Rigaux, CNRS Centre national de la recherche scientifique<br />Angelina De Salvo, Biblioteca Nazionale Centrale di Roma<br />Joann Élart, Université de Rouen Normandie<br />Manuela Grillo, Sapienza Università di Roma<br />Elda Merenda, Biblioteca Nazionale Centrale di Roma</p> <p><strong>Institutions et Programmes de recherche impliqués</strong></p> <p>Musica2, Consortium en musicolologie numérique – Huma-Num<br />Centre national de la recherche scientifique (CNRS)<br />Centre d’Études Supérieures de la Renaissance<br />Ricercar-Lab (UMR 7323, CNRS, Tours)<br />Institut de recherche en Musicologie (UMR 8223, CNRS, Sorbonne Université, BnF, ministère de la Culture)<br />Biblioteca Nazionale Centrale di Roma<br />Biblioteca Nazionale Centrale di Firenze<br />École française de Rome<br />ERC PerformArt<br />Ass.I.Ter. Associazione Italiana per la Terminologia<br />IBIMUS Istituto di Bibliografia Musicale<br />SISBB Società Italiana di Scienze Bibliografiche e Biblioteconomiche<br />Société Française de musicologie<br />Società Italiana di Musicologia</p> <p> </p> </div> </article> <article id="post-4248" class="post-4248 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites tag-geolocalisation tag-gt3 tag-gt5 tag-heurist tag-huma-num tag-mis-en-avant tag-projet-time-machine"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4248" rel="bookmark"><time class="entry-date published" datetime="2024-06-03T10:30:50+02:00">03/06/2024</time><time class="updated" datetime="2024-06-03T15:24:28+02:00">03/06/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4248" rel="bookmark">Trajectoires de musiciens : rencontre entre CST-HN Musica2 et PTM</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/4248"> <img width="2000" height="1200" src="https://musica.hypotheses.org/files/2024/06/20240531_105503-2000x1200.jpg" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: right"><span style="color: #ff6600"><strong>par Philippe Vendrix</strong></span></p> <p style="text-align: justify">En 2024, dans le cadre du Fonds France-Berkeley, une collaboration a débuté entre le RicercarLab du Centre d’études supérieures de la Renaissance sur la thématique <em>Mapping Renaissance Musical Networks: The Case of Josquin des Prez (1450–1521)</em>. Réunissant Emily Zazulia (University of California, Berkeley), Jesse Rodin (Stanford), Camilla Cavicchi et Philippe Vendrix (CNRS). Grâce au soutien financier de Berkeley, des données ont été réunies par Benjamin Ory (Stanford) destinées à nourrir une réflexion autour des itinéraires de musiciens aux confins des 15<sup>e</sup> et 16<sup>e</sup> siècles en centrant l’attention sur la figure majeure de Josquin Desprez.</p> <p style="text-align: justify">Les 30 et 31 mai, au Campus Condorcet, <strong>Musica<span style="color: #ff6600">2</span></strong> s’est réuni avec les collègues américains, des membres du Consortium <strong>Projets Time Machine</strong> et le porteur de HEURIST pour discuter des manières d’exploiter ces données, des modalités de visualisation des itinéraires et de la façon la plus ouverte de procéder. Ces deux journées ont permis de croiser des projets, des expériences, d’ouvrir la réflexion à d’autres périodes grâce aux ressources de la base <em>Dezède</em> et de s’interroger sur la dimension pédagogique à conférer à ces travaux.</p> <p style="text-align: justify">Le projet se poursuit grâce à un soutien de Stanford University et des collaborations sont envisagées en 2025 entre l’axe Tours-Californie, <strong>Musica<span style="color: #ff6600">2</span></strong> et Projets Time Machine.</p> <p><a href="https://musica.hypotheses.org/files/2024/06/20240531_105503-scaled.jpg"><img loading="lazy" decoding="async" class=" wp-image-4236 aligncenter" src="https://musica.hypotheses.org/files/2024/06/20240531_105503-300x128.jpg" alt="" width="679" height="290" srcset="https://musica.hypotheses.org/files/2024/06/20240531_105503-300x128.jpg 300w, https://musica.hypotheses.org/files/2024/06/20240531_105503-500x213.jpg 500w, https://musica.hypotheses.org/files/2024/06/20240531_105503-768x327.jpg 768w, https://musica.hypotheses.org/files/2024/06/20240531_105503-1536x653.jpg 1536w, https://musica.hypotheses.org/files/2024/06/20240531_105503-2048x871.jpg 2048w" sizes="auto, (max-width: 679px) 100vw, 679px" /></a></p> <p style="text-align: justify"> </p> </div> </article> <article id="post-4187" class="post-4187 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites category-billets tag-hal tag-mis-en-avant"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4187" rel="bookmark"><time class="entry-date published" datetime="2024-04-17T14:25:14+02:00">17/04/2024</time><time class="updated" datetime="2024-04-17T14:26:31+02:00">17/04/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4187" rel="bookmark">Musica2 et la collection HAL Huma-Num IR*</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/4187"> <img width="2000" height="1200" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-2000x1200.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: right"><span style="color: #ff6600"><strong>Tamponnez vos dépôts</strong></span></p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32.png"><img loading="lazy" decoding="async" class="alignleft wp-image-4202 size-medium" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-300x186.png" alt="" width="300" height="186" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-300x186.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-500x310.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-768x476.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-1536x951.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.17.32-2048x1268.png 2048w" sizes="auto, (max-width: 300px) 100vw, 300px" /></a>Les équipes d’Huma-Num IR* viennent d’inaugurer leur collection sur HAL<a href="#_ftn1" name="_ftnref1">[1]</a> à l’adresse : <a href="https://shs.hal.science/HUMA-NUM/" target="_blank" rel="noopener">https://shs.hal.science/HUMA-NUM/</a>. Son ambition est de rassembler les productions de leurs ingénieurs mais également les publications des membres des différents consortiums. Ainsi Pauline Busonera et Adeline Joffres ont-elles imaginé une structure permettant de « tamponner » un dépôt en lui attribuant une « affiliation » qui enclenche, après enregistrement, le moissonnage automatique de ce dépôt dans la collection HAL d’Huma-Num IR*.</p> <p style="text-align: justify">Nous sommes donc invités à contribuer à ce travail de signalement, qui sera observé par le comité scientifique d’Huma-Num IR* lors des bilans annuels. L’intérêt est également de produire une bibliographie au fil de l’eau du projet Musica2 et de regrouper les travaux des différents groupes de travail – la « collection HAL » constitue de ce point de vue une évolution importante de la plate-forme HAL. En effet, Huma-Num recommande de procéder au tamponnage des dépôts à venir (création), mais également des dépôts déjà en ligne (modification). Dans les deux cas, l’affiliation suit le modèle ci-dessous.</p> <p style="text-align: justify"><span style="color: #ff6600"><strong>Que faut-il tamponner ?</strong></span></p> <p style="text-align: justify">Lorsque l’on crée un dépôt dans HAL, une première pop-up « Je sélectionne un type de document » s’ouvre :</p> <p><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4205" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37-300x99.png" alt="" width="664" height="219" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37-300x99.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37-500x164.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37-768x253.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37-1536x505.