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M U S I C T H E O R Y O N L I N E
A Publication of the
Society for Music Theory
Copyright (c) 1997 Society for Music Theory
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| Volume 3, Number 5 September, 1997 ISSN: 1067-3040 |
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General Editor Lee Rothfarb
Co-Editors Dave Headlam
Justin London
Catherine Nolan
Reviews Editor Brian Alegant
Manager Robert Judd
Consulting Editors
Bo Alphonce Thomas Mathiesen
Jonathan Bernard Benito Rivera
John Clough John Rothgeb
Nicholas Cook Arvid Vollsnes
Allen Forte Robert Wason
Marianne Kielian-Gilbert Gary Wittlich
Stephen Hinton
MTO Correspondents
Per F. Broman, Sweden Nicolas Meeus, Belgium, France
Peter Castine, Germany Ken-ichi Sakakibara, Japan
Wai-ling Cheong, Hong Kong Roberto Saltini, Brazil
Geoffrey Chew, England Michiel Schuijer, Holland
Gerold W. Gruber, Austria Uwe Seifert, Germany
Henry Klumpenhouwer, Canada Arvid Vollsnes, Norway
Marco Renoldi, Italy
Editorial Assistants Martin Steffen
Cindy Nicholson
Nicholas Blanchard
Jon Koriagin
Music Example Designer William Loewe
Midi Consultant David Patrick Watts
HTML and Java Consultant Bruce Petherick
All queries to: mto-editor@smt.ucsb.edu or to
mto-manager@smt.ucsb.edu
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1. Feature Articles
AUTHOR: McNamee, Ann, K.
TITLE: Publishing and Pedagogy Using Multimedia on the World-Wide Web
KEYWORDS: multimedia publishing, web publishing, web audio, Bacewicz, women
composers
Ann K. McNamee
Swarthmore College
Swarthmore, PA 19081
amcname1@swarthmore.edu
Internet URL: http://mcnamee.graham.com
ABSTRACT: The Internet offers the promise that music theorists
and their students will be able to integrate and synchronize high
quality audio and images with their text analyses. One of the
challenges is to make on-line multimedia publishing as easy for
the author as print publishing is today. I offer my multimedia
article on Bacewicz's Second Piano Sonata and the work of some
Swarthmore undergraduate students, who used a template of mine to
produce their own projects, as possible models for future
multimedia music theory publishing on the Web.
Refer to the following Internet URL:
http://mcnamee.graham.com
0. Introduction
1. First Goal: Enhancing Music Theory Publishing
2. Second Goal: Designing a Template for Other Authors
3. The Template: Overall Two-Frame Design
4. Scanning Musical Scores
5. Links to Musical Examples
6. Copyright Issues
7. Footnotes and Bibliography
8. Cosmetics -- Varying Typefaces, Photos, etc.
9. The Quick Time Movies
10. Conclusion
====================
0. Introduction
[0.1] I have two goals for my research with regard to multimedia
publishing on the Internet: 1) to explore ways to enhance music
theory publishing by including sound and graphics; and 2) to
encourage greater use of the Internet for music by creating a
template which students and colleagues can use to author their
own work.
[0.2] The Internet offers the promise that music theorists and
their students will be able to integrate and synchronize high
quality audio and images with their text analyses. One of the
challenges is to make on-line multimedia publishing as easy for
the author as print publishing is today. While all of the basic
technologies necessary for on-line multimedia publishing exist
today, the technology still places a greater burden on the author
than does print publishing. (This article is a significant
revision of a paper presented at the Mozarteum in Salzburg,
Austria for a symposium entitled "New Media: Technology and
Internet for Creative Applications," held January 4-7, 1997.)
1. First Goal: Enhancing Music Theory Publishing
[1.1] My first goal, an enhanced form of music theory publishing,
combines high-quality sound synchronized with musical examples.
In order to follow the discussion below, you should link to my
analysis of Grazyna Bacewicz's *Piano Sonata No. 2* at the
following URL: http://mcnamee.graham.com
[1.2] The format of this site requires a large computer monitor.
Choose one of the versions of the analysis. If you cannot see
two frames, one which is a photo of a piano on the left-hand side
and one with instructions on the right, then proceed to the
section below which begins, "Second Goal: ..." The format of
that site (http://ash.swarthmore.edu/womuse) works well even with
a smaller monitor.
[1.3] My analysis was written in 1993, mostly in text format, for
*Music Theory Online*
(http://128.111.94.30:80/mto/issues/mto.93.0.4). In 1996, I
reworked the analysis into several different multimedia formats
for the World-Wide Web (http://mcnamee.graham.com). In terms of
technology, the target platform for my work is a Macintosh, a PC,
or a Unix workstation equipped with a Netscape or Microsoft
browser. At a minimum, the browser should be a version current
enough to display two frames and to support the Quick Time
plug-in. Other formats on my site add the Shockwave plug-in and
Java applets.
[1.4] My design for multimedia is to have scrollable text down
the left-hand side of the screen with the musical examples
appearing over to the right-hand side. In order to save download
time, I recommend that you scroll down the center scroll bar
until you reach "Example 1." Click on "Example 1" in order to
see the score and to hear the audio. (The pianist in this
performance is Charles Abramovic.)
[1.5] The technical reason for this two-frame design is that
audio files are too large to be embedded along with text in only
one frame. The scholarly benefit of this design is that while
the reader is waiting for the music to download, he or she can
still read the text. The center scroll bar remains active during
the transfer of the music file.
