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Mikko Ojanen PhD candidate, Musicology, University of Helsinki

From analog to digital, From material to data: advantages of digital data processing for (electroacoustic) music research. Mikko Ojanen PhD candidate, Musicology, University of Helsinki Information specialist, Helsinki University Library orcid.org/0000-0002-7833-9659 mikko.ojanen@helsinki.fi.

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Mikko Ojanen PhD candidate, Musicology, University of Helsinki

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  1. From analog to digital, From material to data:advantages of digital data processingfor (electroacoustic) music research Mikko Ojanen PhD candidate, Musicology, University of Helsinki Information specialist, Helsinki University Library orcid.org/0000-0002-7833-9659 mikko.ojanen@helsinki.fi SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319 Digital Escapees A jointseminar w/ University of Helsinki, University of the Arts, and Kiasma April 6 2017

  2. Themes for today • Current trends in research • Research data management (RDM) • Open science • Research project on the history and analysis of electroacoustic music in Finland in the ‘60s and ‘70s • Especially, music made with electronic musical instrumentsdesignedby Erkki Kurenniemi • Analysis example of Kurenniemi’s music • How to meet the challenging RDM principles in musicological research project SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  3. Definitions of research material and research data • Research material = Data • In an everyday situation definitions are not clear – in Finnish at least • Used as synonyms • Data can be understood as a general term which requires a prefix such as qualitative, quantitative, numeric, computational, interpreted etc. • Research material ≠ Data • In many cases data only refers to digital material • Data is considered as computational, quantitative, machine-readable (Big data) SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  4. Definitions of research material and research data • In the RDM plan data is understood as a broad term including: • research material(such as any kind of physical artifacts) • research sources (such as various archive material) • data produced during the research (such as digitized copies of the aforementioned physical artifacts) • data collected by various methods (such as surveys, interviews, measurements, imaging techniques etc.) • curated collections • annotation and coding of the material on various levels • all revisions of a data set produced in/for the analysis process • physical and electronic lab journals • source code and software • etc. SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  5. Definitions of research material and research data • Practical definition for data • Data can be understood as observations from any material; observations which does not contain any semantic meaning; meaning is constructed through analysis and interpretation only when contextualized • Data life-cycle • From raw material to data From data to analysis From analysis to interpretation From interpretation to research results Interpreted data produced in one project can be reused as raw data in another Data can be duplicated, copied, enhanced, developed etc. Figure: http://www.fsd.uta.fi/aineistonhallinta/en/why-are-research-data-managed-and-reused.html#research-data-life-cycle SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  6. Erkki Kurenniemi? Who? Why? Erkki Kurenniemi in the universitystudio (Vironkatu 1) in the early1970s Photo: Martti Brandt SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  7. Research material of Electronic musical instruments by Erkki Kurenniemi ** ** • Electronic musicalinstruments • Electric-Sound-Machine (1964–) • Electric Quartet (1968) • Andromatic (1968) • DICO (1969) • DIMI-A (1970) • DIMI-O (1971) • DIMIX (1972) • DIMI-S (1972) • DIMI-T (1973) • DIMI-6000 (1973–75) • Photos of the instruments • Contemporary digitized pictures • Photo sessions during the research project • “Manuals”, specification, technical documentation • Interviews • Contemporary interviews; published, unpublished • Interviews during the research project * ** *** ** *** ** ** *** Photos: * Mikko Ojanen ** Mikko Ojanen & Jari Suominen *** FNG/EKA SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  8. Kurenniemi’s music andother recordings(1962–80) • Approx. 30 independent work • Electroacoustic tape music, tape collages, live performances and improvisations • Music and sound design for exhibitions, movies, commercials, theatre and radio plays • Audio diaries; approx. 100 hours of c-cassette recordings (1970–75) (in the National gallery’s collection) SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  9. Underpinnings of Kurenniemi’s music relatedwork Artistic work and music production • Digital musician or composer as fashion or industrial designer Music as mass production article • Performances & happenings • The idea of ”intermedia”/new media Loosely related to Fluxus ideology • Spontaneity  ”A work has to be completed in a single day” • Abuse of music technology Instrument design and engineering • Design driven by a machine or computer metaphor Programmability and algorithmic composition Automated music making machines • Digital logic in sound synthesis, sequencer and memory applications • User interfaces & instrument control methods • Integration and modularity • (of functionalities) • Networking & collective performing • Mathematical theory of music Some key concepts Seamlessweb(Hughes 1986; Callon 1989) Boundaryshifter(Pinch and Trocco 2002; Pinch 2009) Typical/normalexception;(globalvs.localperspective) (Ginzburg 1993; Levi 1991) SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  10. SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  11. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Kurenniemi’s arrangement of Johann Sebastian Bach’s Inventio no. 13 in A minor (BWV 784) was released on Dimi is born 7” vinyl record for marketing purposes of the instrument together with Outventio (as a succeeding part for Invention by Kurenniemi and Ruohomäki) and Mikäaika on (What time is) by Jukka Ruohomäki) * *** ** DIMI-A-synthesizer (1970) Inventio mastertape (1970) Dimi is born 7” sound recording (1970) Figures: * Mikko Ojanen & Jari Suominen ** Mikko Ojanen *** FNG/EKA SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  12. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) DIGITIZING PROCESS: From master tape to sound recordingboth the master tape and sound recording as digitizedfile (192 kHz, 24 bit; .wav)from high resolutionfile to referencecopies (44.1 kHz, 24 bit .wav & 320 kbps .mp3) fromdigitizedfiles into spectrogramimages * ** *** DIMI-A-synthesizer (1970) Inventio mastertape (1970) Dimi is born 7” sound recording (1970) Figures: * Mikko Ojanen & Jari Suominen ** Mikko Ojanen *** FNG/EKA SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  13. Comparison of master tape and sound recording Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) In spectrograms channel orientation (channels flipped and narrower stereo image) and background noise of the vinyl media clearly visible Inventio mastertape (1970) ** *** Dimi is born 7” sound recording (1970) Figures: ** Mikko Ojanen *** FNG/EKA

