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An Insight on Philippine Digital Humanities Legacy andResearch in the Realm of Literature of the Voice and

MusicNicole Revel

To cite this version:Nicole Revel. An Insight on Philippine Digital Humanities Legacy and Research in the Realm ofLiterature of the Voice and Music. Maceda100: Jose Maceda Centennial International Symposium,University of the Philippines, Sep 2017, Quezon City, Philippines. �hal-03081649�

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AnInsightonPhilippineDigitalHumanities

LegacyandResearchintheRealmofLiteratureoftheVoiceandMusic

Maceda100Symposium

CollegeofMusic,UniversityofthePhilippinesQuezonCity,September26,2017

NicoleREVEL

Thankstoaverypeculiarsensitivity,anexceptionaltalentasacomposerandasa

thinker,thankstoadeeplylivedexperience,Dr.JoséMacedaiscelebratedallalongthisyear. Although as a child, an adolescent and an adult he was molded by Westernclassical andmodernMusic first in thePhilippines, then inFranceand lateron in theUnitedStates,heopenedanewworldofMusicexpressionandcomposition.

As he returned to his homeland he contemplated and projected in sounds theintertwinedbeautyoftropicalnature,theknowledge,wisdom,know-howandaestheticsof themanyminorities cultures not only from the Philippines, but also from variousregions inSoutheastAsia:Thailand,Laos,Cambodia,MyanmarandYunnan,aswellasfrom ancient courts music of China, Korea, Japan, Indonesia and farther other musicfromAfricaandBrazil.

He liftedboundariesamongculturesanddisciplines.He foresaw theexpandingscaleofrelationshipsandnetworkingwearethewitnessesoftodayandimaginedmusiccompositionsonaparallelconceptuallevelmorethan40yearsago(Cassette100,1971;Ugnayan,1974).

Hewas following the constantdevelopmentof analytical theoriesand incipientmultimedia technologies (recording, collecting, safeguarding)andprojected thesenewconcepts tomusic and safeguardedmany formsof oral tradition.Alonghis numerousfield-worksandconstantdiscoverieslivingwiththeculturalminoritiesheexperiencedmusicalpleasureunheardofintheWestandtheybecameasourceofinspiration.Todayethno-musicologists, composers, linguists and anthropologists present in thissymposiumdedicatedtohismemoryarefollowingthewayheopenedforus.

Inordertogiveaninsightontheevolutionofthearchitecturesthatprogressivelyemerged since the beginning of the 20 c. in the field of conservation and the implicitethicsof theonlinediffusion,weproposetobrieflypresentsometrends inorganizingand saving thememory of such ephemeral artistic expressions, the various data andmetadata, two in the Philippines, and three in Europe, we have been and still arecontributingto,namely:- JoséMaceda Collection at the UP Center for Ethno-musicology,part ofMemory of theWorldatUnesco,thewebservermonitoredbytheUniversityofthePhilippines(UP).CharlesMacdonaldandNicoleRevel-Macdonalddepositedtheirrecordingsandbooksinthe70tiesand80ties:<http://upethnom.com>-LesArchivesCNRS-Muséedel’Homme:anaudiodatabaseinethnomusicologywhereamajorpartoftherecordingswedidinmusic(1970-1990)arealsodeposited.Since 2014, the new Telemeta platform <http://archives.crem-cnrs.fr> follows theEuropeanaSoundsmodel of theBritishLibrary:<http://www.europeanasounds.eu>, aconsortiumofEuropeandigitallibraries:<http://sounds.bl.uk>

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-ThePhilippineEpicsandBalladsArchive,housedat thePardodeTaveraCollectionaswellasthewebsiteweconceivedandbuiltfrom1991to2017,launchedinJanuary2011monitored by the Rizal Library, on the campus of Ateneo de Manila University:<http://epics.ateneo.edu/epics>-LaBibliothèquenationaledeFrance(BnF):wheretheepicsandballadsof69singersoftalesfromthenationalcommunitiesofthePhilippineswecollectedincollaborationwith29 scholars and knowledgeable persons (recorded and video-recorded, transcribed,translated and analyzed), have been also deposited to be safeguarded by successivetransferssince1995:<http://data.bnf.fr>

Thanks to thismultimedia technology, Iwill refer to two research programs, IcontributedtoandtwoothersconductedinourunitatMuséedel’Homme:

LEXICO3:TextometricAnalyticalMethod:<http://www.lexi-co.com>NATIV:NewTrans&InterdisciplinaryApproachoftheVoice

http://www.iremus.cnrs.fr/fr/projets-de-recherche/nativ

DIADEMS: Description, Indexation, Accès aux Documents EthnomusicologiquesetSonores(2013-2015):

Seven institutions( CNRS, LAM, IRIT,LABRI, LIMSI, MNHN-CNRS) and pluri-disciplinarity bringing together the collections of CREM on Telemeta, ethno-musicologits,linguistsandacousticians&SociétéParisson.

Thesoundrecordedcanbevisualizedasawaveoraspectrogram.Anindexationbringsout the salient features of the sound and mark them on the recording made by therespective scholars. Interesting segments are automatically extracted thanks totemporalanalysisofthesoundsignal;successiveanalysisthenfollowtobringoutthestructurationoftherecording,adescriptionofitsorganisation.

GeAcMus:Gesture-Acoustics-MusicofSorbonne-Universités(2015-2017):

AProgramontheuseofmoderntechnologiestocapture,thentoanalyzetheinteractionmusician-instrumentin3D,thankstoabiomechanicapproachandthecollaborationofUniversité de Technologie of Compiègne (Cahiers d’Ethnomusicologie, 30/2017:www.adem.ch/ce30(formultimediadatas)

FinallyWewillbepresentedbrieflyournewpublishedmultimediawork:Pala’wanHighlandersVerbalArt.ALivingMemoryinSoutheastAsiaGeuthner,(Pal/Fr/Engl),320p.10DVDRomscompressedin5(4,70GO).