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-10.41.37.png 1916w" sizes="auto, (max-width: 664px) 100vw, 664px" /></a></p> <p style="text-align: justify">Si les catégories ne sont pas toujours très claires au premier abord (par exemple, une conférence non suivie de publication peut être déposée dans « Proceedings / Recueil de communications »), elles sont désormais très précises, de l’« Article de blog scientifique » au « Logiciel », du « Brevet », du « Poster de conférence » au « Cours », etc. Mon sentiment personnel est qu’il ne faut pas se restreindre ou s’autocensurer : tout ce qui a un lien avec Musica2 doit être visible dans la collection HAL.</p> <p style="text-align: justify"><span style="color: #ff6600"><strong>Comment « tamponner » ?</strong></span></p> <p style="text-align: justify">La procédure est très simple. Partons par exemple de cet extrait tiré de mon HAL personnel :</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4217" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-300x82.png" alt="" width="670" height="183" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-300x82.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-500x137.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-768x211.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-1536x422.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.14-2048x562.png 2048w" sizes="auto, (max-width: 670px) 100vw, 670px" /></a></p> <p style="text-align: justify">On observe que les premier et troisième dépôts ne concernent pas Musica2 : pas de tamponnage dans ce cas. Le premier pose question, s’agissant d’un article publié dans la revue <em>Humanités numériques</em> bien avant la création de Musica2, mais visant à présenter Dezède, partenaire de Musica2 aujourd’hui.</p> <p style="text-align: justify">Le deuxième est en revanche directement lié à l’activité de Musica2. Pour modifier ce dépôt, il suffit de cliquer sur son titre (« Poster du consortium Musica2 ») qui ouvre sa fiche ci-dessous. Ici, il s’agit de cliquer à droite sur « Modifier les métadonnées ».</p> <p><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4216" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-300x149.png" alt="" width="672" height="334" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-300x149.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-500x248.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-768x381.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-1536x762.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.31-2048x1015.png 2048w" sizes="auto, (max-width: 672px) 100vw, 672px" /></a></p> <p style="text-align: justify">On entre alors dans le back-offfice de la fiche :</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4211" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-300x183.png" alt="" width="677" height="413" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-300x183.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-500x305.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-768x468.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-1536x936.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.21.55-2048x1248.png 2048w" sizes="auto, (max-width: 677px) 100vw, 677px" /></a></p> <p style="text-align: justify">C’est dans cette première partie « Auteurs et affiliations » des métadonnées que, une fois entré dans votre dépôt, vous interviendrez. À droite du nom de l’auteur, une affiliation déjà existante vous identifie comme membre de votre unité de recherche – pour moi, le Groupe de Recherche d’Histoire (<span style="color: #ff0000">1</span>). Comme il est possible d’ajouter autant d’affiliations que souhaitées, c’est ici qu’Huma-Num IR* a judicieusement placé sa structure : il reste donc à appeler dans le moteur de recherche (<span style="color: #ff0000">2</span>) l’affiliation « Consortium-HN Musica2 » afin de tamponner le dépôt dans la collection HAL Huma-Num IR* (<span style="color: #ff0000">3</span>).</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4210" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-300x153.png" alt="" width="673" height="343" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-300x153.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-500x255.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-768x391.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-1536x782.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.04-2048x1043.png 2048w" sizes="auto, (max-width: 673px) 100vw, 673px" /></a></p> <p style="text-align: justify">Deux affiliations sont désormais sélectionnées pour ce dépôt, une situation qui concrètement produit un double moissonnage, du côté de mon laboratoire et du côté d’Huma-Num.</p> <p>Enfin, ne pas oublier de « modifier le dépôt » :</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4207" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-300x147.png" alt="" width="673" height="330" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-300x147.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-500x245.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-768x376.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-1536x752.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-05-à-18.22.12-2048x1002.png 2048w" sizes="auto, (max-width: 673px) 100vw, 673px" /></a></p> <p style="text-align: justify">C’est terminé !</p> <p style="text-align: justify"><span style="color: #ff6600"><strong>Consulter la bibliographie</strong></span></p> <p style="text-align: justify">Pour consulter la bibliographie de Musica2, il suffit de taper « Musica2 » dans le moteur de recherche de la page d’accueil de la collection.</p> <p><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4220" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-300x189.png" alt="" width="675" height="425" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-300x189.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-500x314.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-768x483.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-1536x965.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-14.08.27-2048x1287.png 2048w" sizes="auto, (max-width: 675px) 100vw, 675px" /></a></p> <p style="text-align: justify"><span style="color: #ff6600"><strong>Produire la collection HAL de votre projet numérique ?</strong></span></p> <p style="text-align: justify">La collection HAL encourage et facilite la réalisation de bibliographies de projet, notamment lorsque l’équipe est dispersée. C’est le cas du projet numérique Dezède, rattaché à différentes équipes de recherche et universités, alimenté par une large communauté de chercheurs qui ont chacun leur propre rattachement. Par ailleurs, les données produites dans Dezède, rassemblées sous forme de « dossiers », la forme la plus aboutie de la publication dans Dezède, peuvent être associées à des articles ou monographie, des conférences ou des billets de blog scientifique, en format papier ou en ligne. Cette diversité des productions scientifiques et cette large géographie de la recherche autour de Dezède sont ainsi facilement agrégées dans la collection HAL Dezède > <a href="https://hal.science/DEZEDE/">https://hal.science/DEZEDE/</a></p> <p><a href="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24.png"><img loading="lazy" decoding="async" class="alignnone wp-image-4197" src="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-300x181.png" alt="" width="676" height="408" srcset="https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-300x181.png 300w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-500x301.png 500w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-768x462.png 768w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-1536x924.png 1536w, https://musica.hypotheses.org/files/2024/04/Capture-décran-2024-04-17-à-13.44.24-2048x1232.png 2048w" sizes="auto, (max-width: 676px) 100vw, 676px" /></a></p> <p style="text-align: justify"><a href="#_ftnref1" name="_ftn1">[1]</a> Annonce rendue publique lors des journées des consortiums-HN, Condorcet, 4 avril 2024.