{ "corpora": { "bach-fugues": { "corpus": { "availability": "Bach's Well-Tempered Clavier has been extensively studied, and systematic analyses of Bach\u2019s fugues have been published by Prout (1910), Tovey (1924), Keller (1965), and Bruhn. [Giraud et al (2015)](https://hal.archives-ouvertes.fr/hal-01113520) published an annotation dataset detailing the 24 fugues of the first book, together with algorithms for fugue analysis. The Dezrann corpus contains these 24 annotated fugues, with scores synchronized to open recordings by [Kimiko Ishizaka](https://www.welltemperedclavier.org/) as well as performances recorded by the [Bach Netherlands Society](https://www.bachvereniging.nl/en/allofbach)", "availability:de": "Bachs Wohltemperiertes Klavier wurde ausf\u00fchrlich untersucht und systematische Analysen von Bachs Fugen wurden von Prout (1910), Tovey (1924), Keller (1965) und Bruhn ver\u00f6ffentlicht. [Giraud et al. (2015)](https://hal.archives-ouvertes.fr/hal-01113520) haben einen Annotationsdatensatz ver\u00f6ffentlicht, der die 24 Fugen des ersten Buchs im Detail beschreibt, zusammen mit Algorithmen f\u00fcr die Fugenanalyse. Der Dezrann-Korpus enth\u00e4lt diese 24 annotierten Fugenpartituren, synchronisiert mit den gemeinfreien Aufnahmen von [Kimiko Ishizaka](https://www.welltemperedclavier.org/).", "availability:el": "\u03a4\u03bf \u039a\u03b1\u03bb\u03ac \u03b8\u03b5\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03c0\u03b9\u03ac\u03bd\u03bf \u03c4\u03bf\u03c5 Bach \u03ad\u03c7\u03b5\u03b9 \u03b5\u03ba\u03c4\u03b5\u03bd\u03ce\u03c2 \u03bc\u03b5\u03bb\u03b5\u03c4\u03b7\u03b8\u03b5\u03af, \u03ba\u03b1\u03b9 \u03c3\u03c5\u03c3\u03c4\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b1\u03bd\u03b1\u03bb\u03cd\u03c3\u03b5\u03b9\u03c2 \u03c4\u03c9\u03bd \u03c6\u03bf\u03cd\u03b3\u03ba\u03c9\u03bd \u03c4\u03bf\u03c5 Bach \u03ad\u03c7\u03bf\u03c5\u03bd \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03b8\u03b5\u03af \u03b1\u03c0\u03cc \u03c4\u03bf\u03c5\u03c2 Prout (1910), Tovey (1924), Keller (1965) \u03ba\u03b1\u03b9 Bruhn. \u039f\u03b9 [Giraud et al (2015)](https://hal.archives-ouvertes.fr/hal-01113520) \u03b4\u03b7\u03bc\u03bf\u03c3\u03af\u03b5\u03c5\u03c3\u03b1\u03bd \u03ad\u03bd\u03b1 \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03c3\u03c7\u03bf\u03bb\u03b9\u03b1\u03c3\u03bc\u03ad\u03bd\u03c9\u03bd \u03c6\u03bf\u03cd\u03b3\u03ba\u03c9\u03bd \u03c0\u03bf\u03c5 \u03ba\u03b1\u03c4\u03b1\u03b3\u03c1\u03ac\u03c6\u03b5\u03b9 \u03bb\u03b5\u03c0\u03c4\u03bf\u03bc\u03b5\u03c1\u03ce\u03c2 \u03c4\u03b9\u03c2 24 \u03c6\u03bf\u03cd\u03b3\u03ba\u03b5\u03c2 \u03c4\u03bf\u03c5 \u03c0\u03c1\u03ce\u03c4\u03bf\u03c5 \u03b2\u03b9\u03b2\u03bb\u03af\u03bf\u03c5, \u03bc\u03b1\u03b6\u03af \u03bc\u03b5 \u03b1\u03bb\u03b3\u03cc\u03c1\u03b9\u03b8\u03bc\u03bf\u03c5\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b1\u03bd\u03ac\u03bb\u03c5\u03c3\u03b7 \u03c6\u03bf\u03cd\u03b3\u03ba\u03b1\u03c2. \u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03c4\u03bf\u03c5 Dezrann \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03b1\u03c5\u03c4\u03ad\u03c2 \u03c4\u03b9\u03c2 24 \u03c3\u03c7\u03bf\u03bb\u03b9\u03b1\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c6\u03bf\u03cd\u03b3\u03ba\u03b5\u03c2, \u03bc\u03b5 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03bc\u03b5 \u03c4\u03b9\u03c2 \u03b1\u03bd\u03bf\u03b9\u03ba\u03c4\u03ad\u03c2 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2 \u03c4\u03b7\u03c2 [Kimiko Ishizaka](https://www.welltemperedclavier.org/).", "availability:fr": "Le *Clavier bien temp\u00e9r\u00e9* de Bach a souvent \u00e9t\u00e9 l'objet d'\u00e9tudes. Des analyses syst\u00e9matiques des fugues de Bach ont \u00e9t\u00e9 publi\u00e9es par Prout (1910), Tovey (1924), Keller (1965) et Bruhn. [Giraud et al (2015)](https://hal.archives-ouvertes.fr/hal-01113520) ont publi\u00e9 des donn\u00e9es d'annotations sur ces 24 fugues, ainsi que des algorithmes pour l'analyse des fugues. Le corpus Dezrann contient ces 24 fugues annot\u00e9es, les partitions \u00e9tant synchronis\u00e9es aux enregistrements libres de [Kimiko Ishizaka](https://www.welltemperedclavier.org/).", "availability:hr": "Analize Bachova *Dobro ugo\u0111enog klavira* objavili su Prout (1910), Tovey (1924), Keller (1965) i Bruhn (1993). [Giraud je sa suradnicima (2015)](https://hal.archives-ouvertes.fr/hal-01113520) objavio anotiranu zbirku podataka s detaljima o 24 fuge prvog sveska te algoritame za njihovu analizu. Dezrannov korpus obuhva\u0107a vizualizaciju analiza fuga prvog sveska te notne zapise sinkronizirane s besplatno dostupnim snimkama [Kimiko Ishizaka](https://www.welltemperedclavier.org/).", "availability:it": "Il clavicembalo ben temperato di Bach \u00e8 stato studiato ampiamente. Analisi sistematiche delle fughe di Bach sono state pubblicate da Prout (1910), Tovey (1924), Keller (1965) e Bruhn. [Giraud et al (2015)](https://hal.archives-ouvertes.fr/hal-01113520) hanno pubblicato un dataset di annotazioni dettagliate sulle 24 fughe del primo libro, insieme ad algoritmi per l'analisi delle fughe. Il corpus Dezrann contiene queste 24 fughe annotate, con partiture sincronizzate alle registrazioni di pubblico dominio di [Kimiko Ishizaka](https://www.welltemperedclavier.org/).", "availability:sl": "Analize Bachovega *Dobro ugla\u0161enega klavirja* so objavili Prout (1910), Tovey (1924), Keller (1965), Bruhn (1993), in drugi. [Giraud et al. (2015)](https://hal.archives-ouvertes.fr/hal-01113520) so objavili podatkovno zbirko 24 fug iz prvega zvezka z rezutati analiz, pridobljenih s prav tako objavljenimi algoritmi. Dezrannov korpus vklju\u010duje vizualizacijo analiziranih partitur, usklajenih s prosto dostopnimi posnetki pianistke Kimiko Ishizake ([povezava](https://www.welltemperedclavier.org/)).", "availability:zh-Hans": "\u300a\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u300b\u957f\u671f\u4ee5\u6765\u53d7\u5230\u6df1\u5165\u7814\u7a76\uff0c\u5173\u4e8e\u8d4b\u683c\u7684\u7cfb\u7edf\u5206\u6790\u6709 Prout\uff081910\uff09\u3001Tovey\uff081924\uff09\u3001Keller\uff081965\uff09\u548c Bruhn \u7b49\u4eba\u7684\u8457\u4f5c\u3002[Giraud \u7b49\uff082015\uff09](https://hal.archives-ouvertes.fr/hal-01113520) \u53d1\u5e03\u4e86\u4e00\u5957\u6ce8\u91ca\u6570\u636e\u96c6\uff0c\u8be6\u7ec6\u6807\u6ce8\u4e86\u7b2c\u4e00\u5377\u4e2d\u7684 24 \u9996\u8d4b\u683c\uff0c\u5e76\u9644\u6709\u7528\u4e8e\u8d4b\u683c\u5206\u6790\u7684\u7b97\u6cd5\u3002Dezrann \u8bed\u6599\u5e93\u5305\u542b\u8fd9 24 \u9996\u8d4b\u683c\u7684\u6ce8\u91ca\u7248\u672c\uff0c\u914d\u6709\u4e0e [Kimiko Ishizaka](https://www.welltemperedclavier.org/) \u53ca [\u8377\u5170\u5df4\u8d6b\u534f\u4f1a](https://www.bachvereniging.nl/en/allofbach) \u8868\u6f14\u540c\u6b65\u7684\u4e50\u8c31\u3002", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9", "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach", "maintainer": "Florence Lev\u00e9 , Mathieu Giraud " }, "genre": "Fuga", "id": "bach-fugues", "image": "http://algomus.fr/images/wtc-07-autograph-crop.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Bach-BWV852-zoom.jpg", "license": "? (scores), CC-BY-3.0 (audio), ODbL-1.0 (annotations)", "motto": "The 24 annotated fugues from the Book I of *The Well-Tempered Clavier*, with some video recordings from Kimiko Ishizaka and the Netherlands Bach Society", "motto:de": "Die 24 annotierten Fugen aus Buch I des *Wohltemperierten Klaviers* mit gemeinfreien Aufnahmen", "motto:el": "\u039f\u03b9 24 \u03c3\u03c7\u03bf\u03bb\u03b9\u03b1\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c6\u03bf\u03cd\u03b3\u03ba\u03b5\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf \u0392\u03b9\u03b2\u03bb\u03af\u03bf I \u03c4\u03bf\u03c5 *\u039a\u03b1\u03bb\u03ac \u03b8\u03b5\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf\u03c5 \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5*, \u03bc\u03b5 \u03b5\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03b5\u03c2 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2", "motto:fr": "Les 24 fugues annot\u00e9es du premier livre du *Clavier bien temp\u00e9r\u00e9*, avec des enregistrements vid\u00e9o de Kimiko Ishizaka et du projet All of Bach", "motto:hr": "24 fuge prvog svezka *Dobro ugo\u0111enog klavira* s vizualiziranim anotacijama i besplatno dostupnim snimkama", "motto:it": "Le 24 fughe dal Libro I de *Il clavicembalo ben temperato*, con annotazioni e con registrazioni di pubblico dominio", "motto:sl": "24 fug iz prvega zvezka *Dobro ugla\u0161enega klavirja* z vizualizacijo analize s prosto dostopnimi posnetki.", "motto:zh-Hans": "\u5e26\u6ce8\u91ca\u7684\u300a\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u300b\u7b2c\u4e00\u5377\u4e2d\u7684 24 \u9996\u8d4b\u683c\uff0c\u9644\u6709Kimiko Ishizaka\u548c\u8377\u5170\u5df4\u8d6b\u534f\u4f1a\u7684\u89c6\u9891\u5f55\u97f3", "opus": "BWV 846-869", "quality:corpus": 4, "quality:corpus:metadata": 4, "ref": "http://algomus.fr/data/", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:publication": "https://hal.archives-ouvertes.fr/hal-01113520", "ref:wikipedia": "The_Well-Tempered_Clavier", "ref:wikipedia:fr": "Le_Clavier_bien_temp\u00e9r\u00e9", "shorttitle:de": "Bach Fugen", "shorttitle:el": "\u03a6\u03bf\u03cd\u03b3\u03ba\u03b5\u03c2 \u03c4\u03bf\u03c5 Bach", "shorttitle:en": "Bach Fugues", "shorttitle:fr": "Fugues de J.-S. Bach", "shorttitle:hr": "Fuge J. S. Bacha", "shorttitle:it": "Fughe di Bach", "shorttitle:zh-Hans": "\u5df4\u8d6b\u8d4b\u683c", "showcase": [ "bwv847", "bwv848" ], "status": "\u2705 The corpus is in good condition, with only minor issues. For the majority of pieces, the score are well presented, include analyses, and are synchronized with two videos.", "text": "The two books of J. S. Bach's *Well-Tempered Clavier* are a particularly consistent corpus in their exploration of the 24 major and minor tonalities in 48 pairs of preludes and fugues. The Italian word *fuga* is related to the Latin words *fugere* (to flee) and *fugare* (to chase): The themes (*subject* and *counter-subjects*) are played by each voice, one following the other in succession. They occur either in their initial form or, more often, altered or transposed, building a complex harmonic texture.", "text:de": "Die beiden B\u00fccher von J. S. Bachs *Wohltemperiertem Klavier* bilden durch ihre Erkundung der 24 Dur- und Molltonarten in 48 gepaarten Pr\u00e4ludien und Fugen einen besonders konsistenten Korpus. Das italienische Wort *Fuga* ist verwandt mit den lateinischen W\u00f6rtern *fugere* (fliehen) und *fugare* (verfolgen): Die Themen (*Subjekt* und *Kontrasubjekt*) erklingen in jeder Stimme nacheinander. Sie erscheinen entweder in ihrer urspr\u00fcnglichen Form oder, h\u00e4ufiger, ver\u00e4ndert oder transponiert und bilden so eine komplexe harmonische Textur.", "text:el": "\u03a4\u03b1 \u03b4\u03cd\u03bf \u03b2\u03b9\u03b2\u03bb\u03af\u03b1 \u03c4\u03bf\u03c5 *\u039a\u03b1\u03bb\u03ac \u03b8\u03b5\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf\u03c5 \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5* \u03c4\u03bf\u03c5 J. S. \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03bf\u03cd\u03bd \u03ad\u03bd\u03b1 \u03b9\u03b4\u03b9\u03b1\u03af\u03c4\u03b5\u03c1\u03b1 \u03c3\u03c5\u03bd\u03b5\u03ba\u03c4\u03b9\u03ba\u03cc \u03c3\u03ce\u03bc\u03b1 \u03ad\u03c1\u03b3\u03bf\u03c5 \u03c3\u03c4\u03b7\u03bd \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1 \u03c4\u03c9\u03bd 24 \u03bc\u03b5\u03b3\u03ac\u03bb\u03c9\u03bd \u03ba\u03b1\u03b9 \u03bc\u03b9\u03ba\u03c1\u03ce\u03bd \u03c4\u03bf\u03bd\u03b9\u03ba\u03bf\u03c4\u03ae\u03c4\u03c9\u03bd \u03c3\u03b5 48 \u03b6\u03b5\u03cd\u03b3\u03b7 \u03c0\u03c1\u03bf\u03bb\u03b5\u03c4\u03bf\u03cd\u03b4\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c6\u03bf\u03cd\u03b3\u03ba\u03c9\u03bd. \u0397 \u03b9\u03c4\u03b1\u03bb\u03b9\u03ba\u03ae \u03bb\u03ad\u03be\u03b7 *fuga* \u03c3\u03c7\u03b5\u03c4\u03af\u03b6\u03b5\u03c4\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03b9\u03c2 \u03bb\u03b1\u03c4\u03b9\u03bd\u03b9\u03ba\u03ad\u03c2 \u03bb\u03ad\u03be\u03b5\u03b9\u03c2 *fugere* (\u03bd\u03b1 \u03c6\u03b5\u03cd\u03b3\u03b5\u03b9) \u03ba\u03b1\u03b9 *fugare* (\u03bd\u03b1 \u03ba\u03c5\u03bd\u03b7\u03b3\u03ac): \u03a4\u03b1 \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1 (*\u03c5\u03c0\u03bf\u03ba\u03b5\u03af\u03bc\u03b5\u03bd\u03bf* \u03ba\u03b1\u03b9 *\u03b1\u03bd\u03c4\u03b9-\u03c5\u03c0\u03bf\u03ba\u03b5\u03af\u03bc\u03b5\u03bd\u03b1*) \u03c0\u03b1\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b1\u03c0\u03cc \u03ba\u03ac\u03b8\u03b5 \u03c6\u03c9\u03bd\u03ae, \u03bc\u03b9\u03b1 \u03b1\u03ba\u03bf\u03bb\u03bf\u03c5\u03b8\u03ce\u03bd\u03c4\u03b1\u03c2 \u03c4\u03b7\u03bd \u03ac\u03bb\u03bb\u03b7 \u03b4\u03b9\u03b1\u03b4\u03bf\u03c7\u03b9\u03ba\u03ac. \u0395\u03bc\u03c6\u03b1\u03bd\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b5\u03af\u03c4\u03b5 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5\u03c2 \u03bc\u03bf\u03c1\u03c6\u03ae \u03b5\u03af\u03c4\u03b5, \u03c0\u03b9\u03bf \u03c3\u03c5\u03c7\u03bd\u03ac, \u03b1\u03bb\u03bb\u03bf\u03b9\u03c9\u03bc\u03ad\u03bd\u03b1 \u03ae \u03bc\u03b5\u03c4\u03b1\u03c4\u03bf\u03c0\u03b9\u03c3\u03bc\u03ad\u03bd\u03b1, \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03ce\u03bd\u03c4\u03b1\u03c2 \u03ad\u03bd\u03b1 \u03c0\u03bf\u03bb\u03cd\u03c0\u03bb\u03bf\u03ba\u03bf \u03b1\u03c1\u03bc\u03bf\u03bd\u03b9\u03ba\u03cc \u03cd\u03c6\u03bf\u03c2.", "text:fr": "Les deux livres du *Clavier bien temp\u00e9r\u00e9* de J. S. Bach forment un corpus particuli\u00e8rement coh\u00e9rent dans leur exploration des 24 tonalit\u00e9s majeures et mineures, en 