.

_________________

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PreambleMusic and Literature of the voice are an Intangible Heritage need to be bothprotectedandmadeavailable.Ihaveformulated30yearsagothephraseliteratureofthevoicetodesignateartisticexpressionsbywayoflongsungnarratives,namelyepicsandballadswithoutawrittensupport.

Technologyhowever,wasstartingandkeepsondevelopingataneverincreasingpace,forcingustocontinuouslyadjusttonewtoolsandprogramsinordertoimproveourmethodsofsafeguarding,presentingandanalyzingthecompositionsofthecultureswithalonglastingoraltradition.

AsweworkedoncollectingandsafeguardingEpicsandballadsinthePhilippineswelkeptonfollowingthedevelopmentofMultimediaTechnologiesandwewereabletosetinmotionnewanalyticalmethods.

ThisendeavorisrelevantytoDocumentaryLinguisticsandDigitalHumanities.Inthiscountry,thequalityofthedatabasehasbeenensuredsincetheinceptionof

the Unesco Program on Epics (1991-2012) by setting in motion and coordinating acomplexcomplementaryandnecessarysetofdisciplinesinthefieldandlaterinParis,namely: linguistics (phonology, semantics, ethno-poetics, pragmatics, textometricanalysis), ethno-musicology and acoustics, ethnology of course and beyond cognitiveanthropology. This becomes a new discipline and is the very core of DocumentaryLinguistics,atrans-discipline.

Nowadaysandsinceseveraldecadesalready,weareabletocapturethefusionofintangible artistic expressions through various lenses including those of interactivemedia inventors, computer engineers, museum curators, librarians, in order to buildmultimediaarchivesaccessibleontheWeb.

Intodayglobalworld,informationistobetreatedasanetworkofinformationviatheinter-connectionbytheLinkData.Wedohavetoadjusttonewtrendsofstructuringcatalogsinlibraries,followinginternationalcodes.

ThisneweraofDigitalHumanities(DH)transformingrelationshiptoknowledge,are emerging as archives of songs, texts, photos and videos of the performances arebecomingarealityonthecyberspace,detachedfromthephysicalspace,butrelatedtoit.

AnewMemorydevelopsandoffersitselftoourconceptualexploration,creativityand appropriation. The conception of a design, revealing interactivity between thevariouscomponents,isthenrequired.

-IllustrationbytheepicMämiminbinanalyzedwiththeprogramelaboratedbyAndréSalem,Lexico3.http://www.lexi-co.com/

-IllustrationontheSpectralAnalysisoftheTimbreofVoiceofaPala’wansingeroftales NATIV:NewTrans&InterdisciplinaryApproachoftheVoice

<http://www.iremus.cnrs.fr/fr/projets-de-recherche/nativ>

LetusstartbysafeguardingthememoryandarchivingIntangibleHeritageof instrumental and vocal music, I will present briefly four examples ofarchivesrelatedtothePhilippines.

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1-UPCenterforEthnomusicology

JoseMaceda’sCollection,UniversityofthePhilippines,http://upethnom.com

Since 2007, this collection - a unique archive in scope and size for the region - isregisteredinUnescowithintheprogram:‘MemoryoftheWorld’.Gathered in the field from1953 to2001, this collection, reflects the traditionalmusicandnumerousstylesnamely,ethnicmusic,villagemusic,courtmusicamongtheculturalgroups in the archipelago, but also in various countries of SEA (Malaysia, Indonesia,Myanmar,Thaïland,VietnamandChina).It consists of 2.500 hours of field recordings in 68 languages completedwithmusicalinstruments,blackandwhiteaswellascolorphotographs,textsandtranslations,musictranscriptionsandfieldnotes.Onlyfewvideosarepartofthiscollection.Asofnow,onlythecatalogsandmetadataareuploaded.However,notanycontentisuploaded,saveforselectedlowqualityimages.Thecollectivedecision in theUPCollegeofMusic isoneof consultation insitu, but itdoes not respond to a policy of wide diffusion nor the new trends of collaborativeresearch.Thelinktothiscollectionwhichhasalreadybeendigitizedis:http://upethnom.com/jmcollection/index.php/items/advancedsearchInrelationtothePala’wanethno-linguisticgroupweworkedonsince1970:We have deposited in the archives from 1970 up to 1978 a copy and sometimes theoriginals of our own collection (Macdonald C. and/or Revel-Macdonald N.) andcontributed the collection thatDr.Macedamadewhen he came to theHighlands andPunangareatodofieldresearchwithusin1972and1976.OnPala’wanethno-linguisticgroupitrepresentsacollectionof:

-500audio-recordingson21p.listing.-216photographson11p.listing.-13instruments.-16fieldnotes.

ILLUSTRATIONSONPPT

2-CNRS-Muséedel’HommeArchives:anAudioDatabaseinEthnomusicology<http://archives.crem-cnrs.fr>

HistoricalBackground:

In the 1930ties, it was meant to collect, organize and archive published andunpublished audio recordings since the 1900’s up to today, by scholars attached togovernment-sponsoredinstitutions.