</p> </div> </article> <article id="post-4102" class="post-4102 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites tag-gt3 tag-musicasearch"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/4102" rel="bookmark"><time class="entry-date published" datetime="2024-02-24T11:44:25+02:00">24/02/2024</time><time class="updated" datetime="2024-10-24T08:49:01+02:00">24/10/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/4102" rel="bookmark">MusicaSearch : pour un moteur de recherche de la musicologie numérique</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/4102"> <img width="2000" height="996" src="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-2000x996.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify">Le consortium <strong>Musica<span style="color: #ff6600">2</span></strong> souhaite donner plus de visibilité à des projets et corpus numériques dispersés sur un vaste territoire, rattachés à de multiples unités de recherche et organisations, déconnectées les unes des autres. Pour cela, la mise en œuvre d’un outil de recherche et de moissonnage des sites et des corpus partenaires faciliterait une recherche plurielle, en même temps qu’il créerait du lien entre les projets aujourd’hui isolés. C’est pourquoi Musica2 pilote le développement du métamoteur de recherche <strong>MusicaSearch</strong> pour interroger les données exposées dans les différents sites partenaires du consortium possédant des points d’accès variés (API, OAI- PMH, sparql endpoint, etc.)</p> <p style="text-align: justify">Hébergé sur les serveurs d’Huma-Num, l’outil permettra d’interroger les données personnes, ensembles, œuvres musicales et spectacles des différents corpus et partenaires du consortium, mais également les données de sites généralistes comme <em>Data.bnf.fr</em>. MusicaSearch souhaite ainsi faciliter la recherche pour les étudiants, les chercheurs, les enseignants, les mélomanes, les musiciens.</p> </div> </div> </div> <figure class="wp-block-image size-large is-resized"><a href="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46.png"><img loading="lazy" decoding="async" width="500" height="234" src="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-500x234.png" alt="" class="wp-image-4111" style="width:671px;height:314px" srcset="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-500x234.png 500w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-300x140.png 300w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-768x359.png 768w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-1536x718.png 1536w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.46-2048x958.png 2048w" sizes="auto, (max-width: 500px) 100vw, 500px" /></a></figure> <div class="page" title="Page 5"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify">Les résultats seront affichés sous le moteur de recherche, sur la même page et sous forme de liste proposant : 1) le logo du site ou du corpus hébergeant la donnée ; 2) le type de données filtrées ; 3) la donnée et son URL, permettant de distinguer telle forme du nom de telle autre.</p> <p style="text-align: justify">Dans le cas de « berlioz », différents résultats sont renvoyés par les trois sites dans notre exemple : il s’agit ainsi de distinguer, dans <em>Dezède</em>, Hector de sa seconde épouse, mais également du pianiste Gabriel-Pierre qui portait le prénom de Berlioz ; il s’agit également de croiser les bases, car apparaissent au premier coup d’œil les deux entrées de Marie Berlioz dans <em>Dezède</em> et la <em>Mediabase Bru Zane</em>. Naturellement, une requête plus fine, combinant « hector » et « berlioz » exclurait les autres résultats, pour ne conserver que les données propres à Hector Berlioz.</p> </div> </div> </div> <figure class="wp-block-image size-large is-resized"><a href="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57.png"><img loading="lazy" decoding="async" width="500" height="171" src="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-500x171.png" alt="" class="wp-image-4107" style="width:673px;height:230px" srcset="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-500x171.png 500w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-300x102.png 300w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-768x262.png 768w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-1536x524.png 1536w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.17.57-2048x699.png 2048w" sizes="auto, (max-width: 500px) 100vw, 500px" /></a></figure> <div class="page" title="Page 5"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify">La seconde vocation de cet outil est de bâtir des passerelles entre des sites ou des corpus cousins et partenaires du consortium. Pour les sites intéressés, il s’agira d’installer dans les tables d’autorités des deux sites des iframes permettant un accès direct aux résultats reconnus automatiquement, via le moteur de recherche, dans le site cousin. Voici une mise en situation de ces iframes, à titre d’exemple.</p> </div> </div> </div> <figure class="wp-block-image size-large is-resized"><a href="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12.png"><img loading="lazy" decoding="async" width="500" height="184" src="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12-500x184.png" alt="" class="wp-image-4106" style="width:673px;height:248px" srcset="https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12-500x184.png 500w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12-300x111.png 300w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12-768x283.png 768w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12-1536x567.png 1536w, https://musica.hypotheses.org/files/2024/02/Capture-décran-2024-02-23-à-23.18.12.png 2028w" sizes="auto, (max-width: 500px) 100vw, 500px" /></a></figure> <p>Un appel d’offres vient d’être lancé pour la livraison finale du prototype en mai prochain.</p> </div> </article> <article id="post-3475" class="post-3475 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites tag-colloque tag-langages-controles tag-patrimoine-musical"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/3475" rel="bookmark"><time class="entry-date published" datetime="2024-02-15T13:47:17+02:00">15/02/2024</time><time class="updated" datetime="2024-02-24T00:47:18+02:00">24/02/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/3475" rel="bookmark">Controlled Languages for Musical Heritage: State of the Art, Tools, Perspectives</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/3475"> <img width="1986" height="1200" src="https://musica.hypotheses.org/files/2024/02/Control-EN-1986x1200.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: right"><span style="color: #ff6600"><b>Call for Papers</b> <b></b><a style="color: #ff6600" href="https://musica.hypotheses.org/3343" target="_blank" rel="noopener">FR</a> <a style="color: #ff6600" href="https://musica.hypotheses.org/3420" target="_blank" rel="noopener">IT</a></span></p> <p style="text-align: justify"><strong><span style="color: #993300">Rome, Biblioteca Nazionale Centrale di Roma, 3-4 June 2024</span></strong></p> <p style="text-align: justify">Today, numerous research projects in the fields of performing arts and musical heritage employ digital tools for data collection, organization, interrogation, and analysis. A wealth of data is thus made available to the community. However, it is clear that the weak dissemination of widespread standards in the field of Musicology directly results in limited data sharing, and in the sparse presence of musical resources in the semantic web. The dialogue between research projects at the European and international levels is currently limited, precisely because of the diversity of languages and standards these projects make use of.