48 paires de pr\u00e9ludes et de fugues. Le mot italien *fuga* est li\u00e9 aux mots latins *fugere* (fuir) et *fugare* (pourchasser). Les th\u00e8mes, *sujets* et *contre-sujets*, sont jou\u00e9s par chaque voix, l'une suivant l'autre en succession. Ils apparaissent soit dans leur forme initiale, soit, le plus souvent, modifi\u00e9s ou transpos\u00e9s, cr\u00e9ant ainsi une texture harmonique complexe.", "text:hr": "*Dobro ugo\u0111eni klavir* Johanna Sebastiana Bacha (1685-1750) obuhva\u0107a 48 parova preludija i fuga jednako raspore\u0111enih u dva sveska. Parovi preludija i fuga u istom su tonalitetu, njihov redoslijed slijedi nizu kromati\u010dne ljestvice, a napisani su u sva 24 tonaliteta dura i mola. Fuga je polifoni glazbeni oblik zapo\u010det jednoglasnim izlaganjem teme, koju potom preuzme drugi glas u drugom tonalitetu, dok prvi glas uvodi kontrapunktsku pratnju. Tema prelazi iz glasa u glas, mijenja tonalitete te \u201ebje\u017ei\u201c pred kontrapunktskom pratnjom, zato je dobila ime po latinskoj rije\u010di za bijeg (*fugere*) ili ganjanje (*fugare*).", "text:it": "I due libri de *Il clavicembalo ben temperato* di J. S. Bach costituiscono un corpus particolarmente coerente in cui l'autore eplora le 24 tonalit\u00e0 maggiori e minori in 48 coppie di preludi e fughe. Il termine *fuga* \u00e8 legato etimologicamente ai verbi latini *fugere* (fuggire) e *fugare* (inseguire): i temi (*soggetto* e *controsoggetto*) sono suonati da ogni voce, una dopo l'altra in successione. Si presentano sia nella loro forma iniziale, sia, pi\u00f9 spesso, alterati o trasposti, costruendo una complessa trama armonica.", "text:sl": "Zbirka *Dobro ugla\u0161eni klavir* J. S. Bacha (1685-1750) sestoji iz dveh zvezkov, v vsakem po 24 parov preludijev in fug. Zaporedje teh parov, ki so napisani v eni izmed 24 durovih oz. molovih tonalitet, sledi nizu tonov kromati\u010dne lestvice. Fuga je polifona glasbena oblika, ki se za\u010dne z enoglasno predstavitvijo teme, nato pa temo prevzame drugi glas v drugi tonaliteti, prvi glas pa uvede kontrapunktno spremljavo. Ker se tema premika iz glasu v glas, spreminja tonalitete in \u00bbbe\u017ei\u00ab pred kontrapunktsko spremljavo, je glasbena oblika fuga dobila ime po latinski besedi za beg (fugere) ali zasledovanje (fugare).", "text:zh-Hans": "\u5df4\u8d6b\u7684\u300a\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u300b\u5206\u4e3a\u4e24\u5377\uff0c\u7cfb\u7edf\u5730\u63a2\u7d22\u4e86 24 \u4e2a\u5927\u5c0f\u8c03\u8c03\u6027\uff0c\u6bcf\u4e2a\u8c03\u6027\u914d\u6709\u4e00\u9996\u524d\u594f\u548c\u4e00\u9996\u8d4b\u683c\u3002\u610f\u5927\u5229\u8bcd *fuga* \u6765\u6e90\u4e8e\u62c9\u4e01\u6587 *fugere*\uff08\u9003\uff09\u548c *fugare*\uff08\u8ffd\uff09\uff0c\u5728\u8d4b\u683c\u4e2d\uff0c\u4e3b\u9898\uff08*\u4e3b\u9898* \u548c *\u5bf9\u9898*\uff09\u4f9d\u6b21\u5728\u5404\u4e2a\u58f0\u90e8\u4e2d\u51fa\u73b0\uff0c\u6216\u4ee5\u539f\u8c8c\u3001\u6216\u7ecf\u8f6c\u8c03\u548c\u53d8\u5316\uff0c\u6784\u5efa\u51fa\u590d\u6742\u7684\u548c\u58f0\u7ec7\u4f53\u3002", "title": "Das wohltemperierte Klavier, Buch I", "title:de": "Das Wohltemperierte Klavier, Buch I", "title:el": "\u03a4\u03bf \u03ba\u03b1\u03bb\u03ac \u03b8\u03b5\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03c0\u03b9\u03ac\u03bd\u03bf, \u0392\u03b9\u03b2\u03bb\u03af\u03bf I", "title:en": "The Well-Tempered Clavier, Book I", "title:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "title:hr": "Dobro ugo\u0111eni klavir, I. svezak", "title:it": "Il clavicembalo ben temperato, Libro I", "title:sl": "Fuge J. S. Bacha", "title:zh-Hans": "\u300a\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u300b\u7b2c\u4e00\u5377", "year": "1722" }, "pieces": { "bwv846": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv846", "key": "C major", "movement:num": "2", "opus": "BWV 846", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv846", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #1 in C major", "title:fr": "Fugue n\u00b01, C major", "title:zh-Hans": "C major\u7b2c1\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f01.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f01.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/01-bwv846-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Siebe Henstra" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv846-AllOfBach.synchro.json", "video:yt": "xCqWH9bKzQE" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv846.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv846-Ishizaka.synchro.json" } ] }, "bwv847": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv847", "key": "C minor", "movement:num": "2", "opus": "BWV 847", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv847", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #2 in C minor", "title:fr": "Fugue n\u00b02, C minor", "title:zh-Hans": "C minor\u7b2c2\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": 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"performer": "Kimiko Ishizaka" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv847-Ishizaka-yt.synchro.json", "video:yt": "vxZL0Fizx-E" } ] }, "bwv848": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv848", "key": "C\u266f major", "movement:num": "2", "opus": "BWV 848", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv848", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #3 in C\u266f major", "title:fr": "Fugue n\u00b03, C\u266f major", "title:zh-Hans": "C\u266f major\u7b2c3\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f03.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f03.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/03-bwv848-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Patrick Ayrton" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv848-AllOfBach.synchro.json", "video:yt": "d_DFyOgtCzw" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv848.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv848-Ishizaka.synchro.json" } ] }, "bwv849": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv849", "key": "C\u266f minor", "movement:num": "2", "opus": "BWV 849", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv849", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #4 in C\u266f minor", "title:fr": "Fugue n\u00b04, C\u266f minor", "title:zh-Hans": "C\u266f minor\u7b2c4\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", 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"audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv864.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv864-Ishizaka.synchro.json" } ] }, "bwv865": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv865", "key": "A minor", "movement:num": "2", "opus": "BWV 865", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv865", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #20 in A minor", "title:fr": "Fugue n\u00b020, A minor", "title:zh-Hans": "A minor\u7b2c20\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "0", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "0", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f20.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f20.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/20-bwv865-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Olga Pashchenko" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv865-AllOfBach.synchro.json", "video:yt": "hViR1LQh1MM" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv865.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv865-Ishizaka.synchro.json" } ] }, "bwv866": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv866", "key": "B\u266d major", "movement:num": "2", "opus": "BWV 866", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv866", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #21 in B\u266d major", "title:fr": "Fugue n\u00b021, B\u266d major", "title:zh-Hans": "B\u266d major\u7b2c21\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f21.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f21.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/21-bwv866-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Bart Naessens" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv866-AllOfBach.synchro.json", "video:yt": "NCD5vHrTLqA" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv866.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv866-Ishizaka.synchro.json" } ] }, "bwv867": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv867", "key": "B\u266d minor", "movement:num": "2", "opus": "BWV 867", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv867", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #22 in B\u266d minor", "title:fr": "Fugue n\u00b022, B\u266d minor", "title:zh-Hans": "B\u266d minor\u7b2c22\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f22.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f22.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/22-bwv867-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Kris Verhelst" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv867-AllOfBach.synchro.json", "video:yt": "rbcYLQZouiM" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv867.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv867-Ishizaka.synchro.json" } ] }, "bwv868": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv868", "key": "B major", "movement:num": "2", "opus": "BWV 868", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv868", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #23 in B major", "title:fr": "Fugue n\u00b023, B major", "title:zh-Hans": "B major\u7b2c23\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "4", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f23.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f23.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/23-bwv868-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Diego Ares" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv868-AllOfBach.synchro.json", "video:yt": "2I3hdaTQvcA" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv868.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv868-Ishizaka.synchro.json" } ] }, "bwv869": { "opus": { "collection": "The Well-Tempered Clavier, Book I", "collection:fr": "Le clavier bien temp\u00e9r\u00e9, Livre I", "collection:zh-Hans": "\u5e73\u5747\u5f8b\u94a2\u7434\u66f2\u96c6\u7b2c\u4e00\u5377", "contributors": { "composer": "Johann Sebastian Bach", "composer:fr": "Jean-S\u00e9bastien Bach" }, "genre": "Fuga", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro", "id": "bwv869", "key": "B minor", "movement:num": "2", "opus": "BWV 869", "ref:corpus": "https://www.dezrann.net/~/bach-fugues", "ref:dezrann": "https://www.dezrann.net/~/bach-fugues/bwv869", "ref:imslp": "Das_wohltemperierte_Klavier_I,_BWV_846-869_(Bach,_Johann_Sebastian)", "ref:musicbrainz": "dce85d48-7ce6-4bd6-b21e-a7c1be6eb1b4", "ref:wikipedia": "The_Well-Tempered_Clavier", "title": "Fuga #24 in B minor", "title:fr": "Fugue n\u00b024, B minor", "title:zh-Hans": "B minor\u7b2c24\u53f7\u8d4b\u683c", "year": "1722" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "2", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "KernScores, WhenInRome", "encoder": "David Huron" }, "name": "KernScores", "ref": "https://github.com/humdrum-tools/tree/master/bach-wtc-fugues/master/kern/wtc1f24.krn", "score": "https://raw.githubusercontent.com/humdrum-tools/bach-wtc-fugues/master/kern/wtc1f24.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/fugues/bach-wtc-i/24-bwv869-ref.dez", "contributors": { "analyst": "Mathieu Giraud, Richard Groult, Florence Lev\u00e9" }, "license": "OdBL-1.0", "ref": "http://algomus.fr/data/", "ref:doi": "10.1162/COMJ_a_00300" }, { "contributors": { "editor": "The Netherlands Bach Society", "performer": "Bob van Asperen" }, "name": "The Netherlands Bach Society", "ref": "https://www.bachvereniging.nl/en/about-allofbach", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv869-AllOfBach.synchro.json", "video:yt": "UGieOVATEOM" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/open-well-tempered-clavier/bwv869.mp3", "contributors": { "editor": "Open Well-Tempered Clavier", "performer": "Kimiko Ishakaza" }, "license": "CC-BY-3.0", "name": "Open Well-Tempered Clavier", "ref": "https://www.welltemperedclavier.org/", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/bach-fugues/synchro/bwv869-Ishizaka.synchro.json" } ] } } }, "corelli-trio-sonatas": { "corpus": { "availability": "The corpus in Dezrann focuses on *all 40 slow movements* of Op. 1 and 3. The slow movement is generally the first one, but it may be also another one. Cadence, phrase, and harmony annotations from [DCML](https://github.com/DCMLab/corelli) [(Hentschel 2021)](https://archives.ismir.net/ismir2021/paper/000032.pdf). Pattern, texture, and structural annotations from Algomus (Roux 2025, in revision). Synchronized audio recordings performed by [London Baroque](https://youtube.com/playlist?list=OLAK5uy_nzheFmSWaY1Df0jvFfg3Y6d-5iDHvuM84) directed by Charles Medlam.", "availability:fr": "Ce corpus dans Dezrann se concentre sur *les 40 mouvements lents* des opus 1 et 3. Le mouvement lent est g\u00e9n\u00e9ralement le premier, mais il peut \u00e9galement s'agir d'un autre. Les annotations de cadence, de phrase et d'harmonie proviennent de [DCML](https://github.com/DCMLab/corelli) [(Hentschel 2021)](https://archives.ismir.net/ismir2021/paper/000032.pdf). Les annotations de motifs, de texture et de structure ont \u00e9t\u00e9 r\u00e9alis\u00e9e par Algomus (Roux 2025, en r\u00e9vision). Le corpus est synchronis\u00e9 aux enregistrements du [London Baroque](https://youtube.com/playlist?list=OLAK5uy_nzheFmSWaY1Df0jvFfg3Y6d-5iDHvuM84) dirig\u00e9 