Call for Papers: Audiovisual material in Digital Humanities

The issue that will be addressed dur­ing this work­shop is how to over­come the con­trast between audio­vi­sual mate­r­ial being a steadily increas­ing body of data and the fact that it is rel­a­tively poorly rep­re­sented in the field of the Dig­i­tal Human­i­ties. When con­sid­er­ing the avail­able DH tools, projects and pub­li­ca­tions it is clear that sources such as tele­vi­sion, film, pho­tos and oral his­tory record­ings have not yet received the same level of atten­tion from schol­ars as writ­ten sources. This can be con­sid­ered as prob­lem­atic in the light of the expected expo­nen­tial growth in vol­ume of audio­vi­sual sources and of the abun­dance of infor­ma­tion for researches con­tained in this type of data that is largely over­looked. One can envi­sion how a sin­gle doc­u­ment could sat­isfy the needs of var­i­ous dis­ci­plines if tools would be avail­able to iden­tify, retrieve and analyse the var­i­ous dimen­sions of a video-recording such as lan­guage, emo­tions, speech acts, nar­ra­tive plots and ref­er­ences to peo­ple, places and events. This rich­ness not only holds the promise of mul­ti­dis­ci­pli­nary col­lab­o­ra­tion between e.g., com­puter sci­ences, social sci­ences and the human­i­ties, but also makes audio­vi­sual mate­r­ial a poten­tially valu­able play­ground for the Dig­i­tal Humanities.”

This work­shop will be held at Dig­i­tal Human­i­ties 2014 (7–11 July, Lau­sanne, Switzer­land). Reg­is­tra­tion for the work­shop requires reg­is­tra­tion through DH2014. For more info see http://dh2014.org/.

For more infor­ma­tion, please see the con­fer­ence web­site.

You’re Invited! “enLightning Talks” tomorrow in OUGL 220

enLight­ning Talks

Tues­day, May 13, 2014  |  4:00–5:30 p.m.  |  OUGL 220

Join us for 5-minute light­ning talks from six Tech­nol­ogy Teach­ing Fel­lows who trans­formed tra­di­tional courses to hybrid or online courses.  Depart­ments rep­re­sented include Chem­istry, Phi­los­o­phy, Earth and Space Sci­ences, Amer­i­can Indian Stud­ies and Col­leges of Edu­ca­tion and the Environment.

Pre-registration is required.  Details and how to reg­is­ter can be found at: http://www.washington.edu/teaching/enlightning-talks/

New Collections from the Stanford Archive of Recorded Sound

Charles Daniels Sheet Music Col­lec­tion - http://searchworks.stanford.edu/view/10447189
The Charles Daniels Sheet Music Col­lec­tion prin­ci­pally con­tains sheet music of works either com­posed by Daniels, pub­lished under his given name or one of his pseu­do­nyms, notably Neil Moret, or works pub­lished by one of the many pub­lish­ers Daniels was affil­i­ated with dur­ing his career. Also included are piano rolls of works by Daniels, var­i­ous peri­od­i­cals from the late 19th and early 20th cen­turies, ephemera, and com­po­si­tions and pub­li­ca­tions by the cre­ator of the Charles Daniels Sheet Music Col­lec­tion, Nan Bostick.

Mon­terey Jazz Fes­ti­val Col­lec­tion - http://searchworks.stanford.edu/view/7154358 (N.B details of the live fes­ti­val record­ings in this col­lec­tion have been online for some time http://collections.stanford.edu/mjf/. Recent pro­cess­ing has included the cre­ation of a find­ing aid that details the entire col­lec­tion in addi­tion to these live audio and video record­ings)  The col­lec­tion con­tains the archives of the Mon­terey Jazz Fes­ti­val from 1958 to the present. It pri­mar­ily con­sists of unpub­lished sound record­ings and videos of fes­ti­val con­certs, and inter­views and panel dis­cus­sions in var­i­ous for­mats, many of which are also avail­able as dig­i­tal sound and video files. Also included are a vari­ety of record­ings received with the col­lec­tion that are not record­ings from the fes­ti­val itself, but instead fea­ture con­tent con­nected to the fes­ti­val in some way, such as stu­dio record­ings of artists who per­formed at the fes­ti­val, demo tapes for artists wish­ing to per­form at the fes­ti­val, or var­i­ous record­ings relat­ing to fes­ti­val founder Jimmy Lyons in some way. Some books, pho­tographs, posters, pro­grams, and other mis­cel­la­neous papers can also be found in the archives. The col­lec­tion adds mate­r­ial every year.

Effective Literature Searching: A free, tutor-supported online learning course

Dura­tion:  Mon­day, May 19 – Fri­day, May 23, 2014 (5 days)
Time Com­mit­ment: Approx­i­mately 1 hour per day (asyn­chro­nous), for 5 straight days. 
Tar­get audi­ence
: Early stage post­grad­u­ate stu­dents e.g. work­ing toward PhD or research-focused MA.
Pre­req­ui­sites
: Access to the inter­net for each of the 5 days iden­ti­fied . If you can’t log in and post reg­u­larly in the dis­cus­sion forums, please don’t book onto the course as it is unfair to other participants.