</p> <p style="text-align: justify">Therefore, this conference aims to appraise the growing importance of controlled languages for musicology and the performing arts. It is indeed useful to set up tools for the organization of knowledge (KOS, Knowledge Organization System), in order to ensure effective and wide-ranging information retrieval. This requires a reflection on suitable tools to retrieve and make use of this massive amount of data and compels thought on relevant issues concerning the applicable languages and the interoperability of formats for the FAIR management of musical data. The importance of controlled languages in Musicology also lies in the role they play in defining the domain-specific semantics, which conceptual models (ontologies) enhance with the goal of enabling inference by software agents.</p> <p style="text-align: justify">The objective of this conference is to establish the state of the research around controlled languages in Documentation and Musicology, i.e., documentary languages based on tools such as lemmatizers, controlled vocabularies, taxonomies, thesauri, classifications, etc. By presenting ongoing or completed research in the field of digital musicology, its aim is to bring to light both best practices and problematic aspects, in order to identify effective and shareable working methodologies.</p> <p style="text-align: justify">The following themes will be explored (non-exhaustive list):</p> <ul style="text-align: justify"> <li>Experiences in the design of thesauri and controlled languages: What terminology was set as a starting point? What considerations were made regarding usage, user types, and development languages?</li> <li>Terminological issues in the construction of thesauri and controlled languages, both synchronically and diachronically: What are the peculiarities of describing documents, resources or musicological data from the past compared to contemporary musicology? Is a diachronic perspective useful for tracing the fundamental stages of the semantic evolution of a specific musicological domain?</li> <li>Principles of indexing and use of controlled languages: How are prepared controlled languages used? With what level of detail? To index what?</li> <li>How does a musicologist approach the choice of words to label musicological data or describe the content of musicological documents? Was any training necessary? How can musicologists collaborate with documentation specialists or automated systems that implement controlled languages to index data?</li> <li>The choice and use of specific software for the construction of controlled languages: What are the most effective and/or suitable software tools?</li> <li>The reuse and sharing of thesauri and controlled languages: Are all relevant terms truly unique/specific, or is it possible to borrow/derive them from other projects? Are there examples of sharing and reuse, of integration between generalist and specialized tools, or of pooling of specific terminologies between ongoing or completed projects?</li> <li>Exploitation of controlled languages by machines and artificial intelligence: How do controlled languages support semantic interoperability between projects sharing data on the web?</li> </ul> <p style="text-align: justify">The conference will be organized as follows:</p> <ul style="text-align: justify"> <li>The first day will be open to public presentations: speakers will be invited to present their projects within the framework of the questions mentioned above.</li> <li>The second day will take the form of a workshop. Speakers will be invited to discuss the working documents provided to them, to emphasize common points and suggestions, and to prepare questions for a more in-depth conversation on technical aspects and tools. Working documents will be sent out two weeks in advance to allow participants enough time to prepare and to facilitate a substantial exchange.</li> </ul> <p style="text-align: justify">Conference languages: Italian, French, English. </p> <p style="text-align: justify"><span style="color: #ff6600"><span style="color: #ff9900">></span> <span style="color: #ff9900"><a style="color: #ff9900" href="https://musica.hypotheses.org/files/2024/02/Controlled-languages.pdf">Dowload poster</a></span></span></p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Timeline</b></span></h2> <ul style="text-align: justify"> <li><b>March 10, 2024:</b> Deadline for submitting proposals to <a href="mailto:linguaggicontrollati.musica@gmail.com">linguaggicontrollati.musica@gmail.com</a>. Expected format of proposals:</li> <li style="list-style-type: none"> <ul style="list-style-type: circle"> <li style="list-style-type: none"> <ul style="list-style-type: circle"> <li>Summary of up to 1500 characters including spaces,</li> <li>CV of up to 500 characters including spaces, for each participant,</li> <li>Email addresses of all presenters,</li> <li>Indication of the necessary equipment for the presentation.</li> </ul> </li> </ul> </li> <li><b>March 30, 2024:</b> Notification of acceptance by the scientific committee.</li> <li><b>April 28, 2024:</b> Submission of working documents.</li> <li><b>May 19, 2024:</b> Distribution of working documents among selected participants.</li> </ul> <p style="text-align: justify">Contributions presented at the conference will be published.</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Scientific Committee </b></span></h2> <p style="text-align: justify"><strong>Luca Aversano</strong>, Università degli Studi Roma Tre<br /><strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /><strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /><strong>Stefano Campagnolo</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Paola Castellucci</strong>, Sapienza Università di Roma<br /><strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /><strong>Joann Élart</strong>, Université de Rouen Normandie<br /><strong>Anne-Madeleine Goulet</strong>, CESR – Tours (UMR 7323 du CNRS)<br /><strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /><strong>Anna Lucarelli</strong>, Biblioteca nazionale centrale di Firenze<br /><strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Francesca Tomasi</strong>, Alma Mater Studiorum Università di Bologna<br /><strong>Philippe Vendrix</strong>, CESR – Tours (UMR 7323 du CNRS)</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Organizing Committee</b></span></h2> <p style="text-align: justify"><strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /><strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /><strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /><strong>Angelina De Salvo</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Joann Élart</strong>, Université de Rouen Normandie<br /><strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /><strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma</p> <h2 style="text-align: justify"><b><span style="color: #ff6600">Institutions and Research Projects</span> </b></h2> <p style="text-align: justify">Musica2, Consortium en musicolologie numérique, Hum-Num, CNRS<br />Centre d’Études Supérieures de la Renaissance, Ricercar-Lab (UMR 7323, CNRS, Tours)<br />Institut de recherche en Musicologie (UMR 8223, CNRS, Sorbonne Université, BnF, ministère de la Culture)<br />Biblioteca nazionale centrale di Roma<br />Biblioteca nazionale centrale di Firenze<br />École française de Rome<br />ERC PerformArt<br />Ass.I.Ter. Associazione Italiana per la Terminologia<br />SISBB Società Italiana di Scienze Bibliografiche e Biblioteconomiche<br />Société française de musicologie<br />Società italiana di Musicologia</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg"><img loading="lazy" decoding="async" class="alignnone wp-image-3351" src="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg" alt="" width="67" height="66" srcset="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg 300w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-500x492.jpg 500w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-150x150.jpg 150w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-768x755.jpg 768w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-100x100.jpg 100w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg 1500w" sizes="auto, (max-width: 67px) 100vw, 67px" /></a> <a href="https://musica.hypotheses.org/files/2024/02/M2.