In open data sets, Suby Raman found a lot of really interesting stories to tell about the performing arts. Because he’s a composer, he knew what to look for in the data and what would matter to people. Because he’s a programmer, he knew how to handle the big data set itself.
The tricky part of advocating for the arts is that the really important parts are harder to put numbers on. This shouldn’t be surprising; the awesomest parts of art itself are the parts that are hardest to quantify.
While the findings of the National Center For Arts Research are encouraging for the state of the arts economy and their methodology is strong, the NCAR’s final analysis has no way to access an individual person who can exist in any or all of the categories they are attempting to study. I’m an administrator, but I’m also a composer, and an audience member, and a donor. It changes with the day, who I’m talking to, and where I’m standing.
There’s a long history in dictionaries, encyclopedias, and even atlases of including false and funny entries to protect from copyright infringement. The Grove Dictionary has had some classics over the years and now they’re giving the rest of us the chance to write some ourselves.
News came last week that the former London-based Sibelius team is now opening a new office to work on a brand new notation program–this time under the auspices of Steinberg, a German company known primarily for the sequencer Cubase. Here’s what Daniel Spreadbury had to say about the project.
It’s our turn to grab the bullhorn by the “on” switch and give a shout out for the adventurous music we wouldn’t want to live without.
If you haven’t given in to Twitter yet, or just missed the overnight #hashtag sensation that’s rocking the musicologists of Twitter, allow me to catch you up. The annual conference of the American Musicological Society is coming up, and the time has apparently come to lovingly poke fun.