par Charles Medlam.", "availability:zh-Hans": "Dezrann \u6240\u6536\u5f55\u7684\u8bed\u6599\u805a\u7126\u4e8e\u300a\u4f5c\u54c1 1\u300b\u548c\u300a\u4f5c\u54c1 3\u300b\u4e2d\u7684 *\u5168\u90e8 40 \u9996\u6162\u4e50\u7ae0*\u3002\u6162\u4e50\u7ae0\u901a\u5e38\u662f\u6bcf\u9996\u594f\u9e23\u66f2\u7684\u7b2c\u4e00\u4e50\u7ae0\uff0c\u4f46\u5728\u90e8\u5206\u4f5c\u54c1\u4e2d\u53ef\u80fd\u4e3a\u5176\u4ed6\u4e50\u7ae0\u3002\u8be5\u8bed\u6599\u5e93\u5305\u542b\u6765\u81ea [DCML](https://github.com/DCMLab/corelli) \u7684\u7ec8\u6b62\u5f0f\u3001\u4e50\u53e5\u4e0e\u548c\u58f0\u6ce8\u91ca\uff08\u53c2\u89c1 [Hentschel 2021](https://archives.ismir.net/ismir2021/paper/000032.pdf)\uff09\uff0c\u4ee5\u53ca Algomus \u63d0\u4f9b\u7684\u6a21\u5f0f\u3001\u7ec7\u4f53\u4e0e\u7ed3\u6784\u6ce8\u91ca\uff08Roux 2025\uff0c\u4fee\u8ba2\u4e2d\uff09\u3002\u53e6\u914d\u6709 [\u4f26\u6566\u5df4\u6d1b\u514b\u4e50\u56e2](https://youtube.com/playlist?list=OLAK5uy_nzheFmSWaY1Df0jvFfg3Y6d-5iDHvuM84)\uff0c\u67e5\u5c14\u65af\u00b7\u6885\u5fb7\u62c9\u59c6\u6307\u6325\u7684\u97f3\u9891\u540c\u6b65\u5f55\u97f3\u3002", "contributors": { "analyst": "J\u00e9r\u00e9mie Roux, Florence Lev\u00e9, Mathieu Giraud, Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier", "composer": "Arcangelo Corelli", "maintainer": "J\u00e9r\u00e9mie Roux , Mathieu Giraud " }, "genre": "Trio Sonata", "id": "corelli-trio-sonatas", "image": "https://upload.wikimedia.org/wikipedia/commons/0/05/Arcangelo_corelli.jpg?20060709180612", "image:card": "https://ws.dezrann.net/resources/corpus/images/Corelli-zoom.jpg", "license": "CC-BY-NC-SA-4.0", "motto:en": "40 slow movements from opus 1 and 3 of Arcangelo Corelli's trio church sonatas, with harmonic and structural analyses", "motto:fr": "40 mouvements lents extraits des opus 1 et 3 des sonates d'\u00e9glise en trio d'Arcangelo Corelli, avec des analyses d'harmonie et de structure", "motto:zh-Hans": "\u79d1\u96f7\u5229\u300a\u4f5c\u54c1 1\u300b\u548c\u300a\u4f5c\u54c1 3\u300b\u4e2d 40 \u9996\u6162\u4e50\u7ae0\uff0c\u9644\u548c\u58f0\u4e0e\u7ed3\u6784\u5206\u6790", "opus": "op. 1, op. 3", "quality:corpus": "3", "quality:corpus:metadata": "3", "ref": "https://github.com/DCMLab/corelli", "ref:doi": "10.57745/QUZ8KO", "ref:imslp": "2_Trio_Sonatas%2C_Op.1_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36", "ref:pub": "https://archives.ismir.net/ismir2021/paper/000032.pdf", "ref:publication": "J\u00e9r\u00e9mie Roux, Mathieu Giraud, Florence Lev\u00e9, [Annotating Texture and Imitation Patterns in a Corpus of Slow Movements in Corelli's Trio Sonatas](), Empirical Musicology Review, in revision (2025)", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "shorttitle": "Sonate a tre di Corelli", "shorttitle:en": "Corelli Trio Sonatas", "shorttitle:fr": "Sonates en trio de Corelli", "shorttitle:zh-Hans": "\u79d1\u96f7\u5229\u4e09\u91cd\u594f\u9e23\u66f2", "text": "The [trio sonata](https://en.wikipedia.org/wiki/Trio_sonata) features two melodic instruments (usually violins, though substitutions are possible) and a continuo (usually played by two musicians, such as a bass viol and either an organ, harpsichord, or lute). The Italian composer [Arcangelo Corelli](https://en.wikipedia.org/wiki/Arcangelo_Corelli) was one of the most influential figures of the trio sonata. In Rome, Corelli published four sets of 12 trio sonatas: the *Sonata da chiesa* (Church Sonatas) op. 1 (1681) and op. 3 (1689), and the *Sonata de camera* (Chamber Sonatas) op. 2 (1685) and op. 4 (1694). An additional collection of trio sonatas was published posthumously in 1714.", "text:fr": "La [sonate en trio](https://fr.wikipedia.org/wiki/Sonate_en_trio) est une forme musicale mettant en avant deux instruments m\u00e9lodiques (g\u00e9n\u00e9ralement des violons, mais qui peuvent \u00eatre remplac\u00e9s) et une basse continue (souvent jou\u00e9e par deux musiciens, comme une viole de basse et soit un orgue, un clavecin ou un luth). Le compositeur italien [Arcangelo Corelli](https://fr.wikipedia.org/wiki/Arcangelo_Corelli) fut l'une des figures les plus influentes de la sonate en trio. \u00c0 Rome, Corelli publia quatre recueils de 12 sonates en trio : les *Sonata da chiesa* op. 1 (1681) et op. 3 (1689), ainsi que les *Sonata de camera* op. 2 (1685) et op. 4 (1694). Une derni\u00e8re collection de sonates en trio fut publi\u00e9e \u00e0 titre posthume en 1714.", "text:zh-Hans": "[\u4e09\u91cd\u594f\u9e23\u66f2](https://en.wikipedia.org/wiki/Trio_sonata)\u7531\u4e24\u4ef6\u65cb\u5f8b\u4e50\u5668\uff08\u901a\u5e38\u4e3a\u5c0f\u63d0\u7434\uff0c\u4f46\u4e5f\u53ef\u66ff\u4ee3\uff09\u548c\u4e00\u4e2a\u901a\u594f\u4f4e\u97f3\u90e8\u5206\uff08\u901a\u5e38\u7531\u4e24\u4f4d\u6f14\u594f\u8005\u5408\u4f5c\u5b8c\u6210\uff0c\u5982\u4f4e\u97f3\u63d0\u7434\u52a0\u4e0a\u98ce\u7434\u3001\u5927\u952e\u7434\u6216\u9c81\u7279\u7434\uff09\u6784\u6210\u3002\u610f\u5927\u5229\u4f5c\u66f2\u5bb6[\u963f\u5c14\u574e\u6770\u6d1b\u00b7\u79d1\u96f7\u5229](https://en.wikipedia.org/wiki/Arcangelo_Corelli)\u662f\u8be5\u4f53\u88c1\u4e2d\u6700\u5177\u5f71\u54cd\u529b\u7684\u4eba\u7269\u4e4b\u4e00\u3002\u4ed6\u5728\u7f57\u9a6c\u51fa\u7248\u4e86\u56db\u5957\u5404 12 \u9996\u7684\u4e09\u91cd\u594f\u9e23\u66f2\uff1a\u300a\u6559\u5802\u594f\u9e23\u66f2\u300b\uff08*Sonata da chiesa*\uff09\u4f5c\u54c1 1\uff081681\uff09\u548c\u4f5c\u54c1 3\uff081689\uff09\uff0c\u4ee5\u53ca\u300a\u5ba4\u5185\u594f\u9e23\u66f2\u300b\uff08*Sonata de camera*\uff09\u4f5c\u54c1 2\uff081685\uff09\u548c\u4f5c\u54c1 4\uff081694\uff09\u3002\u6b64\u5916\u8fd8\u6709\u4e00\u90e8\u4e09\u91cd\u594f\u9e23\u66f2\u5408\u96c6\u4e8e 1714 \u5e74\u9057\u4f5c\u5f62\u5f0f\u51fa\u7248\u3002", "title": "Sonate a tre da chiesa di Arcangelo Corelli, movimenti lenti", "title:en": "Slow movements in Arcangelo Corelli's Trio Church Sonatas", "title:fr": "Mouvements lents des sonates d'\u00e9glise en trio d'Arcangelo Corelli", "title:zh-Hans": "\u963f\u5c14\u574e\u6770\u6d1b\u00b7\u79d1\u96f7\u5229\u6559\u5802\u4e09\u91cd\u594f\u9e23\u66f2\u4e2d\u7684\u6162\u4e50\u7ae0", "year": "1681, 1689" }, "pieces": { "1": { "opus": { "collection": "12 sonata da chiesa (Rome, {year})", "ref:imslp": "12_Trio_Sonatas%2C_Op.1_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/1#disc1", "year": "1681" } }, "1.1": { "opus": { "key": "F major" } }, "1.1.1": { "opus": { "collection": "12 sonata da chiesa (Rome, 1681)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op1.1.1", "key": "F major", "movement:num": "1", "movement:numtitle": "1. 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Grave", "movement:title": "Grave", "opus": "op. 1", "order": "1.10", "piece:title": "Trio Sonata no. 10 in G minor", "piece:title:zh-Hans": "G minor\u8c03\u7b2c10\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/1.10.1", "ref:imslp": "12_Trio_Sonatas%2C_Op.1_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/1#disc1", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1681" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op1-10-1.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op1-10-1.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, Lars Opfermann, Ya-Chuan Wu, Amelia Brey" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "syvgrKIDDzY", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op1-10-1.json" } ], "time-signature": "4/4" }, "1.10.4": { "opus": { "collection": "12 sonata da chiesa (Rome, 1681)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op1.10.4", "key": "G minor", "movement:num": "4", "movement:numtitle": "4. 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Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-7-1.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-7-1.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, Hann\u00e9 Becker" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "gkGShodyT1E", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-7-1.json" } ], "time-signature": "4/4" }, "3.7.3": { "opus": { "collection": "12 sonata da chiesa (Rome, 1689)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op3.7.3", "key": "E minor", "movement:num": "3", "movement:numtitle": "3. Adagio", "movement:title": "Adagio", "opus": "op. 3", "order": "3.07", "piece:title": "Trio Sonata no. 7 in E minor", "piece:title:zh-Hans": "E minor\u8c03\u7b2c7\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/3.7.3", "ref:imslp": "12_Trio_Sonatas%2C_Op.3_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/3#disc3", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1689" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-7-3.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-7-3.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, Hann\u00e9 Becker" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "6W8MbSst_hE", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-7-3.json" } ], "time-signature": "3/2" }, "3.8": { "opus": { "key": "C major" } }, "3.8.1": { "opus": { "collection": "12 sonata da chiesa (Rome, 1689)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op3.8.1", "key": "C major", "movement:num": "1", "movement:numtitle": "1. Largo", "movement:title": "Largo", "opus": "op. 3", "order": "3.08", "piece:title": "Trio Sonata no. 8 in C major", "piece:title:zh-Hans": "C major\u8c03\u7b2c8\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/3.8.1", "ref:imslp": "12_Trio_Sonatas%2C_Op.3_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/3#disc3", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1689" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-8-1.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-8-1.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, Matthew Chiu" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "1ZasihTY7BA", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-8-1.json" } ], "time-signature": "4/4" }, "3.8.3": { "opus": { "collection": "12 sonata da chiesa (Rome, 1689)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op3.8.3", "key": "C major", "movement:num": "3", "movement:numtitle": "3. Largo", "movement:title": "Largo", "opus": "op. 3", "order": "3.08", "piece:title": "Trio Sonata no. 8 in C major", "piece:title:zh-Hans": "C major\u8c03\u7b2c8\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/3.8.3", "ref:imslp": "12_Trio_Sonatas%2C_Op.3_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/3#disc3", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1689" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-8-3.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-8-3.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, Matthew Chiu" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "2nxohj7Vh6o", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-8-3.json" } ], "time-signature": "3/2" }, "3.9": { "opus": { "key": "F minor" } }, "3.9.1": { "opus": { "collection": "12 sonata da chiesa (Rome, 1689)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op3.9.1", "key": "F minor", "movement:num": "1", "movement:numtitle": "1. Grave", "movement:title": "Grave", "opus": "op. 3", "order": "3.09", "piece:title": "Trio Sonata no. 9 in F minor", "piece:title:zh-Hans": "F minor\u8c03\u7b2c9\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/3.9.1", "ref:imslp": "12_Trio_Sonatas%2C_Op.3_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/3#disc3", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1689" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-9-1.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-9-1.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, John Heilig" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "0JG0A4IlplU", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-9-1.json" } ], "time-signature": "3/2" }, "3.9.3": { "opus": { "collection": "12 sonata da chiesa (Rome, 1689)", "contributors": { "composer": "Arcangelo Corelli" }, "corpus": "Corelli Trio Sonatas", "corpus:fr": "Sonates en trio de Corelli", "genre": "Trio Sonata", "id": "op3.9.3", "key": "F minor", "movement:num": "3", "movement:numtitle": "3. Largo", "movement:title": "Largo", "opus": "op. 3", "order": "3.09", "piece:title": "Trio Sonata no. 9 in F minor", "piece:title:zh-Hans": "F minor\u8c03\u7b2c9\u53f7\u4e09\u91cd\u594f\u9e23\u66f2", "ref:corpus": "https://www.dezrann.net/~/corelli-trio-sonatas", "ref:dezrann": "https://www.dezrann.net/~/corelli-trio-sonatas/3.9.3", "ref:imslp": "12_Trio_Sonatas%2C_Op.3_(Corelli%2C_Arcangelo)", "ref:musicbrainz": "443783b7-9741-455d-9734-d18465c80f36/disc/3#disc3", "ref:wikipedia": "Arcangelo_Corelli#Works", "ref:wikipedia:fr": "Arcangelo_Corelli#%C5%92uvres", "year": "1689" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Fabian C. Moss, Markus Neuwirth, Martin A. Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "ref": "https://github.com/DCMLab/corelli", "score": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/scores/op3-9-3.mscx" }, { "analysis": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/analysis/op3-9-3.dez", "contributors": { "annotator": "J\u00e9r\u00e9mie Roux, John Heilig" }, "license": "CC-BY-NC-SA-4.0" }, { "audio:yt": "ew1F59L7Fcc", "contributors": { "conductor": "Charles Medlam", "ensemble": "London Baroque" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/corelli-trio-sonatas/-/raw/main/synchro/op3-9-3.json" } ], "time-signature": "3/4" } } }, "erkomaishvili": { "corpus": { "availability": "The Erkomaishvili dataset consists of historic tape recordings of three-voice Georgian religious songs performed in 1966 by the master chanter [Artem Erkomaishvili](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/). Successive overdubbing recordings were done for each song: top voice, then top and second voice, then the three voices together. These recordings have been digitized, curated, and analyzed by [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44) for computational musicology research. The dataset includes audio material, scores based on the transcriptions by (Shugliashvili, 2014), synchronizations, and F0 annotations. The Dezrann corpus contains here all 101 songs of the Erkomaishvili dataset, with scores synchronized with the audio files.", "availability:de": "Der Erkomaishvili-Datensatz besteht aus historischen Tonbandaufnahmen von dreistimmigen georgischen religi\u00f6sen Liedern, die 1966 vom Meisterges\u00e4nger [Artem Erkomaishvili](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/) aufgef\u00fchrt wurden. F\u00fcr jedes Lied wurden die Stimmen einzeln aufgenommen und \u00fcbereinander gelegt: Erst nur die Oberstimme, dann obere und zweite Stimme, dann alle drei Stimmen zusammen. Die Aufnahmen wurden von [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44) digitalisiert, kuratiert, und mit Computermethoden untersucht. Der Datensatz enth\u00e4lt die Audioaufnahmen, auf den Transkriptionen von (Shugliashvili, 2014) basierende, synchronisierte Noten, und F0-Annotationen. Der Dezrann-Korpus enth\u00e4lt hier alle 101 Lieder des Erkomaishvili-Datensatzes.", "availability:el": "\u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd Erkomaishvili \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03b9\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ac \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ad\u03bd\u03b1 \u03c4\u03c1\u03af\u03c6\u03c9\u03bd\u03b1 \u03b3\u03b5\u03c9\u03c1\u03b3\u03b9\u03b1\u03bd\u03ac \u03b8\u03c1\u03b7\u03c3\u03ba\u03b5\u03c5\u03c4\u03b9\u03ba\u03ac \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03c0\u03bf\u03c5 \u03b5\u03c1\u03bc\u03ae\u03bd\u03b5\u03c5\u03c3\u03b5 \u03c4\u03bf 1966 \u03bf \u03b4\u03ac\u03c3\u03ba\u03b1\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u03c8\u03b1\u03bb\u03c4\u03b9\u03ba\u03ae\u03c2 [Artem Erkomaishvili](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/). \u0395\u03b3\u03b9\u03bd\u03b1\u03bd \u03c3\u03c5\u03bd\u03b5\u03c7\u03cc\u03bc\u03b5\u03bd\u03b1 overdubbing recordings \u03b3\u03b9\u03b1 \u03ba\u03ac\u03b8\u03b5 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9: \u03c0\u03c1\u03ce\u03c4\u03b1 \u03c4\u03bf \u03c0\u03ac\u03bd\u03c9 \u03c6\u03c9\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc, \u03c3\u03c4\u03b7 \u03c3\u03c5\u03bd\u03ad\u03c7\u03b5\u03b9\u03b1 \u03c4\u03bf \u03c0\u03ac\u03bd\u03c9 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03b4\u03b5\u03cd\u03c4\u03b5\u03c1\u03bf \u03c6\u03c9\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc, \u03ba\u03b1\u03b9 \u03c4\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b1 \u03c4\u03c1\u03af\u03b1 \u03c6\u03c9\u03bd\u03b7\u03c4\u03b9\u03ba\u03ac \u03bc\u03b1\u03b6\u03af. \u0391\u03c5\u03c4\u03ac \u03c4\u03b1 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c8\u03b7\u03c6\u03b9\u03bf\u03c0\u03bf\u03b9\u03ae\u03b8\u03b7\u03ba\u03b1\u03bd, \u03c3\u03c5\u03bd\u03c4\u03b7\u03c1\u03ae\u03b8\u03b7\u03ba\u03b1\u03bd \u03ba\u03b1\u03b9 \u03b1\u03bd\u03b1\u03bb\u03cd\u03b8\u03b7\u03ba\u03b1\u03bd \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44) \u03b3\u03b9\u03b1 \u03ad\u03c1\u03b5\u03c5\u03bd\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c5\u03c0\u03bf\u03bb\u03bf\u03b3\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03bb\u03bf\u03b3\u03af\u03b1. \u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03b7\u03c7\u03b7\u03c4\u03b9\u03ba\u03cc \u03c5\u03bb\u03b9\u03ba\u03cc, \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b5\u03c2 \u03b2\u03b1\u03c3\u03b9\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c3\u03b5 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 (Shugliashvili, 2014), \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03bf\u03cd\u03c2 \u03ba\u03b1\u03b9 F0 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2. \u039f \u03ba\u03bf\u03c1\u03c0\u03cc\u03c2 Dezrann \u03c0\u03b5\u03c1\u03b9\u03ad\u03c7\u03b5\u03b9 \u03cc\u03bb\u03b1 \u03c4\u03b1 101 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03c3\u03c5\u03bd\u03cc\u03bb\u03bf\u03c5 \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd Erkomaishvili, \u03bc\u03b5 \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b5\u03c2 \u03c0\u03bf\u03c5 \u03b5\u03af\u03bd\u03b1\u03b9 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03bc\u03b5 \u03c4\u03b1 \u03b1\u03c1\u03c7\u03b5\u03af\u03b1 \u03ae\u03c7\u03bf\u03c5.", "availability:fr": "Ces enregistrements ont \u00e9t\u00e9 num\u00e9ris\u00e9s et analys\u00e9s par [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44). Le corpus comprend les enregistrements, les transcriptions synchronis\u00e9es, et des annotations F0 de m\u00e9lodie. Le corpus Dezrann contient les 101 chansons du corpus Erkomaishvili, avec des partitions synchronis\u00e9es avec les fichiers audio.", "availability:hr": "Zbirka podataka Erkomaishvili obuhva\u0107a povijesne snimke digitaliziranih audio trakova s troglasnim gruzijskim liturgijskim napjevima u izvedbi majstora pjeva\u010da [Artema Erkomaishvilija](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/) iz 1966. Svaku se skladbu uzastopno presnimavalo: najprije najvi\u0161i glas, potom najvi\u0161i i srednji glas, a zatim sva tri glasa zajedno. Ove snimke digitalizirane su i obra\u0111ene, a za potrebe istra\u017eivanja digitalne muzikologije, analizirano ih je [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44). Zbirka podataka uklju\u010duje zvu\u010dnu gra\u0111u, notne zapise (Shugliashvili, 2014.), sinkronizacije i anotacije F0. Korpus platforme Dezrann sadr\u017ei 101 skladbu Erkomaishvilijeve zbirke podataka u kojoj su notni zapisi sinkronizirani sa zvu\u010dnim zapisima.", "availability:it": "Il dataset Erkomaishvili \u00e8 composto da registrazioni storiche su nastro di canti religiosi georgiani a tre voci eseguiti nel 1966 dal maestro cantore [Artem Erkomaishvili](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/). Registrazioni successive in sovraincisione sono state effettuate per ogni brano: voce principale, poi voce principale e secondaria, quindi tutte e tre le voci insieme. Queste registrazioni sono state digitalizzate, curate e analizzate da [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44) e sono disponibili per la ricerca con metodi di musicologia computazionale. Il dataset include materiale audio, partiture basate sulle trascrizioni di (Shugliashvili, 2014), sincronizzazioni e annotazioni sulla frequenza fondamentale F0. Il corpus Dezrann contiene qui tutti e 101 i brani del dataset Erkomaishvili, con partiture sincronizzate ai file audio.", "availability:sl": "Zbirka podatkov Erkomaishvili vklju\u010duje zgodovinske digitalizirane zvo\u010dne posnetke troglasnih gruzijskih liturgi\u010dnih pesmi, ki jih izvaja pevski mojster [Artem Erkomaishvili](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included) iz leta 1966. Glasovi vsake skladbe so bili nasneti zaporedno: najprej najvi\u0161ji glas, nato najvi\u0161ji in srednji glas ter nato vsi trije glasovi skupaj. Ti posnetki so bili digitalizirani in obdelani ter analizirani za namene digitalne muzikolo\u0161ke raziskave [(Rosenzweig, 2020)](https://transactions.ismir.net/articles/10.5334/tismir.44). Nabor podatkov vklju\u010duje zvo\u010dno gradivo, notne zapise, ki temeljijo na Shugliashvilijevih transkripcijah iz leta 2014, sinhronizacije in opombe F0. Dezrannov korpus vsebuje 101 skladb Erkomaishvilijeve zbirke, v katerem so notni zapisi usklajeni z zvo\u010dnimi posnetki.", "availability:zh-Hans": "\u672c\u6570\u636e\u96c6\u6536\u5f55\u4e86\u5723\u6b4c\u5927\u5e08 [\u963f\u5c14\u5fd2\u59c6\u00b7\u57c3\u5c14\u79d1\u8fc8\u4ec0\u7ef4\u5229](https://novapublishers.com/shop/my-grandfather-artem-erkomaishvil-dvd-and-cd-included/) \u4e8e 1966 \u5e74\u6f14\u5531\u7684\u4e09\u58f0\u90e8\u5723\u6b4c\u7684\u5386\u53f2\u5f55\u97f3\u3002\u6bcf\u9996\u6b4c\u66f2\u4ee5\u9010\u8f68\u53e0\u5f55\u65b9\u5f0f\u5b8c\u6210\uff1a\u9996\u5148\u5f55\u5236\u9ad8\u58f0\u90e8\uff0c\u968f\u540e\u9ad8\u58f0\u90e8\u52a0\u4e2d\u58f0\u90e8\uff0c\u6700\u540e\u4e09\u58f0\u90e8\u5408\u5531\u3002\u8fd9\u4e9b\u5f55\u97f3\u5df2\u88ab\u6570\u5b57\u5316\u3001\u6574\u7406\uff0c\u5e76\u7531 [Rosenzweig, 2020](https://transactions.ismir.net/articles/10.5334/tismir.44) \u7528\u4e8e\u8ba1\u7b97\u97f3\u4e50\u5b66\u7814\u7a76\u3002\u6570\u636e\u96c6\u5305\u542b\u97f3\u9891\u3001\u57fa\u4e8e [Shugliashvili, 2014] \u8f6c\u5f55\u7684\u4e50\u8c31\u3001\u97f3\u9891\u540c\u6b65\u4fe1\u606f\u4e0e\u57fa\u9891\uff08F0\uff09\u6ce8\u91ca\u3002Dezrann \u8bed\u6599\u5e93\u5b8c\u6574\u6536\u5f55\u4e86\u8be5\u6570\u636e\u96c6\u4e2d\u7684 101 \u9996\u5723\u6b4c\uff0c\u5e76\u914d\u6709\u4e0e\u97f3\u9891\u540c\u6b65\u7684\u4e50\u8c31\u3002", "contributors": { "editor": "Sebastian Rosenzweig, Frank Scherbaum, David Shugliashvili, Vlora Arifi-M\u00fcller, Meinard M\u00fcller", "maintainer": "Emmanuel Leguy ", "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "genre": "Choral", "id": "erkomaishvili", "image": "https://www.audiolabs-erlangen.de/media/pages/resources/MIR/2019-GeorgianMusic-Erkomaishvili/figures/ba0d8c5b4c-1566214044/Figure_teaser.png", "image:card": "https://ws.dezrann.net/resources/corpus/images/Erkomaishvili-zoom.jpg", "license": "CC-BY-NC-4.0", "motto": "101 songs recorded in 1966 by Artem Erkomaishvili, with synchronized scores", "motto:de": "101 von Artem Erkomaishvili gesungene Lieder mit synchronisierten Noten, aufgenommen 1966", "motto:el": "101 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ad\u03bd\u03b1 \u03c4\u03bf 1966 \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd Artem Erkomaishvili, \u03bc\u03b5 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b5\u03c2", "motto:fr": "101 enregistrements d'Artem Erkomaishvili (1966), avec des partitions synchronis\u00e9es", "motto:hr": "101 pjesma Artema Erkomaishvilija snimljena 1966. s sinkroniziranim notnim zapisima", "motto:it": "101 brani registrati nel 1966 da Artem Erkomaishvili, con partiture sincronizzate", "motto:sl": "101 posnetkov pesmi iz leta 1966 v izvedbi Artema Erkomaishvilija, z usklajenimi notnimi zapisi.", "motto:zh-Hans": "101 \u9996\u7531\u963f\u5c14\u5fd2\u59c6\u00b7\u57c3\u5c14\u79d1\u8fc8\u4ec0\u7ef4\u5229\u4e8e 1966 \u5e74\u5f55\u5236\u7684\u5723\u6b4c\u4f5c\u54c1\uff0c\u914d\u6709\u540c\u6b65\u4e50\u8c31", "quality:corpus": 3, "quality:corpus:metadata": 4, "ref": "https://www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili", "ref:publication": "https://transactions.ismir.net/articles/10.5334/tismir.44", "shorttitle:de": "Georgische Vokalmusik", "shorttitle:el": "\u0393\u03b5\u03c9\u03c1\u03b3\u03b9\u03b1\u03bd\u03ac \u03b9\u03b5\u03c1\u03ac \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1", "shorttitle:en": "Georgian Sacred Songs", "shorttitle:fr": "Chants g\u00e9orgiens sacr\u00e9s", "shorttitle:hr": "Gruzijska sakralna glazba", "shorttitle:it": "Musica Sacra Georgiana", "shorttitle:sl": "Gruzijska sakralna glasba", "shorttitle:zh-Hans": "\u683c\u9c81\u5409\u4e9a\u5723\u6b4c", "showcase": [ "GCH-022", "GCH-014", "GCH-002", "GCH-033" ], "sruligalobelni": "\u10e1\u10e0\u10e3\u10da\u10d8\u10d2\u10d0\u10da\u10dd\u10d1\u10d4\u10da\u10dc\u10d8", "status": "\u2705 The corpus is in good condition, with only minor issues. For the majority of pieces, the score are well presented, with the four synchronized audios.", "text": "Georgian Orthodox liturgical chants feature three-part harmonies with distinct dissonances, specific temperaments, and ornamentations. The tradition is very old. Some songs can be traced back to neume transcriptions from the 10th century [(Graham, 2015)](http://www.johnagraham.com/dissertation/). The *master chanters* (sruligalobelni) were trained for several years in both music and theological subjects. They memorized hundreds of harmonized melodies. Georgian religious traditions, including sacred chants, faced suppression during Soviet rule and are now being studied once again.", "text:de": "Georgisch-orthodoxe liturgische Ges\u00e4nge zeichnen sich durch dreistimmige Harmonien mit ausgepr\u00e4gten Dissonanzen, Verzierungen, und besonderen Stimmungen aus. Die Tradition ist sehr alt. Einige Lieder k\u00f6nnen bis zur Neumennotation des 10. Jahrhunderts zur\u00fcckverfolgt werden [(Graham, 2015)](http://www.johnagraham.com/dissertation/). Die *Meisters\u00e4nger* (sruligalobelni) wurden mehrere Jahre lang in Musik und theologischen F\u00e4chern ausgebildet. Sie memorisierten Hunderte von harmonisierten Melodien. Georgische religi\u00f6se Traditionen, einschlie\u00dflich sakraler Ges\u00e4nge, wurden w\u00e4hrend der sowjetischen Herrschaft unterdr\u00fcckt und werden nun erneut erforscht.", "text:el": "\u039f\u03b9 \u0393\u03b5\u03c9\u03c1\u03b3\u03b9\u03b1\u03bd\u03bf\u03af \u039f\u03c1\u03b8\u03cc\u03b4\u03bf\u03be\u03bf\u03b9 \u03bb\u03b5\u03b9\u03c4\u03bf\u03c5\u03c1\u03b3\u03b9\u03ba\u03bf\u03af \u03cd\u03bc\u03bd\u03bf\u03b9 \u03b4\u03b9\u03b1\u03ba\u03c1\u03af\u03bd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b1\u03c0\u03cc \u03c4\u03c1\u03b9\u03c6\u03c9\u03bd\u03af\u03b1 \u03bc\u03b5 \u03be\u03b5\u03c7\u03c9\u03c1\u03b9\u03c3\u03c4\u03ad\u03c2 \u03b4\u03c5\u03c3\u03c3\u03bf\u03bd\u03af\u03b5\u03c2, \u03c3\u03c5\u03b3\u03ba\u03b5\u03ba\u03c1\u03b9\u03bc\u03ad\u03bd\u03b5\u03c2 \u03b4\u03b9\u03b1\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03bf\u03c1\u03bd\u03b9\u03b8\u03ce\u03c3\u03b5\u03b9\u03c2. \u0397 \u03c0\u03b1\u03c1\u03ac\u03b4\u03bf\u03c3\u03b7 \u03b5\u03af\u03bd\u03b1\u03b9 \u03c0\u03bf\u03bb\u03cd \u03c0\u03b1\u03bb\u03b9\u03ac. \u039a\u03ac\u03c0\u03bf\u03b9\u03b1 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03bc\u03c0\u03bf\u03c1\u03bf\u03cd\u03bd \u03bd\u03b1 \u03b5\u03bd\u03c4\u03bf\u03c0\u03b9\u03c3\u03c4\u03bf\u03cd\u03bd \u03c3\u03b5 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03bd\u03b5\u03cd\u03bc\u03b1\u03c4\u03bf\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd 10\u03bf \u03b1\u03b9\u03ce\u03bd\u03b1 [(Graham, 2015)](http://www.johnagraham.com/dissertation/). \u039f\u03b9 *\u0394\u03ac\u03c3\u03ba\u03b1\u03bb\u03bf\u03b9 \u03c4\u03b7\u03c2 \u03c8\u03b1\u03bb\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2* (sruligalobelni) \u03b5\u03ba\u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03bf\u03bd\u03c4\u03b1\u03bd \u03b3\u03b9\u03b1 \u03c0\u03bf\u03bb\u03bb\u03ac \u03c7\u03c1\u03cc\u03bd\u03b9\u03b1 \u03c4\u03cc\u03c3\u03bf \u03c3\u03c4\u03b7 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03cc\u03c3\u03bf \u03ba\u03b1\u03b9 \u03c3\u03b5 \u03b8\u03b5\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03ac \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1. \u039a\u03b1\u03c4\u03ad\u03b3\u03c1\u03b1\u03c6\u03b1\u03bd \u03b5\u03ba\u03b1\u03c4\u03bf\u03bd\u03c4\u03ac\u03b4\u03b5\u03c2 \u03b5\u03bd\u03b1\u03c1\u03bc\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03b1 \u03bc\u03b5\u03bb\u03c9\u03b4\u03b9\u03ba\u03ac \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1. \u039f\u03b9 \u03b3\u03b5\u03c9\u03c1\u03b3\u03b9\u03b1\u03bd\u03ad\u03c2 \u03b8\u03c1\u03b7\u03c3\u03ba\u03b5\u03c5\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2, \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03c4\u03c9\u03bd \u03b9\u03b5\u03c1\u03ce\u03bd \u03c8\u03b1\u03bb\u03bc\u03ce\u03bd, \u03b1\u03bd\u03c4\u03b9\u03bc\u03b5\u03c4\u03ce\u03c0\u03b9\u03c3\u03b1\u03bd \u03ba\u03b1\u03c4\u03b1\u03c0\u03af\u03b5\u03c3\u03b7 \u03ba\u03b1\u03c4\u03ac \u03c4\u03b7 \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03c4\u03b7\u03c2 \u03c3\u03bf\u03b2\u03b9\u03b5\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03c5\u03c1\u03b9\u03b1\u03c1\u03c7\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03ce\u03c1\u03b1 \u03b5\u03c0\u03b1\u03bd\u03b5\u03be\u03b5\u03c4\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9.", "text:fr": "La musique vocale polyphonique g\u00e9orgienne est connue pour avoir des *temp\u00e9raments* sp\u00e9cifiques et contenir beaucoup de *dissonances*. Le corpus Erkomaishvili se compose d'enregistrements historiques, sur bande, de chants religieux g\u00e9orgiens \u00e0 trois voix interpr\u00e9t\u00e9s en 1966 par le ma\u00eetre chanteur Artem Erkomaishvili.", "text:hr": "Za zbirku gruzijskih pravoslavnih liturgijskih napjeva zna\u010dajna je troglasna harmonijska osnova s prepoznatljivim disonancama, specifi\u010dnim karakterom i ornamentacijom. Tradicija je toliko stara da neke napjeve mo\u017eemo na\u0107i \u010dak i u prijepisima neuma iz 10. stolje\u0107a [(Graham, 2015)](http://www.johnagraham.com/dissertation/). Vi\u0161egodi\u0161nja obuka *majstore pjeva\u010de* (sruligalobelni) ne podu\u010dava samo glazbenoj teoriji i praksi, tokom koje moraju memorizirati stotine harmoniziranih melodija, ve\u0107 ih suo\u010dava i sa problemima teologije. U vrijeme sovjetske vlasti se gruzijska vjerska tradicija, uklju\u010duju\u0107i liturgijske napjeve, suo\u010davala s razli\u010ditim vrstama zabrana, ali se zato zanimanje za nju danas ponovo budi.", "text:it": "I canti liturgici ortodossi georgiani presentano armonie a tre voci con particolari dissonanze, temperamenti specifici e ornamenti. Si tratta di una tradizione molto antica. Alcuni canti possono essere ricondotti a trascrizioni di neumi del X secolo [(Graham, 2015)](http://www.johnagraham.com/dissertation/). I *maestri cantori* (sruligalobelni) venivano formati per diversi anni sia in musica che in materie teologiche. Memorizzavano centinaia di melodie armonizzate. Le tradizioni religiose georgiane, compresi i canti sacri, subirono la soppressione durante il dominio sovietico e sono ora oggetto di un rinnovato interesse accademico.", "text:sl": "Za gruzijske pravoslavne liturgi\u010dne pesmi je zna\u010dilna tridelna harmonija z izrazitimi disonancami, specifi\u010dnimi temperamenti in okraski. Tradicija je tako stara, da je nekatere pesmi mogo\u010de najti tudi v nevmatskih transkripcijah iz 10. stoletja [(Graham, 2015)](http://www.johnagraham.com/dissertation/). Izobra\u017eevanje *pevskih mojstrov* (sruligalobelni) vklju\u010duje tako glasbene kot teolo\u0161ke predmete in pomnenje na stotine harmoniziranih melodij. Med sovjetsko vladavino se je gruzijska verska tradicija, vklju\u010dno z liturgi\u010dnim petjem, soo\u010dala z razli\u010dnimi vrstami prepovedi, danes pa se zanimanje zanjo ponovno obuja.", "text:zh-Hans": "\u683c\u9c81\u5409\u4e9a\u4e1c\u6b63\u6559\u5723\u6b4c\u4ee5\u5176\u4e09\u58f0\u90e8\u548c\u58f0\u3001\u72ec\u7279\u7684\u4e0d\u534f\u548c\u97f3\u7a0b\u3001\u7279\u5b9a\u97f3\u5f8b\u4e0e\u88c5\u9970\u97f3\u8457\u79f0\u3002\u8fd9\u4e00\u4f20\u7edf\u5386\u53f2\u60a0\u4e45\uff0c\u90e8\u5206\u4f5c\u54c1\u53ef\u8ffd\u6eaf\u81f3 10 \u4e16\u7eaa\u7684\u8bb0\u8c31\u7cfb\u7edf\uff08\u53c2\u89c1 [Graham, 2015](http://www.johnagraham.com/dissertation/)\uff09\u3002*\u5723\u6b4c\u5927\u5e08*\uff08sruligalobelni\uff09\u9700\u7ecf\u591a\u5e74\u8bad\u7ec3\uff0c\u638c\u63e1\u97f3\u4e50\u4e0e\u795e\u5b66\u77e5\u8bc6\uff0c\u5e76\u80fd\u719f\u8bb0\u4e0a\u767e\u9996\u5723\u6b4c\u7684\u548c\u58f0\u65cb\u5f8b\u3002\u82cf\u8054\u65f6\u671f\u5b97\u6559\u6587\u5316\u66fe\u906d\u538b\u5236\uff0c\u683c\u9c81\u5409\u4e9a\u5723\u6b4c\u4f20\u7edf\u4ea6\u53d7\u5230\u5f71\u54cd\uff0c\u5982\u4eca\u6b63\u9010\u6e10\u6062\u590d\u4e0e\u91cd\u5efa\u3002", "title": "Traditional Georgian Sacred Music sung by Artem Erkomaishvili", "title:de": "Traditionelle georgische Vokalmusik gesungen von Artem Erkomaishvili", "title:el": "\u03a0\u03b1\u03c1\u03b1\u03b4\u03bf\u03c3\u03b9\u03b1\u03ba\u03ae \u0393\u03b5\u03c9\u03c1\u03b3\u03b9\u03b1\u03bd\u03ae \u0395\u03ba\u03ba\u03bb\u03b7\u03c3\u03b9\u03b1\u03c3\u03c4\u03b9\u03ba\u03ae \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c0\u03bf\u03c5 \u03b5\u03c1\u03bc\u03b7\u03bd\u03b5\u03cd\u03b5\u03b9 \u03bf Artem Erkomaishvili", "title:fr": "Chants g\u00e9orgiens sacr\u00e9s traditionnels chant\u00e9s par Artem Erkomaishvili", "title:hr": "Tradicionalna gruzijska sakralna glazba, izvo\u0111a\u010d Artem Erkomaishvili", "title:it": "Musica Sacra Tradizionale Georgiana cantata da Artem Erkomaishvili", "title:sl": "Tradicionalna gruzijska sakralna glasba v izvedbi Artema Erkomaishvilija", "title:zh-Hans": "\u963f\u5c14\u5fd2\u59c6\u00b7\u57c3\u5c14\u79d1\u8fc8\u4ec0\u7ef4\u5229\u6f14\u5531\u7684\u683c\u9c81\u5409\u4e9a\u5723\u4e50", "year": "1966" }, "pieces": { "GCH-001": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-001", "opus": "GCH-001", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_001_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-001", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Qrist'e aghsdga", "title:en": "Christ is risen from the dead", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_001_text.xml" }, { "audio": "GCH_001_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_001_mix.json" }, { "audio": "GCH_001_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_001_Seg1.json" }, { "audio": "GCH_001_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_001_Seg2.json" }, { "audio": "GCH_001_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_001_Seg3.json" } ], "time-signature": "1/4" }, "GCH-002": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-002", "opus": "GCH-002", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_002_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-002", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Aghdgomasa shensa", "title:en": "The Angels in the Heaven", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_002_text.xml" }, { "audio": "GCH_002_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_002_mix.json" }, { "audio": "GCH_002_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_002_Seg1.json" }, { "audio": "GCH_002_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_002_Seg2.json" }, { "audio": "GCH_002_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_002_Seg3.json" } ], "time-signature": "1/4" }, "GCH-003": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-003", "opus": "GCH-003", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_003_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-003", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Qrist'e aghsdga", "title:en": "Christ is risen from the dead", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_003_text.xml" }, { "audio": "GCH_003_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_003_mix.json" }, { "audio": "GCH_003_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_003_Seg1.json" }, { "audio": "GCH_003_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_003_Seg2.json" }, { "audio": "GCH_003_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_003_Seg3.json" } ], "time-signature": "1/4" }, "GCH-004": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-004", "opus": "GCH-004", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_004_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-004", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Qrist'e aghsdga", "title:en": "Christ is risen from the dead", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_004_text.xml" }, { "audio": "GCH_004_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_004_mix.json" }, { "audio": "GCH_004_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_004_Seg1.json" }, { "audio": "GCH_004_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_004_Seg2.json" }, { "audio": "GCH_004_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_004_Seg3.json" } ], "time-signature": "1/4" }, "GCH-005": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-005", "opus": "GCH-005", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_005_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-005", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Aghdgomisa dghe ars", "title:en": "The Day of Resurrection", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_005_text.xml" }, { "audio": "GCH_005_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_005_mix.json" }, { "audio": "GCH_005_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_005_Seg1.json" }, { "audio": "GCH_005_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_005_Seg2.json" }, { "audio": "GCH_005_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_005_Seg3.json" } ], "time-signature": "1/4" }, "GCH-006": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-006", "opus": "GCH-006", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_006_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-006", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Ganvits'midnet satsnobelni", "title:en": "Let us purify our senses", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_006_text.xml" }, { "audio": "GCH_006_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_006_mix.json" }, { "audio": "GCH_006_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_006_Seg1.json" }, { "audio": "GCH_006_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_006_Seg2.json" }, { "audio": "GCH_006_S3.mp3", "license": "CC-BY-NC-4.0", 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"CC-BY-NC-4.0", "synchro": "GCH_109_Seg1.json" }, { "audio": "GCH_109_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_109_Seg2.json" }, { "audio": "GCH_109_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_109_Seg3.json" } ], "time-signature": "1/4" }, "GCH-110": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-110", "opus": "GCH-110", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_110_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-110", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Isp'ola", "title:en": "Eis polla", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_110_text.xml" }, { "audio": "GCH_110_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_110_mix.json" }, { "audio": "GCH_110_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_110_Seg1.json" }, { "audio": "GCH_110_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_110_Seg2.json" }, { "audio": "GCH_110_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_110_Seg3.json" } ], "time-signature": "1/4" }, "GCH-111": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-111", "opus": "GCH-111", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_111_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-111", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "T'on desp'ot'in", "title:en": "Ton despotin", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_111_text.xml" }, { "audio": "GCH_111_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_111_mix.json" }, { "audio": "GCH_111_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_111_Seg1.json" }, { "audio": "GCH_111_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_111_Seg2.json" }, { "audio": "GCH_111_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_111_Seg3.json" } ], "time-signature": "1/4" }, "GCH-112": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-112", "opus": "GCH-112", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_112_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-112", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Kirieleison", "title:en": "Kirie