1. Workshop - Intelligent Annotations, Cologne, May 28th/29th Andreas Oberhoff (Contextual Informatics, Heinz Nixdorf Institute, University of Paderborn) Annotation modelling in digital music and media editions Förderkennzeichen: 01UG1414A-C

2. 2 CENTER FOR MUSIC – EDITION – MEDIA Scholars from Musicology, Computer Science and Media Science (10 professorships) doing research on digital music and media editions Previous achievements (i.a. the MEI Standard) and existing tools (e.g. Edirom or WebArena) from the scientific community are taken as a basis The goal is to support several processes of designing and using editions and to exhaust capabilities of digital music and media editions Continuous monitoring of research through user feedback

3. 3 CAPABILITIES OF DIGITAL MUSIC AND MEDIA EDITIONS Support for editors and users of editions through digital technologies and tools Integration of source material in an edition: digitized manuscripts, meta-data, audio/video or external sources Transparency in understanding the processes and individual decisions resulting in an edition Different versions and interpretations in one edition (multidimensional model, cf. Wiering et. al) Addressability and referencing of music (cf. EMA - Enhancing Music Notation Addressability) More ways of (re-)using (comparison of sources, knowledge editions, teaching...)

4. 4 NON-TEXTUALITY OF MUSIC NOTATION ♯ ♩ ♩ ♩

5. 5 Multidimensional notation (horizontal/vertical) Complexity of object structure (smallest meaningful entities vs. semantic aggregation) Extremly context-sensitive Difference between graphical and logical structure Meta informationen may not be ignored in the editorial process

6. 6 USER Working environment vs. publication platform Different contexts of use (editors, (semi- )professional end-user) Different views and functionality Further challenges: –Cooperative work (permissions, coordination) –Use of various devices

7. 7 ANNOTATION MODELS Classification of annotations within digital music editions by –function –user –dimension in the opus Help for annotating during the editorial process respectively during the use of the final edtition –Interpretation –Interaction

8. 8 ANNOTATION MODELS Cooperation (coordination and permissions) –private, –public and –shared annotations Identification of reference points in data base (MEI) Persisting annotations as part of the digital edition

9. 9 CONCLUSION Capabilities and benefits of digital music and media editions are clearly recognisable and have to be prepared for use by editors an end-users Substantial need for research regarding non- textual objects and music notation Conceptual and technical implementation as well as the integration or adaption of previous achievements are great challenges

10. 10 Thank you for your attention. www.zenmem.de Andreas Oberhoff, Dipl.-Infom. (oberhoff@upb.de)oberhoff@upb.de

11. 11 SOURCES Wiering, Frans (2009): Digital Critical Editions of Music: A Multidimensional Model. In: Crawford, Tim/Gibson, Lorna (Hrsg.): Modern Methods for Musicology - Prospects, Proposals, and Realities. London, S. 23 - 46. Vanhoutte, Edward (2010): Defining Electronic Editions: A Historical and Functional Perspektive. In: Willard McCarty (Hrsg.): Text and Genre in Reconstruction. Cambrigde, S. 119 – 144. Viglianti, Raffaele (2014): EMA – Enhancing Music Notation Addressability, http://mith.umd.edu/research/project/enhancing-music- notation-addressability/ http://mith.umd.edu/research/project/enhancing-music- notation-addressability/