[1.6] If you are using the Quick Time version and scroll down to
"Example 2a," you will notice that the score will "flip pages"
automatically, synchronized with the audio. You are hearing near
CD-quality sound. It is 16-bit sound, 11 kHz, but mono not
stereo. (If you are using either of the streaming audio formats,
the Shockwave or the Java version, you must flip the pages
manually. There should be no pause in the audio when you click
to turn the page of the score.)
[1.7] Three more examples on this site directly address the issue
of multimedia for music theory publishing. The first one
addresses sketch material. Go to "Example 3," scroll a bit
further so that the sketch material is visible in the left frame,
then click on "Example 3." My design offers the opportunity to
study sketch material on the left-hand side, compare it to the
published score on the right, and, most importantly, to listen to
the passage under study.
[1.8] The second example addresses the topic of MIDI sound. In
this article, I discuss a Polish folk mode, the Podhalean mode.
To me, it made sense for the reader to be able to hear this
Podhalean mode, so I made a recording of it on a MIDI keyboard.
Scroll down in the article until you get to the button for "The
Podhalean Mode." Listen carefully to the audio for that link.
MIDI quality is fine for listening to a scale such as this (and
certainly fine for rudimentary piano playing), but MIDI is
unfortunately not suitable as a format for musical performance.
[1.9] The last example I want to show in this article is
something that is impossible in print publishing. Link to the
very last button, "Analysis of the Development." You need not
wait for the entire Quick Time movie to download; even if you
stop downloading after 20% you should still be able to see my
point, explained below.
[1.10] In this example you hear the Development of the Piano
Sonata. The score will be on the bottom half of the screen,
synchronized with the audio. In addition, my analysis is on the
top half. This example has what I affectionately call the
"bouncing yellow bar" which highlights where you are in the
analytical graph as the music is played. This design relates the
sound *both* to the analysis and to the score.
[1.11] In all of the examples above I hoped to show how
high-quality audio, when synchronized with musical examples, can
enhance music theory publishing in more than one way.
2. Second Goal: Designing a Template for Other Authors
[2.1] My second goal is to create templates for colleagues and
students in order to lower the barriers for authors who might use
multimedia on the Web for music theory publishing. I used a
template and about four hours of individual instruction to help
five undergraduate, non-music majors design their own Web sites
in the fall of 1996. The students were in no way technologically
more advanced than the typical Swarthmore College undergraduates,
and in some cases had only elementary computer skills. Four
hours per student is not an insignificant commitment of time, but
I estimated that I spent over 700 hours developing my first Web
site from scratch, so four hours per student seemed to prove the
usefulness of the template!
[2.2] The students' work can be found at the following URL:
http://ash.swarthmore.edu/womuse. I particularly recommend the
first three sites. The first is a project by Julie Hovis on
Francesca Caccini. The second is by Rebecca Johnson, whose
project is on the music of her great aunt, Rebecca Clarke, and
the third project, by Emily Mott, includes a Bantu midwives'
song/dance.
[2.3] Note that the two-frame design is still present. For those
who are familiar with HTML tagging, you are of course welcome to
download and use all of my tagging in this site. (The only
proprietary code is that for the Java applet. Contact John or
Matt Graham at http://www.graham.com for questions about the Java
code.)
[2.4] My students never learned any HTML tagging, nor did they
need the Java applet. My template was designed using the
Macintosh version of Claris Home Page. This inexpensive software
is a drag-and-drop Web editor which relieves most headaches
associated with HTML. A copy of the software was put on a
Swarthmore College server so that the students could work on
their projects at any time from their dorm rooms or wherever.
The Quick Time movies were created using Macromedia Director and
SoundEdit. Scores and photographs were scanned using Adobe
Photoshop.
3. The Template: Overall Two-Frame Design
[3.1] The way I handled the design with my students was to give
them a twenty-minute demonstration, then to hand them a floppy
disk with the template on it. By reading the above article, and
by seeing and listening to some of the musical examples, you will
have more than completed the demonstration portion. I would be
happy to mail any interested SMT member a Macintosh floppy disk
with my Claris Home Page template on it. All you need to do is
to drag your text and images to the appropriate spots and erase
my text.
[3.2] For those who are comfortable with HTML, you can set up the
two-frame design with the following HTML tags:
[3.3] If you prefer the format which allows for smaller monitors,
you should change the "475" above to "340" (which allows for a
standardized reduction of Quick Time movies). Some might feel
compelled to add to the HTML tagging above. Here is some
slightly expanded HTML tagging, which works for smaller monitors:
4. Scanning Musical Scores
[4.1] I use Adobe Photoshop for scanning, but any similar
application will do. Save your images as either GIFs or JPEGs in
order to add images to the left-hand side of the article. The
images of the musical examples needed for Quick Time movies on
the right-hand side should be saved as GIFs. The version of
Director that I use (4.0) allows only images saved as GIFs to be
imported. (I have been told that the more recent version of
Director allows for smaller sized formats like JPEG images.)
5. Links to Musical Examples
[5.1] Because audio files and Quick Time movies are so large, one
should link to the large files only when necessary. This is the
philosophy behind the two-frame design. Claris Home Page allows
you to set up these links easily.
[5.2] Those who are comfortable with HTML tagging can easily set
up links to musical examples. In the two-frame design
above, I call the left-hand frame "text" and its HTML tagging
"article.html". Within "article.html" one can link to a musical
example (which will appear in the right-hand frame, called
"score," with its own HTML tagging). The tagging for
"article.html" is as follows:
Example 1
[5.3] The HTML tagging for "example1.html" (which includes a
Quick Time movie called "newer1.mov") in the right-hand frame is
as follows:
example1