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-In1932,AndréSchaeffner,Frenchhistorianandmusicologist,createdlaPhonothèque,a sound library,Department ofMusical Ethnology at theEthnographyMuseumof theTrocadéro,inParis(AbookonthishistoricalperiodwillbepublishedsooninParis)-In1937,theEthnographyMuseumturnedintothenewlybuildMuséedel’Homme.-ThenextbigethnographicexpeditioncrossedthecentralpartoftheAfricancontinent,andbroughtmusicalarchivesrecordedbyGilbertRouget(Gérard,2012).ThePublicationofedited78rpmrecordsistarted“Muséedel’Homme”collectionlaterrenamedtheCNRS-Muséedel’Hommearchives,from1988to2001,37CDswerepublishedunderthelabel“CNRS-leChantduMonde”.-In1968,theDepartmentbecametheLaboratoryofEthnomusicologyofCNRS,which40yearslatermovedwithapartofitsassociatedaudioarchivestotheUniversitédeParisX-Nanterre(nowUniversitédeParis-OuestNanterre),whereitwasrenamedCentrederechercheenEthnomusicologie”(CREM).-In1995,ThecollectionofEpicsstartedtobedigitizedin1995byCNRSAudio-visualdepartment-In1999,DigitizationstartsatCREM.- In 2009, the audiotapes were progressively transferred to the National Library ofFrance(BnF)andtheycontinuetobedigitized.- Since 2011, the sound archives of this institution, one of the largest in Europe, areavailable through a Web-based platform, a model for audio recordings onlinecollaborativedatabase,oneamongthefewprovidingonlineaccesstotheaudiodocumentsaswellasdetailedmetadata.48.000audioitemsfrom5.800collectionsoftheResearchCenterforEthnomusicology(CREM),attachedto theNationalCenter forScientificResearch(CNRS)arecataloguedonline.IntheecosystemoftheWebItisacollaborativecomputerplatformfortheproductionofknowledgeanditsdissemination.-AsofSeptember2017,morethan40.300soundfileshavebeenuploaded,amongwhichabout24.000areopentothepublicaccessfree,witharegistrationandapassword;CREM,hasadoptedtheEuropeanaSoundsmodel:http://www.europeanasounds.eu(Coordination: Richard Ranft, Dept. of Sound and Image at the British Library,<http://sounds.bl.uk>aprojectoftheEuropeanCommissionandaconsortiumofdigitallibraries:24partnersin12countries,the“JukeboxofEurope”2.200librariesmuseumsarchivesand audiovisual European collections 1 Million sound recordings, and more than 30Millions, books, films and archives are accessible and data interface in 29 languages)which aims to provide access to Europe’s sound and musical Heritage ranging fromclassical and folkmusic to environmental soundsof thenaturalworld, aswell asoralstories.These collections reflect thenumerous cultures, histories, languages and creativity ofthepeoplesofEuropeoverthepast130years (classical,contemporaryandtraditionalmusic, varieties, tales and narratives from oral tradition, soundscapes, languages andinquiries conducted in the fieldbyanthropologists and social scientists, togetherwith130.000scoresandthousandsofimageswillcontextualizethesesounds.

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Onlineavailabilitythroughthescientificallymanagednon-profitdatabaseofthe

CNRS-Muséedel’Hommesoundarchivesisaformofreturntocommunitiesoftheirownculturalheritage.Thisdatabasehasbeenadaptedboth:

toenhancearchive-basedresearchandtomakemusicavailabletoabroaderaudience.Organizingthedigitalizedarchivesintoastandardizeddatabasefulfillarequest

fromtheFrenchMinistryofCultureandtheCNRS,(attachedtotheFrenchMinistryofResearchandHigherEducation).Theseinstitutionsprovodedfinancialassistanceundertheconditionthattheybemadeavailabletothepublictherecordings.TheyworktogetherwithEuropeanasoundthatforthelast3yearsprovidedthefinancialsupportforthedigitizationoftheaudiodocumentsandrelatedresearchprojects.

Alltheseinstitutionshavehadtoembracetheconceptofopensharing,inanon-commercialenvironment.

The concerns linked to such audio files shaped the method implemented toprocess the sounds and the contextual metadata. In this respect, Archives inethnomusicology with themusical artifacts of many populations and their respectiveculturalheritageaswellastheethicalmanagementandthecommunities’accesstotheirownIntangibleMusicHeritageareafundamentalissue.

Intellectualpropertyrightsandthe implicitethicsof theonlinediffusionofmusicarchivesaretakenintoconsideration.Theonlinedistributionofdigitalarchivesisframedbyavarietyofethicalstandards,namely:

- thelegaltermsofintellectualpropertyrightsandrelatedrightsbutalso- amoreabstractsenseofmoralsensibilitiesbroughtbyindividualresearchers

andothersdepositingmusic.- Thearchiveisofferingitsownsenseoffreeaccess,inawaythatreferstoa

differentsetofprioritiesandneeds.Regardingcollaborativeresearch,theCNRS-Muséedel’Hommesoundarchives

areembeddedintoaninteractiveplatformsystemthatallowstheimplementationofacollaborativedatabase.

HoweverItisnotwideopentooutsidecontributions,onlyindividuallyauthorizedpeoplecaneditthemetadatacontents.Theseareresearchers,archivistsandpeoplewithspecifiedknowledge.(See.Simonot&S.Khoury,ApplicationsandImplicationsofDigitalAudioDatabasefortheFieldofEthnomusicology,aDiscussionontheCNRS-Muséedel’HommeSoundArchives,ANR12-CORD-0022)JoséphineSimonnot“TheCNRSMuséedel’HommeSoundArchivesfrom1900tothePresent:aLongWaybetweenHeritage,knowledgeandTechnologies.”DIADEMS,ANR-12-CORD-0022.pp.103-116.1http://archives.crem-cnrs.fr/archives/corpus/CNRSMH_Editions_001TELEMETA:aPhilosophyofSharingKnowledge

- isanewopensourcesoftwareplatformwhichfacilitatesthemanagementandindexingsoundfilesintheaudiobase.