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3378" src="https://musica.hypotheses.org/files/2024/02/M2-300x176.png" alt="" width="109" height="64" srcset="https://musica.hypotheses.org/files/2024/02/M2-300x176.png 300w, https://musica.hypotheses.org/files/2024/02/M2-500x294.png 500w, https://musica.hypotheses.org/files/2024/02/M2-768x452.png 768w, https://musica.hypotheses.org/files/2024/02/M2-1536x903.png 1536w, https://musica.hypotheses.org/files/2024/02/M2.png 1908w" sizes="auto, (max-width: 109px) 100vw, 109px" /> </a> <a href="https://musica.hypotheses.org/files/2024/02/iremus.jpg"><img loading="lazy" decoding="async" class="alignnone wp-image-3363" src="https://musica.hypotheses.org/files/2024/02/iremus-300x256.jpg" alt="" width="71" height="61" srcset="https://musica.hypotheses.org/files/2024/02/iremus-300x256.jpg 300w, https://musica.hypotheses.org/files/2024/02/iremus-500x426.jpg 500w, https://musica.hypotheses.org/files/2024/02/iremus-768x654.jpg 768w, https://musica.hypotheses.org/files/2024/02/iremus.jpg 1200w" sizes="auto, (max-width: 71px) 100vw, 71px" /> </a> <a href="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3360" src="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-300x72.png" alt="" width="146" height="35" srcset="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-300x72.png 300w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-500x119.png 500w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-768x183.png 768w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre.png 1207w" sizes="auto, (max-width: 146px) 100vw, 146px" /> </a><a href="https://musica.hypotheses.org/files/2024/02/SFM.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3368" src="https://musica.hypotheses.org/files/2024/02/SFM-300x252.png" alt="" width="72" height="60" srcset="https://musica.hypotheses.org/files/2024/02/SFM-300x252.png 300w, https://musica.hypotheses.org/files/2024/02/SFM-500x420.png 500w, https://musica.hypotheses.org/files/2024/02/SFM-768x646.png 768w, https://musica.hypotheses.org/files/2024/02/SFM.png 1044w" sizes="auto, (max-width: 72px) 100vw, 72px" /></a></p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/02/IT.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3373" src="https://musica.hypotheses.org/files/2024/02/IT-300x97.png" alt="" width="603" height="195" srcset="https://musica.hypotheses.org/files/2024/02/IT-300x97.png 300w, https://musica.hypotheses.org/files/2024/02/IT-500x162.png 500w, https://musica.hypotheses.org/files/2024/02/IT-768x248.png 768w, https://musica.hypotheses.org/files/2024/02/IT-1536x497.png 1536w, https://musica.hypotheses.org/files/2024/02/IT-2048x662.png 2048w" sizes="auto, (max-width: 603px) 100vw, 603px" /></a></p> </div> </article> <article id="post-3420" class="post-3420 post type-post status-publish format-standard has-post-thumbnail hentry category-actualites tag-colloque tag-langages-controles tag-patrimoine-musical"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/3420" rel="bookmark"><time class="entry-date published" datetime="2024-02-15T11:18:36+02:00">15/02/2024</time><time class="updated" datetime="2024-02-24T00:48:10+02:00">24/02/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/3420" rel="bookmark">Linguaggi controllati per i beni musicali: stato dell’arte, strumenti, prospettive</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/3420"> <img width="1984" height="1200" src="https://musica.hypotheses.org/files/2024/02/Control-IT-1984x1200.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: right"><span style="color: #ff6600"><b>Call for papers </b><a href="https://musica.hypotheses.org/3343" target="_blank" rel="noopener"><span style="color: #ff6600">FR</span></a> <a style="color: #ff6600" href="https://musica.hypotheses.org/3475" target="_blank" rel="noopener">EN</a></span><b><br /></b></p> <p style="text-align: justify"><span style="color: #993300"><strong>Roma, Biblioteca Nazionale Centrale di Roma, 3-4 giugno 2024</strong></span></p> <p style="text-align: justify">Numerosi sono oramai i progetti di ricerca nel campo delle arti dello spettacolo e del patrimonio musicale che utilizzano strumenti digitali per la raccolta, l’organizzazione, l’interrogazione e l’analisi dei dati – compresi i diversi progetti che, negli ultimi decenni, hanno sviluppato molteplici e validi strumenti di lessicografia musicale in diverse lingue. La comunità scientifica ad oggi dispone di un’enorme quantità di risorse in ambito musicale di varia natura, per le quali è necessario allestire strumenti di organizzazione della conoscenza (KOS, Knowledge Organisation System) allo scopo di garantirne una <i>information retrieval</i> efficace. </p> <p style="text-align: justify">La scarsa diffusione della cultura della standardizzazione nell’ambito della ricerca musicologica ha avuto come diretta conseguenza la limitata condivisione dei dati e la presenza molto modesta di dati musicali e musicologici nel web semantico. Il dialogo tra i progetti di ricerca condotti in questa disciplina a livello europeo e internazionale è attualmente limitato, proprio a causa della diversità dei linguaggi e degli standard utilizzati.</p> <p style="text-align: justify">È qui che entrano in gioco i linguaggi controllati su cui queste Giornate di studio intendono concentrarsi. Risulta infatti utile implementare strumenti di organizzazione della conoscenza (KOS, Knowledge Organisation System) al fine di garantire una ricerca di informazioni efficace e ampia. Ciò richiede una riflessione sugli strumenti adatti per recuperare e rendere utilizzabile questa enorme mole di dati e impone una riflessione sulle questioni rilevanti riguardanti i linguaggi utilizzati e l’interoperabilità dei formati per una gestione FAIR dei dati musicali.</p> <p style="text-align: justify">L’importanza dei linguaggi controllati in musicologia, risiede anche nella loro funzione di definizione della semantica dello specifico ambito, semantica che i modelli concettuali (le ontologie) arricchiscono con l’obiettivo di consentire il ragionamento da parte di agenti software. </p> <p style="text-align: justify">L’obiettivo di queste Giornate di studio sarà quello di fare il punto sul tema dei linguaggi controllati nell’ambito della documentazione e della ricerca musicologica, ossia dei linguaggi documentari basati su strumenti come lemmari, vocabolari controllati, tassonomie, thesauri, classificazioni, ecc. Attraverso la presentazione di ricerche e progetti nel campo delle <i>digital humanities</i> in musicologia, in corso o completati, si cercherà di individuare tanto le buone pratiche quanto gli aspetti problematici al fine di identificare metodologie di lavoro efficaci e condivisibili.</p> <p style="text-align: justify">Il seguente elenco (non esaustivo) indica alcune delle questioni che il convegno si propone di esplorare:</p> <ul style="text-align: justify"> <li>questioni ed esperienze di progettazione di thesauri e linguaggi controllati: qual è stato il set terminologico di partenza, quale riflessione sull’uso, sul tipo di utenza, sulle lingue di sviluppo?