Descrip­tion:

  • This course will help you build effec­tive lit­er­a­ture search­ing tech­niques and increase your con­fi­dence in the results you retrieve.
  • By shar­ing your expe­ri­ences with one another, this online course pro­vides the space and oppor­tu­nity to reflect on what you do already and to see how var­i­ous tech­niques and tools can be employed to help you find the most rel­e­vant lit­er­a­ture in your field.

Par­tic­i­pa­tion Process

  • There will be a num­ber of learn­ing exer­cises deliv­ered through sev­eral dis­cus­sion forums.
  • Your con­tri­bu­tions to the dis­cus­sion forums are your means of ‘assess­ment’ and you should expect to post mes­sages and respond to the posts of oth­ers. Guid­ance will be pro­vided by the course tutors.
  • You will get access to the course a cou­ple of days before the start date and you are encour­aged to log in and post a mes­sage to the ‘wel­come and social­i­sa­tion forum’ before the course commences.
  •  Although the course will offi­cially ‘end’ after 1 week you will be able to con­tinue to access it for a short period afterwards.


Addi­tional information:

  • The is online and asyn­chro­nous. This gives you time to com­plete the tasks required at a time each day that suits you.
  • You will learn by reflect­ing on your own expe­ri­ence; shar­ing ideas through dis­cus­sion forums; com­plet­ing ‘real’ exam­ples of lit­er­a­ture searches; and receiv­ing feed­back from the course tutors.
  •  By work­ing through these mate­ri­als and shar­ing your ideas with other researchers, you will think about what will work best for you and your research project. It is impor­tant that you are pre­pared to share your responses to the tasks with the rest of the group in an online dis­cus­sion forum.
  • This course is now tutor-supported 24/7 with tutors based in the UK (Uni­ver­sity of Not­ting­ham), Amer­ica (Uni­ver­sity of Wash­ing­ton) and China (Uni­ver­sity of Not­ting­ham).  Course par­tic­i­pants will be reg­is­tered from all three loca­tions, facil­i­tat­ing inter­na­tional net­work­ing and cre­at­ing oppor­tu­ni­ties for poten­tial new collaborations.

How to Join:

  • If inter­ested, please email Robin Chin Roe­mer (robincr@uw.edu) by no later than Fri­day, May 9, 2014.
  • Space for UW stu­dents is lim­ited, and pref­er­ence will be given to stu­dents enrolled in PhD pro­grams. All addi­tional par­tic­i­pants will be accepted on a first-come-first-served basis.

The History Of Jazz Piano In 11 Minutes

Ever since “Evo­lu­tion of Dance,” YouTube and videos which con­dense an entire canon into min­utes have seemed made for each other. Except here it’s not just some dude who can shake it, but pianist Kris Bow­ers, a Thelo­nious Monk Com­pe­ti­tion and highly sought-after young gun. Here, along­side YouTube his­tory vet­er­ans CDZA, he pro­vides an overview of jazz piano styles from the late 1800s to the present day.”

For the full story, please see NPR.org

Symphony guide: Copland’s Third

In 1944, Aaron Cop­land started work on his Third Sym­phony, com­mis­sioned by con­duc­tor Serge Kous­se­vit­sky and the Boston Sym­phony Orches­tra. What would end up becom­ing a piece that, in Copland’s words, would “reflect the euphoric spirit of the coun­try at the time” when it was pre­miered in 1946, started out with the less nation­al­ist but equally chal­leng­ing goal of pleas­ing Kous­se­vit­sky and the conductor’s lik­ing of “music in the grand man­ner” while remain­ing true to what had become Copland’s sig­na­ture style, music of the pop­ulist but sophis­ti­cated dar­ing of Appalachian Spring, Billy The Kid and Rodeo. ”

For the full story, please see The Guardian.

Trial of Streaming Video Database

The Music Library is pleased to announce that we have estab­lished a trial for medici.tv, a video stream­ing site for clas­si­cal music based in France.  The site streams con­certs of major orches­tras, operas, choral con­certs, etc.  The trial is effect imme­di­ately until May 25.
You need to be on cam­pus to access the trial, through www.medici.tv  Leave a com­ment to let us know what you think about medici.tv!

4th Annual UNCONFERENCE & FILM FESTIVAL APRIL 24–26, 2014

Women Who Rock “Mak­ing Scenes, Build­ing Com­mu­ni­ties” wel­comes the fourth annual (Un)Conference, Film Fes­ti­val & Oral His­tory Archive “Honey & Heal­ing” with a series of events from Thurs­day, April 24th through Sat­ur­day, April 26th. Chil­dren and fam­i­lies are welcome.”

For more infor­ma­tion, please see the con­fer­ence web­site.

GO! MUSIC AND MOBILITY 2014 POP CONFERENCE APRIL 24–27, 2014, EMP MUSEUM

We turn to music to put the world in motion. From com­mu­ni­ca­tion by talk­ing drum to sounds streamed off mobile phones, music has accom­pa­nied the move­ment of peo­ple, alle­vi­ated work, and pul­sated leisure. This year’s EMP Pop Con­fer­ence, back in Seat­tle after three years roam­ing, offers more than 100 pre­sen­ta­tions explor­ing the sub­ject of music and mobility.”

For details, please see the con­fer­ence web­site.