- Itisalsoacollaborativewebaudioplatformwithaonlineserverandastreamingofapartofthesoundrecordingsinthisdatabase.

- (J.Simonot“Telemeta”,Ledocumentsonore,12Janvier2012).

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LaplateformecollaborativeTelemetaviseàrendrecesarchivesaccessiblesauxchercheurset,danslamesuredupossible,aupublic,danslerespectdesdroitsintellectuelsetmorauxdesmusiciensetdescollecteurs.MiseaupointgrâceausoutienduprogrammeduTrèsGrandEquipementAdonisduCNRS(INSHS),ellepermetauxchercheursd'échangerlesdonnéesenligne,notammentaumoyend’outilscollaboratifscommedesmarqueurstemporelspourl'annotationdudocumentsonore,desespacesdecommentaires,etc...

LaplateformeTelemetaaétémiseenligneenmai2012.SagestionestassuréeparleLAM.Lesdifférentescampagnesdenumérisationdufondsexistantpermettront,successivement,l'enrichissementdesoncontenu.

Thisplatformarchitectureorganizes,catalogues&displaysthesearchivesonaWebmonitoredbyLAM<http://www.lam.jussieu.fr>

Itisacollaborativeplatformfordigitizedsoundswiththejointcollaborationof:-EngineersfromtheCREM,-TheLutemaking,AcousticsandMusic(LAM),-Web-developersfromthePARISSONCompany,

They worked together for 7 years on a Content Management System (CMS), toimplementtheTelemetaarchitectureinordertosupporttheaudioarchivesdatabase.It is written in Python and Javascript languages, it is an open-source software thatallowsforthemanagementoflargeaudiodatabasesandtheeasyindexingofsoundfiles.Thesoundarchives’metadataarestructuredonaMySQLdatabase,whichorganizesthecataloguein4levels:

-ArchiveSeries,-Corpus,-Collections,-Items.

Thesoundisavailableforlisteninginacompressedformat,butalsotobevisualizedviaadynamicaudioplayerusingTimeSideaudioanalysisandavisualizationframework.

ThisprovidesasignalprocessingtoolforthedisplayandstreamingofaudiosoundontheWeb.

Variousgraphicalrepresentationscanbechosen,forinstance:

-thewaveform-thespectralanalysis(spectrogramslogarithmicandanalogical)-thepitchlevel

Thesearecommonlyusedtospotspeechormusicsectionsandtonavigateinsidetherecording.

Long-term preservation of the archives is on a server backed up on aweeklybasis on the CNRSGreat Research Infrastructure forDigital Humanities, TGIRHuma-Num.

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OnlinecollectiononthePhilippineshttp://archives.crem-cnrs.fr/archives/corpus/CNRSMH_Revel_001/

Philippines,Palawan:missionde1970-1972

EnregistrementssonoresinéditscollectésparCharlesMacdonaldetNicoleRevel-MacdonaldsurlamusiquevocaleetinstrumentaledesPala'wandesHautes-Terres,lorsd'unemissionauxphilippinesde1970-1972

CNRSMH_I_1971_023

Philippines,IledePalawan,ethniePala'wan:mission1970-1972

EnregistrementsonoresinéditsdepremièremissionethnographiqueetlinguistiqueeffectuéeàPalawan,sousl'égideduCéDRASEMI(CNRS-EHESS).Enregistrementssurlamusique(instrumentaleetvocale),lesartsdelaparoleillustrésparquelquesexemplesdelittératureorale(narrée,chantée)etderhétorique.

CNRSMH_I_1974_006

Philippines,Palawan:3piècesdemusiquedegongs,1984

CNRSMH_I_1986_013

Philippines,Palawan:Kulilal.1975-1976

Collectionencoursd'identificationavecNicoleRevel CNRSMH_I_2014_040

Philippines,Palawan:musiquebägit.1978

Musiqueinstrumentaleimitantlessonsdelanature:lesoiseaux,lesinsectes,lesanimaux,lesphénomènesnaturels(vents,pluies,vagues,frictionsdeslianes,génies,feux,eau,air,humanité).CesenregistrementsontétéréalisésparNicoleRevelen1978danslesPhilippines,dansl'îledePalawan(musiquebägit).

CNRSMH_I_2014_041

Philippines,Palawan:musiqueBägit.1983

MusiqueBägitpourluthinterprétéparLapungetMandun CNRSMH_I_2014_049

Philippines,Palawan;1988

MusiquevocalePalawan.Aidentifieraveclecollecteur CNRSMH_I_2014_050

Philippines,Palawan;1999

MusiqueBägitPalawanetKulintangenregistréeen1999

CollectionsKalimantanenlignesur:http://archives.crem-cnrs.fr/archives/corpus/CNRSMH_Revel_003/MusiquesdeLuzon(populationsKalinga,Bontoc,Negrito,Ifugao);

EnregistrementssonoresinéditsdemusiquescollectésparJoséMacedaauprèsdespopulationsKalinga,Bontoc,

CNRSMH_I_1977_011

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missionsJ.Macéda,1974-1977

NégritoetIfugaolorsdemissionsderechercheentre1974et1977.

Indonésie.Revel-Macdonald,Nicole CNRSMH_I_1978_013

KalimantanTimur(BornéoEst);Revel,N. Musiquesvocalesetinstrumentales CNRSMH_I_2010_006

ILLUSTRATIONSONPPT

*******

3-ThePhilippineEpicsandBalladsMultimediaArchive<http://epics.ateneo.edu/epics>

Overthepast26years,thePhilippineEpicsandBalladsArchivehasinvolvedinitially69singers and 11 technical assistants, in addition to many scholars and localknowledgeablepersons.