</li> <li>questioni terminologiche nella costruzione di thesauri e linguaggi controllati, sia in prospettiva sincronica che diacronica: descrivere documenti, risorse, dati musicologici del passato quali peculiarità presenta rispetto alla musicologia contemporanea? La prospettiva diacronica è utile per tracciare le tappe fondamentali dell’evoluzione semantica dello specifico ambito musicologico?</li> <li>questioni di politica indicizzatoria e di uso dei linguaggi controllati: come utilizzare i linguaggi controllati predisposti? Con quale livello di dettaglio? Per indicizzare cosa?</li> <li>problematiche emergenti nell’utilizzo di linguaggi controllati da parte di musicologi: come un musicologo affronta la scelta delle parole atte a etichettare i dati musicologici o descrivere il contenuto di documenti musicologici? Una formazione è necessaria? Come i musicologi possono collaborare con specialisti della documentazione o sistemi automatizzati che realizzano linguaggi controllati per codificare i dati?</li> <li>questioni di scelta e utilizzo di software specifici per la costruzione di linguaggi controllati: quali sono gli strumenti software più efficaci e/o convenienti?</li> <li>riuso e condivisione di thesauri e linguaggi controllati: i termini necessari sono così settoriali da poter essere gestiti solo in strumenti appositamente creati o è possibile derivarli anche da strumenti più ampi o di altri progetti? Ci sono esperienze di condivisione e riuso, di integrazione tra strumenti generalisti e specialistici oppure messa in comune di terminologia specifica tra progetti in corso o conclusi?</li> <li>utilizzo dei linguaggi controllati da parte delle macchine e dell’intelligenza artificiale: come i linguaggi controllati supportano l’interoperabilità semantica tra progetti che condividono dati sul web?</li> </ul> <p style="text-align: justify">Il convegno sarà articolato su due giornate:</p> <ul style="text-align: justify"> <li>La prima giornata sarà aperta al pubblico e dedicata alle presentazioni delle relazioni selezionate: i relatori saranno invitati a illustrare i loro progetti, a scopo di approfondire gli interrogativi sopra menzionati;</li> <li>La seconda giornata, sotto forma di un workshop, sarà riservata ai relatori che discuteranno tra loro basandosi sui documenti di lavoro che verranno loro distribuiti, evidenziando punti in comune, suggerimenti e preparando domande per una discussione più approfondita sugli aspetti tecnici e gli strumenti. I documenti di lavoro saranno distribuiti con almeno due settimane di anticipo, così da fornire ai partecipanti un lasso di tempo per la lettura preventiva, al fine di consentire uno scambio sostanziale.</li> </ul> <p style="text-align: justify"><strong>Le lingue del convegno sono l’italiano, il francese e l’inglese.</strong></p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Calendario</b></span></h2> <ul style="text-align: justify"> <li><b>10 Marzo 2024: </b>deadline per l’invio delle proposte da inviare all’indirizzo <a href="mailto:linguaggicontrollati.musica@gmail.com">linguaggicontrollati.musica@gmail.com</a>. Formato atteso per le proposte: <ul style="list-style-type: circle"> <li>un abstract di massimo 1500 battute spazi inclusi; </li> <li>un <i>curriculum</i> di massimo 500 battute spazi inclusi per ogni relatore;</li> <li>lista delle necessità tecniche e le informazioni di contatto (e-mail e recapito telefonico) di tutti i presentatori. </li> </ul> </li> <li><b>30 marzo 2024:</b> notifiche accettazione da parte del Comitato Scientifico</li> <li><b>28 aprile 2024:</b> consegna dei working papers</li> <li><b>19 maggio 2024:</b> diffusione dei working papers tra i relatori selezionati</li> </ul> <p style="text-align: justify">È prevista la pubblicazione delle relazioni.</p> <p style="text-align: justify"><span style="color: #ff9900">> <a style="color: #ff9900" href="https://musica.hypotheses.org/files/2024/02/Linguaggi-controllati.pdf">Scarica il poster</a></span></p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Comitato Scientifico</b></span></h2> <p style="text-align: justify"><strong>Luca Aversano</strong>, Università degli Studi Roma Tre<br /><strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /><strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /><strong>Stefano Campagnolo</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Paola Castellucci</strong>, Sapienza Università di Roma<br /><strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /><strong>Joann Élart</strong>, Université de Rouen Normandie<br /><strong>Anne-Madeleine Goulet</strong>, CESR – Tours (UMR 7323 du CNRS)<br /><strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /><strong>Anna Lucarelli</strong>, Biblioteca nazionale centrale di Firenze<br /><strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Francesca Tomasi</strong>, Alma Mater Studiorum Università di Bologna<br /><strong>Philippe Vendrix</strong>, CESR – Tours (UMR 7323 du CNRS)</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Comitato organizzativo</b></span></h2> <p style="text-align: justify"><strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /><strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /><strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /><strong>Angelina De Salvo</strong>, Biblioteca nazionale centrale di Roma<br /><strong>Joann Élart</strong>, Université de Rouen Normandie<br /><strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /><strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Istituzioni e Progetti di ricerca coinvolti</b></span></h2> <p style="text-align: justify">Musica2, Consortium en musicolologie numérique, Hum-Num, CNRS<br />Centre d’Études Supérieures de la Renaissance, Ricercar-Lab (UMR 7323, CNRS, Tours)<br />Institut de recherche en Musicologie (UMR 8223, CNRS, Sorbonne Université, BnF, ministère de la Culture)<br />Biblioteca nazionale centrale di Roma<br />Biblioteca nazionale centrale di Firenze<br />École française de Rome<br />ERC PerformArt<br />Ass.I.Ter. Associazione Italiana per la Terminologia<br />SISBB Società Italiana di Scienze Bibliografiche e Biblioteconomiche<br />Société française de musicologie<br />Società italiana di Musicologia</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg"><img loading="lazy" decoding="async" class="alignnone wp-image-3351" src="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg" alt="" width="69" height="68" srcset="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg 300w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-500x492.jpg 500w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-150x150.jpg 150w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-768x755.jpg 768w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-100x100.jpg 100w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg 1500w" sizes="auto, (max-width: 69px) 100vw, 69px" /> </a> <a href="https://musica.hypotheses.org/files/2024/02/M2.