<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><div style="color:rgb(34,34,34);font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;text-align:start;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:rgb(255,255,255);text-decoration-style:initial;text-decoration-color:initial"><font size="2"><span style="font-family:arial,helvetica,sans-serif">Dear Folks,<br><br>I'm writing to let you know about an upcoming event that might interest our community in NYC:  on <span class="gmail-aBn" tabindex="0"><span class="gmail-aQJ">Tuesday, May 1</span></span> at 2018 at <span class="gmail-aBn" tabindex="0"><span class="gmail-aQJ">5:00pm</span></span>,
 Prof. Michael Cuthbert (MIT) will give a talk at the Heyman Center for 
the Humanities on "Distant Listening/Digital Musicology: music21 and 
Compositional Similarity in the Late Middle Ages," followed by a round-table discussion. The talk is open to the public. Abstract and 
flyer below; further information can also be found here:</span></font></div><div style="text-decoration-style:initial;text-decoration-color:initial"><font size="2"><span style="font-family:arial,helvetica,sans-serif"><a href="http://scienceandsociety.columbia.edu/cssevent/distance_listening/" target="_blank">http://scienceandsociety.<wbr>columbia.edu/cssevent/<wbr>distance_listening/</a><br><br></span></font></div><div style="text-decoration-style:initial;text-decoration-color:initial"><font size="2"><span style="font-family:arial,helvetica,sans-serif"><br><b>Distant Listening/Digital Musicology:<br>music21 and Compositional Similarity in the late Middle Ages</b><br><br>Digital
 humanities approaches, including Franco Moretti’s influential concept 
of “distant reading,” have transformed areas of textual scholarship in 
recent decades, but such ideas have had less of an impact on 
musicology.  There were two reasons for this lack of uptake in music: 
first, a general dearth of tools for examining hundreds or thousands of 
musical scores.  Second, there were few examples of such approaches’ 
success in answering difficult questions in music history, necessary to 
reward the investment of time and energy in the skills in programming to
 access these techniques.  In this talk, Cuthbert, argues that both 
hurdles have finally been overcome by demonstrating approaches to 
“distant listening” to musical scores with the music21 toolkit, 
developed at M.I.T., and its application to finding previously unknown 
webs of influence, citation, quotation, perhaps even plagiarism, among a
 repertory of 3,000 musical scores drawn from European sources from 
1300–1430, including the identification of over 30 fragmentary musical 
works previously considered too small or illegible for study.<br></span></font></div><div style="text-decoration-style:initial;text-decoration-color:initial"><font size="2"><span style="font-family:arial,helvetica,sans-serif"><br></span></font></div><div style="text-decoration-style:initial;text-decoration-color:initial"><font size="2"><span style="font-family:arial,helvetica,sans-serif"><img src="https://mail.google.com/mail/u/0/?ui=2&ik=007e345b15&view=fimg&th=162fd5ac4e2530a1&attid=0.1&disp=emb&realattid=ii_jgf8iap41_162fd597496b0475&attbid=ANGjdJ95e6AlYj8Uv8D9IWUd1ZJSODpRVJAXNHAp269cZIzRagH0nRsTNgGjT_-FxAprMrGVeLf1jSgx8PHaETSqLmQxGL82eG_8a5O8jT50MSKqVwGDVwWP0rWLO_U&sz=w702-h908&ats=1524859644363&rm=162fd5ac4e2530a1&zw&atsh=1" class="gmail-CToWUd gmail-a6T" tabindex="0" width="351" height="454"></span></font></div>

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