Mostofthedocumentsweretapedoriginallyinanalogform,butwiththecollaborationof the audio-visual departments of the Bibliothèque nationale de France (BnF), andAteneo de Manila University, all data (representing about 1,500GB) have now beendigitizedandpreservedonCD-ROMs,DVD-ROMs,andharddisks.AsofMay2016, thephysical collection itself consists of 7,820 pages, bound in 36 volumes, located at thePardodeTaveraCollections sectionof theRizalLibrary,AteneodeManilaUniversity,whereapartiskeptforstrictconservation,whileasetoftheprintedtextsandrelatedarticlescanbeconsultedinsitu,bystudents,scholarsandexternalvisitors.

Allepicsinthedatabasewererecordedviaaudiointheirentirety,withportionsofthemfilmed on video during performance. The narratives have then been orthographicallytranscribedasaccuratelyaspossiblewithrespecttotheparticularphonemicsystemsofthe given vernacular languages involved, andmanuscriptswere edited and formattedfortypographicconsistencyaimedatgeneratinganeCollection.

ThesemanuscriptswereinturntranslatedintoeitherEnglishorFrench(andsometimesboth)andinsomeinstancesintoTagalogaswell.FinalcontributionswerethenplacedintoPDFformatsoastoprotecttherelevantcopyrightsheldbyallcontributors:singers,researchers,andtechniciansalike(SeeCopyrightsfrontpageofthewebsite).

Wehavesoughttoreflectthepoeticsofeachsongthroughthelayoutonthepageitself.Thequestionoflayoutisfundamental,forwithinthelinearconstraintsofawhitepage,itmustreflectsomehowthemainpoeticfeaturesofthesungnarrativeinthetotalityofthecomposition.Anethno-poeticapproachisrequiredinordertosuccessfullyconfrontthe et ephemeralprojectionof timeupon thephysical spaceof thepage:Accordingly,when themeter is short, the translationmirrors the text on the samepage; however,when the composition rules are different and demand more space per line, thetranslation will appear on an adjacent page while still matching the format of theoriginaltranscribedsong.Suchmetricalpatternsofcoursevarygreatlyaccordingtotheparticular singing tradition, and one must work diligently to identify by ear the

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relevant features of the song as it was performed and recorded, so that it might bereconfiguredprimarilyfortheeyesinthisnewcontext.

SinceJanuary2011aspecialserverattheRizalLibraryisprovidingfreeaccesstomostofthismultimediae-CollectionoftheArchive.Thewebsitewaselaboratedaccordingtomy design and with the competent collaboration of several technicians of theDepartment of Electronics, Computer, and Communications Engineering (School ofScienceEngineeringManagementandInformation),AteneodeManilaUniversity.

Asoftodaythiswebsitecomprises16boxesrepresentingpartoftheoralheritageof16linguisticandculturalgroupsofthecollection(15inthePhilippines+1inBotelTobago),nohierarchyisbeingintendedwithintheoveralldesignandnumbering.

Within each linguistic group’s section, a constant arborescence of 8 tabs is present,namelyallowseasynavigationonthedatabase.

ClickingtheMAPtabwillshowtheuserthegeographicallocationofthespecificgroup,whiletheOVERVIEWtableadstoa5to8minutesvideo,contextualizingtheepicwithinthegivenculture.

TheARCHIVELISTINGtabprovidesalistofthearchive’sregisteredepicsandballadsforthe linguistic group along with further information concerning the performance andcollectionofeachsungnarrative.Actualaudiorecordingsalongwiththetranscriptionsin the vernacular language and integral translations in English and/or French and/orTagalogarefoundundertheEPICtab.

Other tabs provide important complementary materials: under the ARTICLES tab,articleswritten through theyearsby thecollectors in connectionwithagivenepicorballad.AlltextsareinPDFandcanbeprintedbytheusers.

Clicking on PHOTOS tab, reveals miscellaneous personal collections of relatedphotographs with captions, depicting landscapes, habitats, crafts, performances andrituals.

Formostoftheepicsandballads,theVIDEOStab,leadstoanyvideosfilmedduringthesungperformances,whileviatheOVERALLARCHIVEtab,acompletearchive listingoftheepicsandballadscollectedamong15linguisticgroupsisaccessible.

ILLUSTRATIONSINPPT

4-BibliothèquenationaledeFrance(BnF) <http://data.bnf.fr>Historicaldevelopment:1/-AttheturnoftheXXc.:FilesfollowtheprotocoloftheLibrariesofBerlinandVienna.2/-In1920:AccordingtothenewhumanisticidealoftheSocietyofNations(SDN),

normalizationbecomesamustforsharinginformation.ItisaneraofnewUtopia:Theintegralityofknowledgecanbeputonfiles.

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3/-Inthe60ies:

1961:ThemainprinciplesaredecideduponduringaConferenceinFrance:‘ThePrinciplesofParis’

1971:withtheInternationalStandardDescription(ISBD)theboardfilesare

normalized.Inaparallelway,theAmericansmaketheirowncataloging(AAC).WithMachineReadableCatalogue(MARC):Informationisbeingstructuredsothatthecomputercanunderstandit.

4/-Inthe80ies: Atotalshifttakesplace:Informationisproteiformandmultiorientedwith:

GOOGLE,WIKIPEDIA,ARCHIVESetc. ExtensibleMarkupLanguage(XML)providesmarkers.