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3378" src="https://musica.hypotheses.org/files/2024/02/M2-300x176.png" alt="" width="118" height="69" srcset="https://musica.hypotheses.org/files/2024/02/M2-300x176.png 300w, https://musica.hypotheses.org/files/2024/02/M2-500x294.png 500w, https://musica.hypotheses.org/files/2024/02/M2-768x452.png 768w, https://musica.hypotheses.org/files/2024/02/M2-1536x903.png 1536w, https://musica.hypotheses.org/files/2024/02/M2.png 1908w" sizes="auto, (max-width: 118px) 100vw, 118px" /></a> <a href="https://musica.hypotheses.org/files/2024/02/iremus.jpg"><img loading="lazy" decoding="async" class="alignnone wp-image-3363" src="https://musica.hypotheses.org/files/2024/02/iremus-300x256.jpg" alt="" width="74" height="63" srcset="https://musica.hypotheses.org/files/2024/02/iremus-300x256.jpg 300w, https://musica.hypotheses.org/files/2024/02/iremus-500x426.jpg 500w, https://musica.hypotheses.org/files/2024/02/iremus-768x654.jpg 768w, https://musica.hypotheses.org/files/2024/02/iremus.jpg 1200w" sizes="auto, (max-width: 74px) 100vw, 74px" /></a> <a href="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3360" src="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-300x72.png" alt="" width="133" height="32" srcset="https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-300x72.png 300w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-500x119.png 500w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre-768x183.png 768w, https://musica.hypotheses.org/files/2024/02/RicercarLab_2023_1-recadre.png 1207w" sizes="auto, (max-width: 133px) 100vw, 133px" /></a><a href="https://musica.hypotheses.org/files/2024/02/SFM.png"> <img loading="lazy" decoding="async" class="alignnone wp-image-3368" src="https://musica.hypotheses.org/files/2024/02/SFM-300x252.png" alt="" width="68" height="57" srcset="https://musica.hypotheses.org/files/2024/02/SFM-300x252.png 300w, https://musica.hypotheses.org/files/2024/02/SFM-500x420.png 500w, https://musica.hypotheses.org/files/2024/02/SFM-768x646.png 768w, https://musica.hypotheses.org/files/2024/02/SFM.png 1044w" sizes="auto, (max-width: 68px) 100vw, 68px" /></a></p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/02/IT.png"><img loading="lazy" decoding="async" class="alignnone wp-image-3373" src="https://musica.hypotheses.org/files/2024/02/IT-300x97.png" alt="" width="578" height="187" srcset="https://musica.hypotheses.org/files/2024/02/IT-300x97.png 300w, https://musica.hypotheses.org/files/2024/02/IT-500x162.png 500w, https://musica.hypotheses.org/files/2024/02/IT-768x248.png 768w, https://musica.hypotheses.org/files/2024/02/IT-1536x497.png 1536w, https://musica.hypotheses.org/files/2024/02/IT-2048x662.png 2048w" sizes="auto, (max-width: 578px) 100vw, 578px" /></a></p> </div> </article> <article id="post-3343" class="post-3343 post type-post status-publish format-standard has-post-thumbnail hentry category-billets tag-colloque tag-langages-controles tag-mis-en-avant tag-patrimoine-musical"> <header class="entry-header"> <div class="entry-meta"><span class="screen-reader-text">Publié le</span> <a href="https://musica.hypotheses.org/3343" rel="bookmark"><time class="entry-date published" datetime="2024-02-15T11:04:50+02:00">15/02/2024</time><time class="updated" datetime="2024-04-17T14:27:21+02:00">17/04/2024</time></a></div><h3 class="entry-title"><a href="https://musica.hypotheses.org/3343" rel="bookmark">Des langages contrôlés pour le patrimoine musical : état de l’art, outils, perspectives</a></h3> </header> <div class="post-thumbnail"> <a href="https://musica.hypotheses.org/3343"> <img width="2000" height="1200" src="https://musica.hypotheses.org/files/2024/02/Control-FR-2000x1200.png" class="attachment-twentyseventeen-featured-image size-twentyseventeen-featured-image wp-post-image" alt="" decoding="async" loading="lazy" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" /> </a> </div> <div class="entry-content"> <p style="text-align: right"><span style="color: #ff6600"><b>Appel à communications </b><a style="color: #ff6600" href="https://musica.hypotheses.org/3420" target="_blank" rel="noopener">IT</a> <a style="color: #ff6600" href="https://musica.hypotheses.org/3475" target="_blank" rel="noopener">EN</a><b><br /> </b></span></p> <p style="text-align: justify"><span style="color: #993300"><strong>Rome, Biblioteca Nazionale Centrale di Roma, 3-4 juin 2024 </strong></span></p> <p style="text-align: justify">Nombreux sont aujourd’hui les projets de recherche dans les domaines des arts du spectacle et du patrimoine musical qui utilisent des outils numériques pour la collecte, l’organisation, l’interrogation et l’analyse des données.</p> <p style="text-align: justify">Or, s’ils ont généré une masse de données accessible à la communauté, force est de constater que la faible diffusion de la culture de la standardisation dans le domaine de la musicologie a pour conséquence directe leur faible partage et la présence modeste des données musicales dans le web sémantique. Le dialogue entre les projets de recherche menés dans la discipline au niveau européen et international est actuellement très limité, précisément aussi à cause de la diversité des langages et des standards utilisés.</p> <p style="text-align: justify">C’est ici qu’interviennent les langages contrôlés sur lesquels ces Journées d’étude entendent se concentrer. Il apparaît en effet utile de mettre en place des outils d’organisation de la connaissance (KOS, Knowledge Organisation System) afin de garantir une recherche d’informations efficace et large. Cela doit conduire à une double réflexion portant sur les outils les plus adaptés pour récupérer et rendre utilisable cette énorme masse de données, d’une part, et sur les langages à utiliser et l’interopérabilité des formats pour une gestion FAIR des données musicales, d’autre part. Par ailleurs, l’intérêt et les enjeux des langages contrôlés en musicologie résident aussi dans leur fonction de définition de la sémantique du domaine spécifique de la musicologie, que les outils conceptuels (ontologies) enrichissent afin de permettre leur modélisation.</p> <p style="text-align: justify">L’objectif de ces Journées d’étude sera d’établir un état de l’art des langages contrôlés en musicologie, c’est-à-dire des langages documentaires, basés sur des outils tels que les lemmaires, les vocabulaires contrôlés, les taxonomies, les thésaurus, classifications, etc. À partir de la présentation de recherches et de projets dans le domaine des humanités numériques en musicologie, en cours ou achevés, il s’agira de faire émerger à la fois les bonnes pratiques et les aspects problématiques afin d’identifier des méthodologies de travail efficaces et partageables pour l’avenir.</p> <p style="text-align: justify">On cherchera en particulier à explorer les questions suivantes (liste non limitative) :</p> <ul style="text-align: justify"> <li>Retours d’expériences pour la conception de thésaurus et de langages contrôlés : quelle a été la terminologie fixée comme point de départ, quelle réflexion sur l’utilisation, le type d’utilisateurs, les langues de développement ?</li> <li>Les problématiques terminologiques intervenues dans la construction de thésaurus et de langages contrôlés, à la fois dans une perspective synchronique et diachronique : quelles sont les particularités de la description de documents, des ressources ou de données musicologiques du passé par rapport à la musicologie contemporaine ? La perspective diachronique est-elle utile pour retracer les étapes fondamentales de l’évolution sémantique d’un domaine musicologique spécifique ?</li> <li>Les principes d’indexation et d’utilisation des langages contrôlés : comment utiliser les langages contrôlés préparés ? Avec quel niveau de détail ? Pour indexer quoi ?</li> <li>Comment les musicologues abordent-ils le choix des mots pour étiqueter les données musicologiques ou décrire le contenu des documents musicologiques ? Une formation a-t-elle été nécessaire ?</li> <li>Le choix et l’utilisation de logiciels spécifiques pour la construction de langages contrôlés : quels sont les outils logiciels les plus efficaces et/ou les plus adaptés ?</li> <li>La réutilisation et le partage des thésaurus et des langues contrôlées : tous les termes nécessaires sont-ils vraiment spécifiques ou est-il possible de les emprunter à d’autres projets ? Existe-t-il des expériences de partage et de réutilisation, d’intégration entre outils généralistes et spécialisés ou de mise en commun de terminologies spécifiques entre projets en cours ou achevés ?