  14. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Analysis presented as annotated video Figure: Mikko Ojanen White adhesive tape passing the play head = the edit point Which part of the analysis can be opened, under what license and in which archive? SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  15. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Left channel Right channel Left channel Right channel Figure: Mikko Ojanen Spectrogram and amplitude images of Inventio (1970) with markers on the edit points of the master tape SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  16. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) The instrument lacks an envelope generator. Dynamics for each note needs to be programmed step by step. Here, bars have been divided into 64 steps, thus dynamics for 1/8 notes can be programmed in four steps. 1/64 steps clearly visibly in the spectrogram. Inventio programming example; bar 17; slow attack for each note Inventio programming example; bar 25; staccato and filter fade out for the last note Figures: Mikko Ojanen SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  17. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Figure: Mikko Ojanen Approx. 108 bpm Approx. 95 bpm Approx. 66 bpm Approx. 42 bpm Invention tempo track/map Bars1–13 Bars14–17; firstaccelerando Bars 19–23; second accelerando and fast ritardandoduring the last two bars SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  18. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Figures: Mikko Ojanen SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  19. Research data example:Arrangement of j. S. Bach’s inventio a minor to DIMI-A synthesiser (1970) Analysis of a sound recording; duration approx. one minute Aforementioned analysis material Inventio analysis folder only consist of part of analysis material Kuva: Mikko Ojanen SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  20. University of helsinki electronic music studio sound recording archive • Mainly ¼” reel to reel tapes • Approximately 350–400 cardboard boxes; some boxes include several tapes • Erkki Kurenniemi’s collection (~10-15% of the whole collection) Photo: Mikko Ojanen SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  21. Digitization and archiving of sound recordings • Data collection and cataloguing via E-lomaketo an Excel file • No official metadata standard; although interoperable with standards • Digitizing and archiving the digital copies of the tapes • Musical works cannot be distributed • Digital copies of musical works cannot be archived? • Metadata and description can be opened • Catalogued information: • Digitization details • Tape container details • Tape/reel details • Audio content details • Physical archive information; signum, location and collection Figure: Mikko Ojanen SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319

  22. Thankyou!from analog to digital, Frommaterial to data:advantages of digital data processingfor (electroacoustic) music research Follow the project on: Twitter.com/@miojanen Facebook.com/UHMRL Blog: blogs.helsinki.fi/finnish-electroacoustic-resources/introduction/ Mikko Ojanen PhDcandidate, Musicology, University of Helsinki Informationspecialist, Helsinki University Library orcid.org/0000-0002-7833-9659 mikko.ojanen@helsinki.fi SlidesavailablethroughZenodo dx.doi.org/10.5281/zenodo.495319 Digital Escapees A jointseminar w/ University of Helsinki, University of the Arts, and Kiasma April 6 2017

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