TheEncodedArchivalDescription(EAD)isanexample:TheprincipleofEDA:ex:Bali6September1931 -AGeneralpresentationoftheCollection -Itshistory -Itscontent

-documents-IndexationEx.:thegamelan1

IfyouclickontheCatalogofManuscriptsatBNF:AudiovisualCollection:ColonialExhibitionin1931

Comments:ObjectsandcraftsintheExhibition,arethefirstitemsoftheCollectionsatMuséeGuimet(onAsianArts)andMuséedel’Hommeinethnography.ThankstothefinancialsupportofPathé,recordingsarethenmade:173records(78tours)+157photosoftheperformers.

ThesoundrecordingshadthenatremendousimpactoncomposerslikeJolivetandpoets,likeAntoninArtaud2.(P.Cordereix:«SoundRecordingsoftheMuséedelParolesThe«PhilippineEpicsandBalladsArchive»,Iconceivedin1987andsetinmotionduringfieldworkfrom1970to2010,followsatreestructureandisquiteclosetoEAD.

1Pascal Cordereix, Curator of Sound Collections, «LesfondssonoresduDépartementdel’AudiovisueldeLaBibliothèquenationaledeFrance»,Bulletindel’InstitutPierreRenouvin,2014/2,n°40. P. Cordereix : « Sound Recordings of the Musée de la Parole et du Geste at the Exposition coloniale’,between science, propaganda and trade », Vingtième Siècle Revue d’Histoire, 2006/4 (n°92), pp. 47-59.) 2See P. Cordereix : « Sound Recordings of the Musée de la Parole et du Geste at the Exposition coloniale’,between science, propaganda and trade », Vingtième Siècle Revue d’Histoire, 2006/4 (n°92), pp. 47-59.)

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5/-Around2000:Thenewtrendsstructuringthecatalogare:toconceptualizeandtoprovidemodelsfordata.Thenewmodelis:Entities–Relationships.

Forex:anapplicationofFunctionalRequirementforBibliographyRecords(FRBR)isrepresentedbyaGraphinordertofitthecodes(asetofrules)oftheSemanticWebandtobepresentintheLinkedData,turningdatacomprehensibletothecomputers. Thisisawaytotreatinformationasanetworkofinformations.

Inrelationtoaspecificresearch,theLinkDataisgoingtointerconnecttheinformationandthesuperpositionoflevelswillfacilitatetheretrievaloftherelevantlevel.3

SYNTHESIS:

InordertobevisibleontheWEB,itisnecessary:tobeindexablebysearchengines

tobelinkedtoexistingdata tobeeasilyaccessiblebytheuser

InthisrespecttheWebsite<http://data.bnf.fr>hasreceivedmanyprizes.Forinstance,onthissite,onecantypeNicoleREVELandthewholesetofmydepositsbecomesaccessible.

TheaudiosoundcollectionsattheBnFareatacross-road.Today’schallengeistoreconcilethetraditionalmissionsoftheBnF,namely:enrichingthecollections,documentarytreatment,conservationandcommunicationwith:1/thepriorityofaculturalpolicyofmassdiffusion.

2/thepressingneedsofscientificresearchonsoundrecordings.Whatisthennecessary:

- AstrongstructuralorganizationofdatafollowinginternationalcodesbasedonResourceDescriptionFramework(RDF):aconceptualframework,agraphtodescribetheresourcesontheWebandtheirmetadataisthebasicgrammaroftheSemanticWeb.

- LinkDatawillthenbepossible.- InteroperabilityofDatademandstheuseofformats,technologiesand

languagesallowingsitestocommunicate.- Then,researchesinassociationbetweenlibrariesbecomepossible.- Openaccess.

GALLICAisaDigitalLibraryoftheBnF(30.000consultations/day)OnecanpinpointtoanextractionintheLibrary.Forinstance:TheColonialexhibitionof1931SoundRecordings,aspreviouslymentioned. Variousdepositsarebeingeditedfollowingatreestructureandtheaccessishighlyfacilitated.ThePhilippineEpicsandBalladsMultimediaArchiveisalsosafeguardedattheAudiovisualDepartmentofBnF.Intheproximatefuture,aselectionofitemsinthe

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collectionshallbeeditedtobeaccessibleasabriefpresentationoftheCollection,onGALLICA.

IllustrationinPPT

AProgramforTextometricAnalysisLexico3http://www.tal.univ-paris3.fr/lexico/http://www.lexi-co.com/

Atultul,alongsungnarrativeunfoldsasaveryelaboratevocalgesture.Theepicsets inmotion amental capacity of concentration andmemorization of the singer oftalesaswellasthecapacitytobuild,outofasuccession,aconfigurationfora“mentaltext”composedofnarrativeelementsandgenericrules forreproductionandcreation.This verbal art affects the sensitivity and stimulates multiple emotions among eachmember of the audience for the art of listening is at the same time pleasure andaffirmation of a real presence. Hence we are, somehow, blind witnesses of manycognitiveandmultimodalmotoractivities,extremelyelaboratedandcoordinated.

Weshall tryto focussuccessivelyuponsomeofthesevariousmentalprocessesandtheirmasterybywayofperformanceandtextualanalysis.

It offers the analyst a tridimensional way to draw graphs, integrating motionsfollowing sequences and by doing so, the macro-structure of the plot of an epic isrevealedinasingleimage.Thisgraphisaheuristicmap.Ithelpstheanalysttocaptureacomplexmechanismofthesingeroftales’mindmapping.Thenthenavigationofone’smindismanifestedandsimultaneouslyreflectedonpaper). Themainfunctionalitiesare:

:

• segmentation• concordances• partitions• repeatedsegments• analysisofspecificities• analysisofcorrespondances

Itwasset inmotiononthe“Mämiminbin”epicandtheresultsarepartlypublished inthebook4(2000).Thefillersofthevoice,havebeenanalyzedasrepeatedsegments.