</li> <li>Les modalités d’utilisation des langages contrôlés par les machines et l’intelligence artificielle : comment les langages contrôlés soutiennent-ils l’interopérabilité sémantique entre les projets partageant des données sur le web ?</li> </ul> <p style="text-align: justify">Les journées d’étude se dérouleront selon l’organisation suivante :</p> <ul style="text-align: justify"> <li>le premier jour sera ouvert à des présentations publiques : les participants seront invités à présenter leurs projets, à des fins d’illustrations des questionnements ci-dessus ;</li> <li>le deuxième jour, sous la forme d’un atelier, sera réservé aux participants : en vue d’une discussion plus approfondie sur les aspects techniques et les outils, ils discuteront entre eux à partir des documents de travail qui leur seront distribués, en soulignant les points communs, les suggestions et en préparant des questions.</li> </ul> <p style="text-align: justify">Les documents de travail seront distribués deux semaines à l’avance, afin de donner aux participants suffisamment de temps pour se préparer et pour qu’un échange substantiel puisse avoir lieu.</p> <p style="text-align: justify"><b>Langues du colloque</b> : italien, français, anglais.</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Calendrier</b></span></h2> <ul style="list-style-type: circle;text-align: justify"> <li><b>10 mars 2024</b> : date limite pour l’envoi des propositions à <a href="mailto:linguaggicontrollati.musica@gmail.com">linguaggicontrollati.musica@gmail.com</a>. Forme attendue des propositions : <ul style="list-style-type: circle"> <li>résumé d’un maximum de 1500 caractères espaces compris,</li> <li>CV d’un maximum de 500 caractères espaces compris, pour chaque participant,</li> <li>adresse électronique de tous les présentateurs,</li> <li>indication du matériel nécessaire pour la présentation.</li> </ul> </li> <li><b>30 mars 2024</b> : notification de l’acceptation par le comité scientifique.</li> <li><b>28 avril 2024</b> : remise des documents de travail.</li> <li><b>19 mai 2024</b> : diffusion des documents de travail parmi les participants sélectionnés.</li> </ul> <p style="text-align: justify">Une publication issue de ces travaux sera envisagée.</p> <p style="text-align: justify"><span style="color: #ff9900"><a style="color: #ff9900" href="https://musica.hypotheses.org/files/2024/02/Langages-controles.pdf">> Téléchargez l’affiche</a></span></p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Comité scientifique</b></span></h2> <p style="text-align: justify"><strong>Luca Aversano</strong>, Università degli Studi Roma Tre<br /> <strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /> <strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /> <strong>Stefano Campagnolo</strong>, Biblioteca nazionale centrale di Roma<br /> <strong>Paola Castellucci</strong>, Sapienza Università di Roma<br /> <strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /> <strong>Joann Élart</strong>, Université de Rouen Normandie<br /> <strong>Anne-Madeleine Goulet</strong>, CESR – Tours (UMR 7323 du CNRS)<br /> <strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /> <strong>Anna Lucarelli</strong>, Biblioteca nazionale centrale di Firenze<br /> <strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma<br /> <strong>Francesca Tomasi</strong>, Alma Mater Studiorum Università di Bologna<br /> <strong>Philippe Vendrix</strong>, CESR – Tours (UMR 7323 du CNRS)</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Comité d’organisation</b></span></h2> <p style="text-align: justify"><strong>Michela Berti</strong>, Conservatorio Statale di Musica “L. Refice” di Frosinone<br /> <strong>Thomas Bottini</strong>, IReMus — Institut de Recherche en Musicologie<br /> <strong>Achille Davy-Rigaux</strong>, CNRS Centre national de la recherche scientifique<br /> <strong>Angelina De Salvo</strong>, Biblioteca nazionale centrale di Roma<br /> <strong>Joann Élart</strong>, Université de Rouen Normandie<br /> <strong>Manuela Grillo</strong>, Sapienza Università di Roma<br /> <strong>Elda Merenda</strong>, Biblioteca nazionale centrale di Roma</p> <h2 style="text-align: justify"><span style="color: #ff6600"><b>Institutions et Programmes de recherche impliqués</b></span></h2> <p style="text-align: justify">Musica2, Consortium en musicolologie numérique, Hum-Num, CNRS<br /> Centre d’Études Supérieures de la Renaissance, Ricercar-Lab (UMR 7323, CNRS, Tours)<br /> Institut de recherche en Musicologie (UMR 8223, CNRS, Sorbonne Université, BnF, ministère de la Culture)<br /> Biblioteca nazionale centrale di Roma<br /> Biblioteca nazionale centrale di Firenze<br /> École française de Rome<br /> ERC PerformArt<br /> Ass.I.Ter. Associazione Italiana per la Terminologia<br /> SISBB Società Italiana di Scienze Bibliografiche e Biblioteconomiche<br /> Société française de musicologie<br /> Società italiana di Musicologia</p> <p style="text-align: justify"><a href="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg"><img loading="lazy" decoding="async" class="alignnone wp-image-3351" src="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg" alt="" width="63" height="62" srcset="https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-300x295.jpg 300w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-500x492.jpg 500w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-150x150.jpg 150w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-768x755.jpg 768w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU-100x100.jpg 100w, https://musica.hypotheses.org/files/2024/02/LOGO-CNRS_BLEU.jpg 1500w" sizes="auto, (max-width: 63px) 100vw, 63px" /></a> <a 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href="http://ricercar-old.cesr.univ-tours.fr/3-programmes/EMN/luth/" rel="noopener" target="_blank">Corpus des luthistes</a></li> <li><a href="http://ricercar-old.cesr.univ-tours.fr/3-programmes/EMN/MessesAnonymes/" rel="noopener" target="_blank">Corpus des Messes Anonymes du XVe siècle</a></li> <li><a href="https://dezede.hypotheses.org/" rel="noopener" target="_blank">Dezède</a></li> <li><a href="http://ricercar-old.cesr.univ-tours.fr/3-programmes/EMN/duchemin/" rel="noopener" target="_blank">Du Chemin project</a></li> <li><a href="https://ricercar.gesualdo-online.cesr.univ-tours.fr/" rel="noopener" target="_blank">Gesualdo Online</a></li> <li><a href="http://neuma.huma-num.fr/" rel="noopener" target="_blank">Neuma</a></li> <li><a href="https://ricercar.picardie.cesr.univ-tours.fr/" rel="noopener" target="_blank">Patrimoine musical de la Picardie</a></li> <li><a href="https://philidor.cmbv.fr/" rel="noopener" target="_blank">Philidor</a></li> <li><a href="https://ricercar.pcr.cesr.univ-tours.fr/" rel="noopener" target="_blank">Prosopographie des chantres de la Renaissance</a></li> <li><a href="https://ricercar.croatia.cesr.univ-tours.fr/" rel="noopener" target="_blank">Renaissance Music in Croatia</a></li> <li><a href="http://sequentia.huma-num.fr/" rel="noopener" target="_blank">Sequentia</a></li> <li><a href="https://www.baudelairesong.org/" rel="noopener" target="_blank">The Baudelaire Song Project</a></li> <li><a href="https://crimproject.org/" rel="noopener" target="_blank">The CRIM Project</a></li> <li><a href="https://www.lavihuela.com/vihuela-database?fbclid=IwAR37o0qPo18u4JgEwiQ1DJnZ5H5tCbgNVGhO1OeN9Hg2oTuQY3XLiGktS8o" rel="noopener" target="_blank">Vihuela Database</a></li> <li><a href="https://virtual-music-heritage.fr/" rel="noopener" target="_blank">Virtual Music Heritage</a></li> </ul> </section> <section id="rss-15" class="widget widget_rss"><h2 class="widget-title"><a class="rsswidget rss-widget-feed" 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