Thevocalgestureisnotagivenone,ithastobeacquiredbyobservingthebreathingtechniquesof

othersingersoftales,byselectingtheinterpretativestylethatismostappropriateatthelevelofregister,breathingcapacityaswellasthesyllabicdeliveryofoneself.

For instance, a Pala’wan mänunultul, has to experience in his body variousbreathingcapacities,asthebasicunitofthecompositionisa“breathinggroupofwords”(N.Revel 1983, 2000) in contrast to a measured and alternatively unmeasured4 2000, Nicole Revel & Mäsinu Intaräy, The Quest for a Wife. A Palawan Epic Sung by Mäsinu / La quête en

épouse..Une Épopée palawan chantée par Mäsinu. Mämiminbin, Paris, Editions UNESCO/Langues & Mondes-L'Asiathèque, 440 p., [édition trilingue palawan-français-anglais], 1 CD, illustrations graphiques, 8 photos de Quincy Castillo.

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heptasyllabic stanzas as found in akata-kata among the Samadi Laut.He also has toadjust his own breathing and vibrating capacities to the ‘mental text’ that hesimultaneouslyinternalizes5(N.Revel,1993).Heconductsthisworkalone,mostoftenin silence - the epic sings within himself - and usually sets himself aside from theglancesandearsofothers.Hegoestotheforesttobeinspiredbytheauralperceptionofthesoundsofwindinthecanopyoftreesasagift,ofaGood-Doer-of-the-Forest,bingäyätMänungangTawätGäbaq or in rainy season retires to the field house in order todevelop his mastery, in solitude. He gives himself fully to this act of imitation-appropriation, thismimèsis,ashismemoryhascapturedastoryandthemelodiccells,lyäg ‘voice’, of the various characters as sungby another before him in a recent past.However,hewill introducehisown individualstyle,his ‘signature’ inmanyways.Thenecessaryadjustmentbetweenmelodiccells,breathingcapacityandmentaltextinvitesvariationstotakeplaceandthiswaytocomposegeneratesvariantsintextandmelodyasUsuy exemplified itwith “Kudaman” (N.Revel, 1983, 1992)6. Itwill reveal the verystyleofeachsingerof tales. Inthissense,wecanspeakof livingmemory, ‘lamémoirevive.’(N.Revel,2013)7.

In2015,anothertypeofanalysishasbeensetinmotionwithseveralprograms

forSoundPerceptionandAcousticsoftheVoiceasthefollowingexampletowhichwecontributed:

NATIV(NewTrans&InterdisciplinaryApproachoftheVoice,2015-16),InstitutdeRechercheenMusicologie(Iremus),Paris-Sorbonne

http://collegium.musicae.sorbonne-universites.fr/projets/nativ.html

http://www.iremus.cnrs.fr/fr/projets-de-recherche/nativ

Caracterizationandanalysisofvarioustypesofvocalproduction.

Theaimofthisresearchprojectwastoidentifyindicesofperception,ofclassificationandvisualrepresentationsoftheacousticcomponentsofnaturalvocalproductioninparticular,orsoundsoninstrumentsandsyntheticsoundsimitatingthevoice.5 1993, Nicole Revel, 1993, "Épopée" (N. Revel et al.) Encyclopaedia universalis, Nouvelle édition pour

CDRom & édition imprimée, pp. 574-581. 2011,«Lechantdelamémoire»,Leslieuxdesavoir2.Lesmainsdel’intellect,ChristianJacob(éd.),Albin

Michel,Paris,pp.472-493.6 1983,NicoleRevel-Macdonald.Kudaman.UneépopéePalawanchantéeparUsuj,LaHaye/Paris,Mouton,

LesCahiersdel'Homme,385p.,11illustr.A.Fer,1disque33t.

1992, Kudaman, Isang Epikong Palawan na Inawit ni Usuy, Traduction de E. B.Maranan et N. Revel-Macdonald,AteneodeManilaUniversityPress,QuezonCity,401p.

2000, ‘Epic Singing in Palawan Highlands (Philippines), Vocal and Musical Styles’, The Oral Epic:PerformanceandMusic,K.Reilch(ed.),CollectionInter-culturalMusicStudies,vol.11,Berlin,VWB,Verlag,fürWissenschaftundBildung,pp.191-210,10illustations.

72013,NicoleRevel,«VividandVirtualMemory»inSongsofMemoryinIslandsofSoutheastAsia,N.Reveled.340p.,CambridgeScholarsPublishingLtd,Ch.3,pp.27-58+eBook.

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Basedonseveraldigitizedexamplesfromvariousculturalareasatdifferentepochs,theperceptionandproductionofvocalphenomenawasanalysedbybringingtogethervariousdisciplines:acousticsononehandandmusicology,ethno-musicology,andethno-poeticontheotherhand.Westernmusicandotherworldmusiccultureswereanalysedinordertocapturethecommonfeatureintheextraordinarycolorrangeofvocalproduction.

ThisresearchwasalsoanattempttosuppresstheboundariesbetweenSciences&TechnicsofInformation&CommunicationandSocialSciences&Humanities.

Whataretheconstituentsofavocalsound?Whataretheperceptive,acousticandmusicologicindicescaracterizingthevocalityofasound?

Westartedtomakeanaudio-visualcatalogofvarioustypesofvocalproductions,aimingatathesaurusthatcouldbeareferenceforfutureanalyticalandcomparativestudies.

Inthepast,sounddocumentsandanalyticaltoolsweremissing.Nowadays,digitizationofformeraudiorecordingsandaudio-visualrecordingssaveguardthememoryofperformancesamongcultureswithanoraltraditionaswellascomtemporarymusicperformances,andallownewmanalyticalmethods.

ThedescriptorsofspectrogramsusedaccordingtoaMusicInformationRetrieval(MIR)approach8are:(Lerch(2012),Peetersetal.(2011)):

-Theintensity-Thespectralcentreofgravity-Theroll-off,withalimitat85-Thespectralflatness-Theflow.

Phonetogramsrepresentingonaplanetherelationshipbetweenfundamentalefrequencyandintensity,havebeenmadeontherespectiverecordings.

Themainfeatureswewerefocusingonduringtheanalysisofvoice-distinctfrominstruments-are:

•spoken/sung(withdistributionofdurations)

� •breathingpresence� •fundamentalfrequency(f0)� •spectralanalysis:centerofgravity,variance,spectralenergy,etc.� •voiced/unvoiced(f0,inharmonicity)� •jitter,shimmer� •tension(amplitudevariationsbetweenh1eth2)->passageenM2

IncollaborationwithDeidreBolger(nowResearchengineeratBrainandLanguageResearchInstitute,Marseille)weworkedattheLangues-Musique-Sociétés(LMS,aunit

8Music Information Retrieval (MIR) : Lerch (2012), Peeters et al. (2011))

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ofCNRS,2000-2010,Villejuif).Weanalyzedtheacousticsofthevoiceofthemaincharactersof«SilunganBaltapa»aSamaDilautepic.9In2015,wecontributedthisprogrambyanacousticanalysisofthemotivesinepicperformancesamongpalawansingersoftales.Weselectedthreevoices:twomen,siMäsinuIntaräyandsiUsuy&onewoman,siKarit.

Hereisthedescriptionofthemelodicmotiveslinkedtothesixcharactersof«DurusMata»‘ObliqueEye’sungbysiKaritin1971:thedifferencesbetweenthematthelevelofthemelodiccurve,averagefrequencyandrangeoffrequencywasdetermined,

Astheplotunfolds,wehavestudiedtheshiftsofthewomansinger’stimbreofthevoiceandtheirlinkswiththecharactersandthestory,ourmainfocuswasonspectralcentroidandameasureoftherelationshipsignal-noiseasroughness(jitter)ornonharmonicity.10

Astrictlymusicologicalperspectivefocusesonthedefinitionof"vocalstyles"inagivenrepertoire:pitchholding,ornaments,vibrattouses,totransformortosynthetizethevocalsequencesinapieceofelectro-acousticmusic.ThisperspectiveisclosetothestudiesonmusicalgestureconductedatLAM.

PPT

Interdisciplinary Approach to Musical Gesture A New attempt analysis of the relationship between Musician -intrument

GeAcMus (Geste-Acoustique-Musique) de Sorbonne – Universités www.adem.ch/ce30forconsultingmultimediadata

92005,TheVoyagetoHeavenofaSamaHero/LeVoyageaucield'unhérosSama.SilunganBaltapa,Geuthner,(éditiontrilingue:Sin.,fr.,engl.),Collectif,NicoleRevel,aveclacollaborationdeH.ArloNimmo,A.Martenot,G.Rixhon,T.Sangogot,O.Tourny,D.Bolger,Paris,370p.,4photosnoiretblanc,1DVDvideo(1fichierson:chantenintégrale+1fichierdiaporama110photosavecrécit(fr./engl)RéalisationN.Revel&A.Martenot).SeeSpectralAnalysisofTimbre,pp.240-247pp.2004,DeidreBolger,ComputationalModelsofTimbreandtheAnalysisoftimbreinMelody,UniversityofLimerick,UnpublishedPHDThesis)10 See:MichelleCastellango&HuguesGenevois,directedby,2013,Lamusiqueetsesinstruments/MusicanditsInstruments,CollectionPenséeMusicale,éditionsDelatourFrance,LAM,544p.,DVD,compatibleMac&PC.See:MichèleCastellango,2014,«Écoutemusicaleetacoustiqueavec400sonsetleurssonogrammesdécryptés»,540p.,surleDVDd’accompagnement,:lelivreenpdfavec400sonsintégrésauxformatsMP3etAIFF,Eyrolles.See:2017,EstelleAmydelaBretèque,BorisDoval,LionelFeugèreetLouisMoreau-Gaudry“LiminalUtterancesandShapesofSadness:LocalandAcousticPerspectivesonVocalProductionamongtheYezidisofArmenia",YearbookforTraditionalMusic,vol49.

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Experiments have focused on long neck lutes in Central Asia, harps in Gabon, drums in Occidental music and xylophones in Cameroun, flutes and back-pipe were also tested. New protocols of collecting and analyzing the musical gesture in a laboratory, but also on the field, have been developed.

In this research, a caption of the gestures in 3D is set by camera électronique OPTI TRACK and ‘VICON motion systems’ emitting infra red light that captures the reflectors placed on the instrument and on the musician’s body. The experiment is conducted by biomecanicians of the University of Compiègne in the collaboration with the musicians playing the musical instrument.

Here a harp from Gabon : Variousreflectorsarefixedontheharpistbodyandoptoelectroniccamerasof‘ViconmotionSystems’aresetaroundhisbody.Thesystemisrestingonthereflectionofcaptorsoftheinfraredlightemittedbythecameras. The tridimensional orientation of the musician and his motions in space are identified and reconstructed by a program.

PPT 2017, Fabrice Marandola, Marie-France Mifune et Farrokh Vahabzadeh, «Approche interdisciplinaire du geste musical. Nouvelles expérimentations en ethnomusicologie », Cahiers d’Ethnomusicologie, 30 /2017, pp.45-69. Logiciels : KINOVEA (en 2 D) and Mokka (en 3D). _____________________________