eleison", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_112_text.xml" }, { "audio": "GCH_112_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_112_mix.json" }, { "audio": "GCH_112_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_112_Seg1.json" }, { "audio": "GCH_112_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_112_Seg2.json" }, { "audio": "GCH_112_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_112_Seg3.json" } ], "time-signature": "1/4" }, "GCH-113": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-113", "opus": "GCH-113", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_113_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-113", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Aqsios", "title:en": "Axios", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_113_text.xml" }, { "audio": "GCH_113_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_113_mix.json" }, { "audio": "GCH_113_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_113_Seg1.json" }, { "audio": "GCH_113_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_113_Seg2.json" }, { "audio": "GCH_113_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_113_Seg3.json" } ], "time-signature": "1/4" }, "GCH-114": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-114", "opus": "GCH-114", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_114_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-114", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Isaia mkhiarul iq'av", "title:en": "Rejoice, O Isaiah!", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_114_text.xml" }, { "audio": "GCH_114_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_114_mix.json" }, { "audio": "GCH_114_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_114_Seg1.json" }, { "audio": "GCH_114_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_114_Seg2.json" }, { "audio": "GCH_114_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_114_Seg3.json" } ], "time-signature": "1/4" }, "GCH-115": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-115", "opus": "GCH-115", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_115_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-115", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Ts'mindano mots'ameno", "title:en": "O holy Martyrs", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_115_text.xml" }, { "audio": "GCH_115_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_115_mix.json" }, { "audio": "GCH_115_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_115_Seg1.json" }, { "audio": "GCH_115_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_115_Seg2.json" }, { "audio": "GCH_115_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_115_Seg3.json" } ], "time-signature": "1/4" }, "GCH-116": { "opus": { "contributors": { "performer": "Artem Erkomaishvili", "transcriber": "David Shugliashvili" }, "corpus": "Erkomaishvili", "id": "GCH-116", "opus": "GCH-116", "ref": "https:/www.audiolabs-erlangen.de/resources/MIR/2019-GeorgianMusic-Erkomaishvili/data/GCH_116_Erkomaishvili", "ref:corpus": "https://www.dezrann.net/~/erkomaishvili", "ref:dezrann": "https://www.dezrann.net/~/erkomaishvili/GCH-116", "ref:publication": "https://doi.org/10.5334/tismir.44", "title": "Dideba shenda qrist'e ghmerto", "title:en": "Glory to Thee, O Christ-God", "year": "1966" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "score": "GCH_116_text.xml" }, { "audio": "GCH_116_mix.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_116_mix.json" }, { "audio": "GCH_116_S1.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_116_Seg1.json" }, { "audio": "GCH_116_S2.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_116_Seg2.json" }, { "audio": "GCH_116_S3.mp3", "license": "CC-BY-NC-4.0", "synchro": "GCH_116_Seg3.json" } ], "time-signature": "1/4" } } }, "mozart-piano-sonatas": { "corpus": { "availability": "The corpus consists of complete scores of all 18 sonatas with form, harmony, and cadence annotations ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). Sonatas 1 (K279), 2 (K280) and 5 (K283) also have texture annotations ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Some movements also have synchronized audio. The corpus uses measure maps ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) to improve annotation interoperability.", "availability:de": "Der Korpus besteht aus vollst\u00e4ndigen Partituren aller 18 Sonaten mit Form-, Harmonie- und Kadenzannotationen ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). Die Sonaten 1 (K279), 2 (K280) und 5 (K283) enthalten au\u00dferdem auch Texturannotationen ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Einige S\u00e4tze haben auch synchronisierte Audioaufnahmen. Der Korpus verwendet Measure Maps ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) f\u00fcr verbesserte Interoperabilit\u00e4t der Annotationen.", "availability:el": "\u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c0\u03bb\u03ae\u03c1\u03b5\u03b9\u03c2 \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b5\u03c2 \u03cc\u03bb\u03c9\u03bd \u03c4\u03c9\u03bd 18 \u03c3\u03bf\u03bd\u03b1\u03c4\u03ce\u03bd \u03bc\u03b5 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03b7 \u03bc\u03bf\u03c1\u03c6\u03ae, \u03c4\u03b7\u03bd \u03b1\u03c1\u03bc\u03bf\u03bd\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03ba\u03b1\u03b4\u03ad\u03bd\u03b1 ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). \u039f\u03b9 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b5\u03c2 1 (K279), 2 (K280) \u03ba\u03b1\u03b9 5 (K283) \u03ad\u03c7\u03bf\u03c5\u03bd \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c5\u03c6\u03ae\u03c2 ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). \u039a\u03ac\u03c0\u03bf\u03b9\u03b1 \u03ba\u03b9\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1 \u03ad\u03c7\u03bf\u03c5\u03bd \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03ae\u03c7\u03bf. \u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03c7\u03c1\u03b7\u03c3\u03b9\u03bc\u03bf\u03c0\u03bf\u03b9\u03b5\u03af \u03c7\u03ac\u03c1\u03c4\u03b5\u03c2 \u03bc\u03ad\u03c4\u03c1\u03c9\u03bd ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) \u03b3\u03b9\u03b1 \u03bd\u03b1 \u03b2\u03b5\u03bb\u03c4\u03b9\u03ce\u03c3\u03b5\u03b9 \u03c4\u03b7 \u03c3\u03c5\u03bc\u03b2\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b1 \u03c4\u03c9\u03bd \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03c9\u03bd.", "availability:fr": "Ce corpus comprend les partitions de l'ensemble des 18 sonates avec des annotations d'harmonie et de forme ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). Les sonates 1 (K279), 2 (K280) et 5 (K283) ont aussi des annotations de texture ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Quelques mouvements ont aussi des enregistrements audio. Le corpus utilise les *measure maps* ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) pour am\u00e9liorer l'interop\u00e9rabilit\u00e9 des annotations.", "availability:hr": "Korpus sadr\u017ei partiture 18 klavirskih sonata W. A. Mozarta s anotacijama glazbenog oblika, harmonije i kadenca ([Hentschel i suradnici, 2021](http://doi.org/10.5334/tismir.63)). Za tri sonate \u2013 Sonata za klavir br. 1 u C-duru, K. 279, Sonata za klavir br. 2 u F-duru, K. 280 i Sonata za klavir br. 5 u G-duru, K. 283 \u2013 dostupne su vizualizacije tekstura ([Couturier i suradnici, 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Samo su neki stavci sinkronizirani. Korpus koristi metodu za mjerenje razmaka izme\u0111u taktova (\u201cmeasure maps\u201d) ([Gotham i suradnici, 2023](https://doi.org/10.1145/3625135.3625136)) da bi pobolj\u0161ao interoperabilnost anotacija.", "availability:it": "Il corpus \u00e8 composto dalle partiture complete di tutte e 18 le sonate con annotazioni sulla forma, l'armonia e le cadenze ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). Le sonate 1 (K279), 2 (K280) e 5 (K283) hanno annotazioni anche sulla texture musicale ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Alcuni movimenti sono provvisti anche di audio sincronizzato. Il corpus utilizza la measure map (mappa delle battute) ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) per migliorare l'interoperabilit\u00e0 delle annotazioni.", "availability:sl": "Korpus vsebuje partiture vseh 18 sonat z ozna\u010denimi harmonijami in kadencami ([Hentschel et al., 2021](http://doi.org/10.5334/tismir.63)). Sonata za klavir \u0161t. 1 v C-duru, K. 279, Sonata za klavir \u0161t. 2 v F-duru, K. 280 in Sonata za klavir \u0161t. 5 v G-duru, K. 283 so opremljene \u0161e z vizualizacijo analize tekstur ([Couturier et al., 2022](https://dx.doi.org/10.5281/zenodo.7316712)). Nekateri stavki imajo tudi usklajene avdio posnetke. Korpus uporablja metodo za merjenje razdalj med takti (*measure maps*) ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) za izbolj\u0161anje interoperabilnosti mno\u017eice oznak, bele\u017ek, analiz in komentarjev.", "availability:zh-Hans": "\u8be5\u8bed\u6599\u5e93\u5305\u542b 18 \u9996\u594f\u9e23\u66f2\u7684\u5b8c\u6574\u4e50\u8c31\uff0c\u5e76\u9644\u6709\u66f2\u5f0f\u3001\u548c\u58f0\u548c\u7ec8\u6b62\u5f0f\u6ce8\u91ca\uff08\u53c2\u89c1 [Hentschel \u7b49\uff0c2021](http://doi.org/10.5334/tismir.63)\uff09\u3002\u5176\u4e2d\u7b2c 1\uff08K279\uff09\u3001\u7b2c 2\uff08K280\uff09\u548c\u7b2c 5\uff08K283\uff09\u594f\u9e23\u66f2\u8fd8\u5305\u542b\u7ec7\u4f53\u6ce8\u91ca\uff08\u53c2\u89c1 [Couturier \u7b49\uff0c2022](https://dx.doi.org/10.5281/zenodo.7316712)\uff09\u3002\u90e8\u5206\u4e50\u7ae0\u914d\u6709\u540c\u6b65\u97f3\u9891\u3002\u8be5\u8bed\u6599\u5e93\u91c7\u7528\u5c0f\u8282\u6620\u5c04\u65b9\u5f0f\uff08\u53c2\u89c1 [Gotham \u7b49\uff0c2023](https://doi.org/10.1145/3625135.3625136)\uff09\uff0c\u4ee5\u589e\u5f3a\u6ce8\u91ca\u7684\u517c\u5bb9\u6027\u3002", "contributors": { "composer": "Wolfgang Amadeus Mozart", "editor": "Neue Mozart Ausgabe", "encoder": "Lucas Mossman, Craig Stuart Sapp, Tobias Sch\u00f6lkopf, Tom Schreyer, tunescribers", "maintainer": "Louis Couturier , Mathieu Giraud " }, "genre": "Piano Sonata", "id": "mozart-piano-sonatas", "image": "https://upload.wikimedia.org/wikipedia/commons/b/bc/Mozart-by-Croce-1780-81.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Mozart-zoom.jpg", "license": "CC-BY-NC-SA-4.0 (scores), ODbL (annotations), CC0-1.0, CC-BY-NC-SA-3.0 (specific recordings)", "motto": "The 18 Mozart piano sonatas with some form, harmony, and texture annotations", "motto:de": "Die 18 Klaviersonaten von Mozart mit einigen Form-, Harmonie- und Texturannotationen", "motto:el": "\u039f\u03b9 18 \u03c0\u03b9\u03b1\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 Mozart \u03bc\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03b5\u03c2 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03b7 \u03bc\u03bf\u03c1\u03c6\u03ae, \u03c4\u03b7\u03bd \u03b1\u03c1\u03bc\u03bf\u03bd\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03c5\u03c6\u03ae", "motto:fr": "Les 18 sonates pour piano de Mozart, avec quelques annotations de forme, d'harmonie et de texture", "motto:hr": "18 klavirskih sonata W. A. Mozarta s anotacijama glazbenih oblika, harmonija i tekstura", "motto:it": "Le 18 sonate per pianoforte di Mozart con alcune annotazioni su forma, armonia e texture", "motto:sl": "18 Mozartovih klavirskih sonat z oblikovno, harmonsko in teksturno analizo.", "motto:zh-Hans": "18 \u9996\u83ab\u624e\u7279\u94a2\u7434\u594f\u9e23\u66f2\uff0c\u9644\u6709\u66f2\u5f0f\u3001\u548c\u58f0\u4e0e\u7ec7\u4f53\u6ce8\u91ca", "quality:corpus": 5, "quality:corpus:metadata": 4, "ref": "https://www.algomus.fr/data", "ref:doi": "10.57745/OHRWPC", "ref:imslp": "19_Sonatas_for_the_Piano_(Mozart,_Wolfgang_Amadeus)", "ref:musescore": "https://github.com/DCMLab/mozart_piano_sonatas/tree/main/scores", "ref:musicbrainz": "16d9d959-8d25-3276-b209-3fd99dd81547", "ref:pub": "[(Hentschel et al., 2021)](https://dx.doi.org/10.5334/tismir.63), [(Couturier et al., 2022)](https://dx.doi.org/10.5281/zenodo.7316712)", "ref:wikipedia": "List_of_sonatas_by_Wolfgang_Amadeus_Mozart", "ref:wikipedia:fr ": "Liste_des_\u0153uvres_pour_piano_de_Wolfgang_Amadeus_Mozart#Sonates", "showcase": [ "k279.1", "k279.2", "k279.3", "k280.1", "k283.1" ], "status": "\u2705 The corpus is in good condition, with only minor issues. It is fully reproducible from a long-term archive. For the majority of pieces, the score are well presented, include analyses. Some of them have synchronized audio.", "text": "Wolfgang Amadeus Mozart (1756\u20131791) was a composer of 18th century Classical style period, recognized as one of the three principal figures of the *First Viennese School*, alongside Joseph Haydn and Ludwig van Beethoven. He expressed his versatile music ideas in a large palette of genres. His *piano sonatas*, published over a 15-year period, were composed for various purposes, including educational material and private commissions from aristocrats. The classical sonata (typically for a solo keyboard instrument) is composed of usually three movements, of which the first generally follows [sonata form](https://en.wikipedia.org/wiki/Sonata_form). Mozart's sonatas are well known to have a remarkable structural and textural composition.", "text:de": "Wolfgang Amadeus Mozart (1756\u20131791) war ein Komponist der klassischen Stilepoche des 18. Jahrhunderts und gilt als eine der drei Hauptfiguren der *Ersten Wiener Schule* neben Joseph Haydn und Ludwig van Beethoven. Er dr\u00fcckte seine vielseitigen musikalischen Ideen in einer breiten Palette von Genres aus. Seine *Klaviersonaten*, \u00fcber einen Zeitraum von 15 Jahren ver\u00f6ffentlicht, wurden f\u00fcr verschiedene Zwecke komponiert, einschlie\u00dflich Lehrmaterial und privater Auftr\u00e4ge von Aristokraten. Die klassische Sonate (typischerweise f\u00fcr ein Solo-Tasteninstrument) besteht in der Regel aus drei S\u00e4tzen, von denen der erste typischerweise der [Sonatenform](https://de.wikipedia.org/wiki/Sonatensatzform) folgt. Mozarts Sonaten sind bekannt f\u00fcr ihre bemerkenswerten Texturen und Formpl\u00e4ne.", "text:el": "\u039f Wolfgang Amadeus Mozart (1756\u20131791) \u03ae\u03c4\u03b1\u03bd \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b7\u03c2 \u03c4\u03b7\u03c2 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae\u03c2 \u03c0\u03b5\u03c1\u03b9\u03cc\u03b4\u03bf\u03c5 \u03c4\u03bf\u03c5 18\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1, \u03c0\u03bf\u03c5 \u03b1\u03bd\u03b1\u03b3\u03bd\u03c9\u03c1\u03af\u03b6\u03b5\u03c4\u03b1\u03b9 \u03c9\u03c2 \u03ad\u03bd\u03b1\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c4\u03c1\u03b5\u03b9\u03c2 \u03ba\u03cd\u03c1\u03b9\u03bf\u03c5\u03c2 \u03b5\u03ba\u03c0\u03c1\u03bf\u03c3\u03ce\u03c0\u03bf\u03c5\u03c2 \u03c4\u03b7\u03c2 *\u03a0\u03c1\u03ce\u03c4\u03b7\u03c2 \u0392\u03b9\u03ad\u03bd\u03bd\u03b7\u03c2 \u03a3\u03c7\u03bf\u03bb\u03ae\u03c2*, \u03c3\u03c4\u03b7\u03bd \u03bf\u03c0\u03bf\u03af\u03b1 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03bf\u03b9 Joseph Haydn \u03ba\u03b1\u03b9 Ludwig van Beethoven. \u0395\u03be\u03ad\u03c6\u03c1\u03b1\u03b6\u03b5 \u03c4\u03b9\u03c2 \u03c0\u03bf\u03b9\u03ba\u03af\u03bb\u03b5\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03b9\u03b4\u03ad\u03b5\u03c2 \u03c3\u03b5 \u03ad\u03bd\u03b1 \u03bc\u03b5\u03b3\u03ac\u03bb\u03bf \u03c6\u03ac\u03c3\u03bc\u03b1 \u03b5\u03b9\u03b4\u03ce\u03bd. \u039f\u03b9 *\u03c0\u03b9\u03b1\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b5\u03c2* \u03c4\u03bf\u03c5, \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c3\u03b5 \u03ad\u03bd\u03b1 \u03b4\u03b9\u03ac\u03c3\u03c4\u03b7\u03bc\u03b1 15 \u03b5\u03c4\u03ce\u03bd, \u03c3\u03c5\u03bd\u03b5\u03c4\u03ad\u03bb\u03b5\u03c3\u03b1\u03bd \u03b3\u03b9\u03b1 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03bf\u03c5\u03c2 \u03c3\u03ba\u03bf\u03c0\u03bf\u03cd\u03c2, \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03bf\u03c5 \u03c4\u03bf\u03c5 \u03b5\u03ba\u03c0\u03b1\u03b9\u03b4\u03b5\u03c5\u03c4\u03b9\u03ba\u03bf\u03cd \u03c5\u03bb\u03b9\u03ba\u03bf\u03cd \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03b9\u03b4\u03b9\u03c9\u03c4\u03b9\u03ba\u03ce\u03bd \u03c0\u03a4\u03bf\u03b1\u03c1\u03b1\u03b3\u03b3\u03b5\u03bb\u03b9\u03ce\u03bd \u03b1\u03c0\u03cc \u03b1\u03c1\u03b9\u03c3\u03c4\u03bf\u03ba\u03c1\u03ac\u03c4\u03b5\u03c2. \u0397 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03c3\u03bf\u03bd\u03ac\u03c4\u03b1 (\u03c3\u03c5\u03bd\u03ae\u03b8\u03c9\u03c2 \u03b3\u03b9\u03b1 \u03ad\u03bd\u03b1 \u03bc\u03cc\u03bd\u03bf \u03c0\u03bb\u03b7\u03ba\u03c4\u03c1\u03bf\u03c6\u03cc\u03c1\u03bf \u03cc\u03c1\u03b3\u03b1\u03bd\u03bf) \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03c3\u03c5\u03bd\u03ae\u03b8\u03c9\u03c2 \u03b1\u03c0\u03cc \u03c4\u03c1\u03af\u03b1 \u03ba\u03b9\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1, \u03b1\u03c0\u03cc \u03c4\u03b1 \u03bf\u03c0\u03bf\u03af\u03b1 \u03c4\u03bf \u03c0\u03c1\u03ce\u03c4\u03bf \u03b1\u03ba\u03bf\u03bb\u03bf\u03c5\u03b8\u03b5\u03af \u03b3\u03b5\u03bd\u03b9\u03ba\u03ac \u03c4\u03b7 [\u03c6\u03cc\u03c1\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b1\u03c2](https://en.wikipedia.org/wiki/Sonata_form). \u039f\u03b9 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 Mozart \u03b5\u03af\u03bd\u03b1\u03b9 \u03b3\u03bd\u03c9\u03c3\u03c4\u03ad\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b1\u03be\u03b9\u03bf\u03c3\u03b7\u03bc\u03b5\u03af\u03c9\u03c4\u03b7 \u03b4\u03bf\u03bc\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c5\u03c6\u03b9\u03c3\u03c4\u03ac\u03bc\u03b5\u03bd\u03b7 \u03c3\u03cd\u03bd\u03b8\u03b5\u03c3\u03ae \u03c4\u03bf\u03c5\u03c2.", "text:fr": "Wolfgang Amadeus Mozart (1756\u20131791), compositeur de l'\u00e9poque classique du XVIIIe si\u00e8cle, est connu comme l'un des trois membres de la Premi\u00e8re \u00c9cole de Vienne, aux c\u00f4t\u00e9s de Ludwig van Beethoven et Joseph Haydn. Il a exprim\u00e9 ses id\u00e9es musicales dans un large \u00e9ventail de genres, notamment l'op\u00e9ra, les symphonies, les concertos, et... les sonates pour piano. Celles-ci ont \u00e9t\u00e9 compos\u00e9es sur une p\u00e9riode de 15 ans pour diverses occasions (p\u00e9dagogie, commandes priv\u00e9es...). La *sonate* classique est souvent compos\u00e9e de trois mouvements, dont le premier est g\u00e9n\u00e9ralement en [forme sonate](https://fr.wikipedia.org/wiki/Forme_sonate). Les sonates de Mozart sont bien connues pour leur structures et leur textures remarquables.", "text:hr": "Uz Josepha Haydna i Ludwiga van Beethovna je Wolfgang Amadeus Mozart (1756\u20131791) glavni predstavnik *Prve be\u010dke \u0161kole* povezane s razdobljem klasicizma u zapadnoeuropskoj umjetni\u010dkoj glazbi. *Klavirske sonate* nastajale su sporadi\u010dno i u razli\u010dite svrhe (pedago\u0161ke ili po narud\u017ebi). [Sonatni ciklus]( https://en.wikipedia.org/wiki/Sonata#Classical_period) vi\u0161estava\u010dna je skladba, a barem jedan stavak je u [sonatnom obliku](https://en.wikipedia.org/wiki/Sonata_form). Mozartove klavirske sonate obi\u010dno sadr\u017ee tri stavka, prvi je naj\u010de\u0161\u0107e sonatni.", "text:it": "Wolfgang Amadeus Mozart (1756-1791) fu un compositore del periodo classico del XVIII secolo, riconosciuto come una delle tre figure principali della *Prima scuola viennese*, insieme a Joseph Haydn e Ludwig van Beethoven. Espresse le sue versatili idee musicali in un'ampia gamma di generi. Le *sonate per pianoforte*, pubblicate nel corso di un periodo di 15 anni, furono composte per diverse occasioni. Alcune di esse hanno scopi didattici, altre sono state commissionante privatamente da membri dell'aristocrazia. La sonata classica (tipicamente per un solo strumento a tastiera solista) \u00e8 composta solitamente da tre movimenti, di cui il primo segue generalmente la [forma sonata](https://it.wikipedia.org/wiki/Forma-sonata). Le sonate di Mozart sono note per la loro notevole composizione strutturale e testurale.", "text:sl": "Wolfgang Amadeus Mozart (1756\u20131791) je bil klasicisti\u010dni skladatelj 18. stoletja, pripoznan, poleg Josepha Haydna in Ludwiga van Beethovna, kot eden od treh glavnih predstavnikov *Prve dunajske \u0161ole*. *Klavirske sonate*, objavljene v obdobju 15 let, so nastale iz razli\u010dnih namenov, med drugim kot izobra\u017eevalni material in za zasebna naro\u010dila plemi\u010dev. Klasicisti\u010dna sonata (obi\u010dajno za solo klavirski instrument) je obi\u010dajno sestavljena iz treh stavkov, od katerih je prvi v [sonatni obliki](https://en.wikipedia.org/wiki/Sonata_form).", "text:zh-Hans": "\u6c83\u5c14\u592b\u5188\u00b7\u963f\u9a6c\u5fb7\u4e4c\u65af\u00b7\u83ab\u624e\u7279\uff081756\u20131791\uff09\u662f 18 \u4e16\u7eaa\u53e4\u5178\u4e3b\u4e49\u65f6\u671f\u7684\u4f5c\u66f2\u5bb6\uff0c\u88ab\u516c\u8ba4\u4e3a\u201c\u7b2c\u4e00\u7ef4\u4e5f\u7eb3\u4e50\u6d3e\u201d\u7684\u4e09\u4f4d\u4ee3\u8868\u4eba\u7269\u4e4b\u4e00\uff0c\u53e6\u4e24\u4f4d\u4e3a\u6d77\u987f\u4e0e\u8d1d\u591a\u82ac\u3002\u4ed6\u5728\u591a\u79cd\u97f3\u4e50\u4f53\u88c1\u4e2d\u8868\u8fbe\u4e86\u4e30\u5bcc\u7684\u97f3\u4e50\u601d\u60f3\u3002\u8fd9\u4e9b\u94a2\u7434\u594f\u9e23\u66f2\u521b\u4f5c\u4e8e 15 \u5e74\u95f4\uff0c\u65e2\u7528\u4e8e\u6559\u5b66\uff0c\u4e5f\u6709\u4e3a\u8d35\u65cf\u79c1\u4eba\u8ba2\u5236\u4e4b\u4f5c\u3002\u53e4\u5178\u65f6\u671f\u7684\u594f\u9e23\u66f2\uff08\u901a\u5e38\u4e3a\u72ec\u594f\u952e\u76d8\u4f5c\u54c1\uff09\u4e00\u822c\u5305\u542b\u4e09\u4e2a\u4e50\u7ae0\uff0c\u5176\u4e2d\u7b2c\u4e00\u4e50\u7ae0\u901a\u5e38\u91c7\u7528[\u594f\u9e23\u66f2\u5f0f](https://en.wikipedia.org/wiki/Sonata_form)\u3002\u83ab\u624e\u7279\u7684\u594f\u9e23\u66f2\u4ee5\u5176\u7ed3\u6784\u6027\u4e0e\u7ec7\u4f53\u7684\u5de7\u5999\u7f16\u6392\u800c\u95fb\u540d\u3002", "title:de": "Mozart Klaviersonaten", "title:el": "\u03a0\u03b9\u03b1\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 Mozart", "title:en": "Mozart Piano Sonatas", "title:fr": "Sonates pour piano de Mozart", "title:hr": "Klavirske sonate W. A. Mozarta", "title:it": "Sonate per pianoforte di Mozart", "title:sl": "Mozartove klavirske sonate", "title:zh-Hans": "\u83ab\u624e\u7279\u94a2\u7434\u594f\u9e23\u66f2", "year": "1774\u20131789" }, "pieces": { "k279": { "opus": { "..settings.analysis:default": "K{koechel}-{mvt}_harmony_texture.dez", "..sources.2.analysis": "https://gitlab.com/algomus.fr/symbolic-texture-dataset/-/raw/dez_augmented/dez_augmented/K{koechel}-{mvt}_harmony_texture.dez", "..sources.3.analysis": "https://gitlab.com/algomus.fr/symbolic-texture-dataset/-/raw/dez_augmented/dataset/dez/K{koechel}-{mvt}_texture.dez", "piece:title": "Piano Sonata no. 1 in C major", "piece:title:fr": "Sonate pour piano n\u00b01 en do majeur", "ref:kernscores": "mozart/sonata/sonata01-{mvt}.krn", "ref:musicbrainz": "16d9d959-8d25-3276-b209-3fd99dd81547", "sonata:key": "C major", "sonata:num": "1", "year": "1775" } }, "k279.1": { "opus": { "contributors": { "composer": "Wolfgang Amadeus Mozart", "editor": "Neue Mozart Ausgabe", "encoder": "Lucas Mossman, Craig Stuart Sapp, Tobias Sch\u00f6lkopf, Tom Schreyer, tunescribers.com" }, "corpus": "Mozart piano sonatas", "corpus:fr": "Sonates pour piano de Mozart", "genre": "Piano Sonata", "id": "mozart/k279.1", "key": "C major", "movement:num": "I", "movement:title": "Allegro", "opus": "K.279", "piece:title": "Piano Sonata no. 1 in C major", "piece:title:fr": "Sonate pour piano n\u00b01 en do majeur", "piece:title:zh-Hans": "C major\u7b2c1\u53f7\u94a2\u7434\u594f\u9e23\u66f2", "ref": "https://github.com/DCMLab/mozart_piano_sonatas", "ref:corpus": "https://www.dezrann.net/~/mozart-piano-sonatas", "ref:dezrann": "https://www.dezrann.net/~/mozart-piano-sonatas/k279.1", "ref:imslp": "19_Sonatas_for_the_Piano_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/sonata/sonata01-1.krn", "ref:musicbrainz": "16d9d959-8d25-3276-b209-3fd99dd81547", "ref:wikipedia": "Piano_Sonata_No._1_(Mozart)", "ref:wikipedia:fr": "Sonate_pour_piano_no_1_de_Mozart", "sonata:key": "C major", "sonata:num": "1", "year": "1775" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "5", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Markus Neuwirth, Martin A Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "measure-map": "https://gitlab.com/algomus.fr/symbolic-texture-dataset/-/raw/measuremap/measuremap/verbose/K279-1.mm.json", "name": "DCML", "ref": "http://doi.org/10.5334/tismir.63", "score": "https://raw.githubusercontent.com/DCMLab/mozart_piano_sonatas/main/MS3/K279-1.mscx" }, { "audio:yt": "W4ykwJjI0IA", "contributors": { "editor": "Brilliant Classics", "performer": "Kl\u00e1ra W\u00fcrtz" }, "name": "Kl\u00e1ra W\u00fcrtz", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-piano-sonatas/synchro/k279.1-W%C3%BCrtz-yt.synchro.json" }, { "analysis": 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no. 18 in D major", "piece:title:fr": "Sonate pour piano n\u00b018 en r\u00e9 majeur", "piece:title:zh-Hans": "D major\u7b2c18\u53f7\u94a2\u7434\u594f\u9e23\u66f2", "ref": "https://github.com/DCMLab/mozart_piano_sonatas", "ref:corpus": "https://www.dezrann.net/~/mozart-piano-sonatas", "ref:dezrann": "https://www.dezrann.net/~/mozart-piano-sonatas/k576.3", "ref:imslp": "19_Sonatas_for_the_Piano_(Mozart,_Wolfgang_Amadeus)", "ref:musicbrainz": "99538f90-2ca3-4b34-b6b9-f39ca0937066", "ref:wikipedia": "Piano_Sonata_No._18_(Mozart)", "ref:wikipedia:fr": "Sonate_pour_piano_no_18_de_Mozart", "sonata:key": "D major", "sonata:num": "18", "year": "1789" }, "quality:annotation": "5", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "5", "quality:score": "3", "sources": [ { "contributors": { "editor": "DCML corpus initiative", "encoder": "Johannes Hentschel, Markus Neuwirth, Martin A Rohrmeier" }, "license": "CC-BY-NC-SA-4.0", "measure-map": "https://gitlab.com/algomus.fr/symbolic-texture-dataset/-/raw/measuremap/measuremap/verbose/K576-3.mm.json", "name": "DCML", "ref": "http://doi.org/10.5334/tismir.63", "score": "https://raw.githubusercontent.com/DCMLab/mozart_piano_sonatas/main/MS3/K576-3.mscx" }, { "audio:yt": "PIEwOFbJuk4", "contributors": { "editor": "Brilliant Classics", "performer": "Kl\u00e1ra W\u00fcrtz" }, "name": "Kl\u00e1ra W\u00fcrtz", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-piano-sonatas/synchro/k576.3-W%C3%BCrtz-yt.synchro.json" }, { "analysis": "https://gitlab.com/algomus.fr/symbolic-texture-dataset/-/raw/dez_augmented/dez_harmony/K576-3_harmony.dez", "license": "ODbL" } ] } } }, "mozart-string-quartets": { "corpus": { "availability": "The corpus shows here 72 out of the 86 movements. Cadence and key and form annotations are provided for some of these movements (mainly first movements, in sonata form), as published in ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) and ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)).", "availability:de": "Der Korpus enh\u00e4lt 72 von 86 S\u00e4tzen. F\u00fcr einige dieser S\u00e4tze (haupts\u00e4chlich erste S\u00e4tze in Sonatenform) sind Tonart-, Kadenz- und Formannotationen verf\u00fcgbar, wie sie in ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) und ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)) ver\u00f6ffentlicht wurden.", "availability:el": "\u03a4\u03bf \u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03b6\u03b5\u03b9 \u03b5\u03b4\u03ce 72 \u03b1\u03c0\u03cc \u03c4\u03b1 86 \u03ba\u03b9\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1. \u03a0\u03b1\u03c1\u03ad\u03c7\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03ba\u03b1\u03b4\u03ad\u03bd\u03b1, \u03c4\u03bf \u03ba\u03bb\u03b5\u03b9\u03b4\u03af \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03bc\u03bf\u03c1\u03c6\u03ae \u03b3\u03b9\u03b1 \u03ba\u03ac\u03c0\u03bf\u03b9\u03b1 \u03b1\u03c0\u03cc \u03b1\u03c5\u03c4\u03ac \u03c4\u03b1 \u03ba\u03b9\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1 (\u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03c0\u03c1\u03ce\u03c4\u03b1 \u03ba\u03b9\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1, \u03c3\u03b5 \u03c6\u03cc\u03c1\u03bc\u03b1 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b1\u03c2), \u03cc\u03c0\u03c9\u03c2 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03c4\u03b7\u03ba\u03b1\u03bd \u03c3\u03b5 ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) \u03ba\u03b1\u03b9 ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)).", "availability:fr": "Le corpus contient 72 des 86 movements de quatuors. Des annotation de cadences, de tonalit\u00e9 et de forme, provenant de ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) and ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)), sont disponibles pour certains de ces mouvements (principalement des premiers mouvements en forme sonate).", "availability:hr": "Korpus obuhva\u0107a 72 od sveukupno 86 stavaka. Anotacije kadenca, tonaliteta i glazbenih oblika dostupne su samo za neke stavke, uglavnom za prve stavke sonatnog oblika. Anotacije su rezultat rada ([Allegrauda i suradnika, 2019](https://doi.org/10.5334/tismir.27)) te ([Feisthauera, 2021](https://www.theses.fr/2021LILUI032)).", "availability:it": "Il corpus presenta 72 degli 86 movimenti. Sono fornite annotazioni su tonalit\u00e0, cadenze e forma per alcuni di questi movimenti (principalmente i primi movimenti, in forma sonata), riprendento le pubblicazioni ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) e ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)).", "availability:sl": "Korpus vsebuje 72 od 86 stavkov. Oznake tonalitet, kadenc in glasbene oblike, objavljene v ([Allegraud et al., 2019](https://doi.org/10.5334/tismir.27)) in ([Feisthauer, 2021](https://www.theses.fr/2021LILUI032)), so dostopne zgolj za nekatere izmed teh, pove\u010dini prvih stavkov.", "availability:zh-Hans": "\u672c\u8bed\u6599\u5e93\u5305\u542b 23 \u9996\u56db\u91cd\u594f\u4e2d\u7684 72 \u4e2a\u4e50\u7ae0\uff08\u5171 86 \u4e2a\uff09\u3002\u90e8\u5206\u4e50\u7ae0\uff08\u4e3b\u8981\u662f\u7b2c\u4e00\u4e50\u7ae0\u3001\u91c7\u7528\u594f\u9e23\u66f2\u5f0f\uff09\u5e26\u6709\u7ec8\u6b62\u5f0f\u3001\u8c03\u6027\u4e0e\u66f2\u5f0f\u7684\u6ce8\u91ca\uff0c\u8be6\u89c1 [Allegraud \u7b49\uff0c2019](https://doi.org/10.5334/tismir.27) \u548c [Feisthauer\uff0c2021](https://www.theses.fr/2021LILUI032)\u3002", "contributors": { "analyst": "Laurent Feisthauer", "composer": "Wolfgang Amadeus Mozart", "editor": "Breaitkopf und H\u00e4rtel", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp", "maintainer": "Laurent Feisthauer , Mathieu Giraud " }, "genre": "String Quartets", "id": "mozart/string-quartets", "image": "https://ws.dezrann.net/resources/corpus/images/Mozart-KV465.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Mozart-KV465-zoom.jpg", "license": "? (scores), ODbL (annotations), CC-BY-NC-ND-3.0 (audio)", "motto": "23 Mozart string quartets with some key, cadence, and form annotations", "motto:de": "23 Mozart-Streichquartette mit einigen Tonart-, Kadenz- und Formannotationen", "motto:el": "23 \u03c3\u03c4\u03c1\u03c9\u03bc\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 Mozart \u03bc\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03b5\u03c2 \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03bf \u03ba\u03bb\u03b5\u03b9\u03b4\u03af, \u03c4\u03b7\u03bd \u03ba\u03b1\u03b4\u03ad\u03bd\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03bc\u03bf\u03c1\u03c6\u03ae", "motto:fr": "23 quatuors \u00e0 cordes de Mozart avec des annotations harmoniques (tonalit\u00e9s, cadences) et de forme sonate", "motto:hr": "23 guda\u010dka kvarteta W. A. Mozarta s anotacijama tonaliteta, kadenca i glazbenih oblika", "motto:it": "23 quartetti d'archi di Mozart con alcune annotazioni su tonalit\u00e0, cadenze e forma", "motto:sl": "23 Mozartovih godalnih kvartetov z vizualizacijo analiz glasbene oblike, tonalitet in kadenc.", "motto:zh-Hans": "23 \u9996\u83ab\u624e\u7279\u5f26\u4e50\u56db\u91cd\u594f\u4f5c\u54c1\uff0c\u9644\u8c03\u6027\u3001\u7ec8\u6b62\u5f0f\u4e0e\u66f2\u5f0f\u6ce8\u91ca", "quality:corpus": 3, "quality:corpus:metadata": 4, "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:musicbrainz": "XXXXX", "ref:publication": "https://transactions.ismir.net/articles/10.5334/tismir.27", "ref:wikipedia": "List_of_string_quartets_by_Wolfgang_Amadeus_Mozart", "ref:wikipedia:fr ": "Quatuors_\u00e0_cordes_de_Wolfgang_Amadeus_Mozart", "showcase": [ "k80.1", "k465.1" ], "status": "\u2705 The corpus is in good condition, with only minor issues. However, the quality of scores is not equal among the corpus, and some pieces are not yet synchronized.", "text": "Wolfgang Amadeus Mozart (1756\u20131791) was a composer of 18th century Classical style period, recognized as one of the three principal figures of the *First Viennese School*, alongside Joseph Haydn and Ludwig van Beethoven. He expressed his versatile music ideas in a large palette of genres. He composed 23 *string quartets* spread over his whole life. These pieces denote the evolution of his musical style and the construction of his melodies, from the [galant style](https://en.wikipedia.org/wiki/Galant_music) of the first quartet to the [classical style](https://en.wikipedia.org/wiki/Classical_period_(music)). Mozart uses them as an experimentation field where he can explore the [sonata form](https://en.wikipedia.org/wiki/Sonata_form) in hybrid configurations and spicy modulations.", "text:de": "Wolfgang Amadeus Mozart (1756\u20131791) war ein Komponist der klassischen Stilepoche des 18. Jahrhunderts und gilt als eine der drei Hauptfiguren der *Ersten Wiener Schule* neben Joseph Haydn und Ludwig van Beethoven. Er dr\u00fcckte seine vielseitigen musikalischen Ideen in einer breiten Palette von Genres aus. Er komponierte 23 *Streichquartette*, die sich \u00fcber sein gesamtes Leben erstreckten. Diese St\u00fccke kennzeichnen die Entwicklung seines musikalischen Stils und seiner Melodiebildung vom [galanten Stil](https://de.wikipedia.org/wiki/Galante_Musik) des ersten Quartetts bis zum [klassischen Stil](https://de.wikipedia.org/wiki/Wiener_Klassik) des sp\u00e4ten 18. Jahrhunderts. Mozart nutzt sie als Experimentierboden, auf dem er die [Sonatenform](https://de.wikipedia.org/wiki/Sonatensatzform) auf unerw\u00f6hnte Weise erkunden kann.", "text:el": "\u039f Wolfgang Amadeus Mozart (1756\u20131791) \u03ae\u03c4\u03b1\u03bd \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b7\u03c2 \u03c4\u03b7\u03c2 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae\u03c2 \u03c0\u03b5\u03c1\u03b9\u03cc\u03b4\u03bf\u03c5 \u03c4\u03bf\u03c5 18\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1, \u03c0\u03bf\u03c5 \u03b1\u03bd\u03b1\u03b3\u03bd\u03c9\u03c1\u03af\u03b6\u03b5\u03c4\u03b1\u03b9 \u03c9\u03c2 \u03ad\u03bd\u03b1\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c4\u03c1\u03b5\u03b9\u03c2 \u03ba\u03cd\u03c1\u03b9\u03bf\u03c5\u03c2 \u03b5\u03ba\u03c0\u03c1\u03bf\u03c3\u03ce\u03c0\u03bf\u03c5\u03c2 \u03c4\u03b7\u03c2 *\u03a0\u03c1\u03ce\u03c4\u03b7\u03c2 \u0392\u03b9\u03ad\u03bd\u03bd\u03b7\u03c2 \u03a3\u03c7\u03bf\u03bb\u03ae\u03c2*, \u03c3\u03c4\u03b7\u03bd \u03bf\u03c0\u03bf\u03af\u03b1 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03bf\u03b9 Joseph Haydn \u03ba\u03b1\u03b9 Ludwig van Beethoven. \u0395\u03be\u03ad\u03c6\u03c1\u03b1\u03b6\u03b5 \u03c4\u03b9\u03c2 \u03c0\u03bf\u03b9\u03ba\u03af\u03bb\u03b5\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03b9\u03b4\u03ad\u03b5\u03c2 \u03c3\u03b5 \u03ad\u03bd\u03b1 \u03bc\u03b5\u03b3\u03ac\u03bb\u03bf \u03c6\u03ac\u03c3\u03bc\u03b1 \u03b5\u03b9\u03b4\u03ce\u03bd. \u03a3\u03c5\u03bd\u03ad\u03b8\u03b5\u03c3\u03b5 23 *\u03c3\u03c4\u03c1\u03c9\u03bc\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b5\u03c2* \u03ba\u03b1\u03c4\u03ac \u03c4\u03b7 \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03bf\u03bb\u03cc\u03ba\u03bb\u03b7\u03c1\u03b7\u03c2 \u03c4\u03b7\u03c2 \u03b6\u03c9\u03ae\u03c2 \u03c4\u03bf\u03c5. \u0391\u03c5\u03c4\u03ac \u03c4\u03b1 \u03ad\u03c1\u03b3\u03b1 \u03c3\u03b7\u03bc\u03b1\u03c4\u03bf\u03b4\u03bf\u03c4\u03bf\u03cd\u03bd \u03c4\u03b7\u03bd \u03b5\u03be\u03ad\u03bb\u03b9\u03be\u03b7 \u03c4\u03bf\u03c5 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03cd \u03c4\u03bf\u03c5 \u03c3\u03c4\u03c5\u03bb \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03ba\u03b1\u03c4\u03b1\u03c3\u03ba\u03b5\u03c5\u03ae \u03c4\u03c9\u03bd \u03bc\u03b5\u03bb\u03c9\u03b4\u03b9\u03ce\u03bd \u03c4\u03bf\u03c5, \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd [\u03b3\u03b1\u03bb\u03ac\u03bd\u03c4\u03b9\u03ba\u03bf \u03cd\u03c6\u03bf\u03c2](https://en.wikipedia.org/wiki/Galant_music) \u03c4\u03bf\u03c5 \u03c0\u03c1\u03ce\u03c4\u03bf\u03c5 \u03ba\u03bf\u03c5\u03b1\u03c1\u03c4\u03ad\u03c4\u03bf\u03c5 \u03c3\u03c4\u03bf [\u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03cc \u03cd\u03c6\u03bf\u03c2](https://en.wikipedia.org/wiki/Classical_period_(music)). \u039f Mozart \u03c4\u03b1 \u03c7\u03c1\u03b7\u03c3\u03b9\u03bc\u03bf\u03c0\u03bf\u03b9\u03b5\u03af \u03c9\u03c2 \u03ad\u03bd\u03b1 \u03c0\u03b5\u03b4\u03af\u03bf \u03c0\u03b5\u03b9\u03c1\u03b1\u03bc\u03b1\u03c4\u03b9\u03c3\u03bc\u03bf\u03cd \u03cc\u03c0\u03bf\u03c5 \u03bc\u03c0\u03bf\u03c1\u03b5\u03af \u03bd\u03b1 \u03b5\u03be\u03b5\u03c1\u03b5\u03c5\u03bd\u03ae\u03c3\u03b5\u03b9 \u03c4\u03b7 [\u03c6\u03cc\u03c1\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03c3\u03bf\u03bd\u03ac\u03c4\u03b1\u03c2](https://en.wikipedia.org/wiki/Sonata_form) \u03c3\u03b5 \u03c5\u03b2\u03c1\u03b9\u03b4\u03b9\u03ba\u03ad\u03c2 \u03b4\u03b9\u03b1\u03bc\u03bf\u03c1\u03c6\u03ce\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c0\u03b9\u03c0\u03b5\u03c1\u03ac\u03c4\u03b1 \u03bc\u03b5\u03c4\u03b1\u03c4\u03c1\u03bf\u03c0\u03ae.", "text:fr": "W. A. Mozart a compos\u00e9 23 quatuors \u00e0 cordes. Ceux-ci permettent d'appr\u00e9cier l'\u00e9volution de son style musical et de sa science de la m\u00e9lodie tout au long de sa vie, depuis le [style galant](https://fr.wikipedia.org/wiki/Style_galant) des premiers quatuors jusqu'\u00e0 l'affirmation du [style classique](https://fr.wikipedia.org/wiki/Musique_de_la_p%C3%A9riode_classique). Ils offrent au compositeur un immense terrain d'exp\u00e9rimentation, notamment pour l'exploration de la [forme sonate](https://fr.wikipedia.org/wiki/Forme_sonate) dans des configuration hybrides, mais aussi dans l'utilisation de modulations os\u00e9es et anachroniques.", "text:hr": "Uz Josepha Haydna i Ludwiga van Beethovna je Wolfgang Amadeus Mozart (1756\u20131791) glavni predstavnik *Prve be\u010dke \u0161kole* povezane s razdobljem klasicizma u zapadnoeuropskoj umjetni\u010dkoj glazbi. Tokom \u017eivota napisao je 23 *guda\u010dka kvarteta* koja prate promijene njegovog stila od [galantnog](https://en.wikipedia.org/wiki/Galant_music) do [klasi\u010dnog](https://en.wikipedia.org/wiki/Classical_period_(music)). Kao oblik kojem se stalno vra\u0107ao, guda\u010dki kvartet slu\u017eio je kao mjesto eksperimentiranja s neuobi\u010dajnim modulacijskim prijelazima i jo\u0161 neistra\u017eenim mogu\u0107nostima instrumentacije.", "text:it": "Wolfgang Amadeus Mozart (1756-1791) fu un compositore del periodo classico del XVIII secolo, riconosciuto come una delle tre figure principali della *Prima scuola viennese*, insieme a Joseph Haydn e Ludwig van Beethoven. Espresse le sue versatili idee musicali in un'ampia gamma di generi. Ha composto 23 *quartetti d'archi* durante tutto il corso della sua vita. Queste composizioni mostrano l'evoluzione del suo stile musicale nella costruzione delle sue melodie, dallo [stile galante](https://it.wikipedia.org/wiki/Stile_galante) del primo quartetto allo [stile classico](https://it.wikipedia.org/wiki/Classicismo_(musica)) del periodo successivo. Mozart utilizz\u00f2 i quartetti come campo di sperimentazione per esplorare la [forma sonata](https://it.wikipedia.org/wiki/Forma-sonata) in configurazioni ibride e modulazioni audaci.", "text:sl": "Poleg Josepha Haydna in Ludwiga van Beethovna uvr\u0161\u010damo Wolfganga Amadeusamed glavne predstavnike *Prve dunajske \u0161ole* iz obdobja klasicizma v zahodnoevropski umetnostni glasbi. V njegovem razvejanem opusu najdemo tudi 23 *godalnih kvartetov*, ki jih je skladal vse \u017eivljenje. V njih se ka\u017ee razvoj njegovega glasbenega sloga od [galantnega](https://en.wikipedia.org/wiki/Galant_music) do [klasicisti\u010dnega](https://sl.wikipedia.org/wiki/Glasbeni_klasicizem). Kot forma, h kateri se je nenehno vra\u010dal, je slu\u017eila tudi kot prostor za eksperimentiranje z nenavadnimi modulacijskimi prehodi in \u0161e neraziskanimi mo\u017enostmi orkestracije.", "text:zh-Hans": "\u6c83\u5c14\u592b\u5188\u00b7\u963f\u9a6c\u5fb7\u4e4c\u65af\u00b7\u83ab\u624e\u7279\uff081756\u20131791\uff09\u662f 18 \u4e16\u7eaa\u53e4\u5178\u4e3b\u4e49\u65f6\u671f\u7684\u4f5c\u66f2\u5bb6\uff0c\u88ab\u516c\u8ba4\u4e3a\u201c\u7b2c\u4e00\u7ef4\u4e5f\u7eb3\u4e50\u6d3e\u201d\u7684\u4e09\u4f4d\u4ee3\u8868\u4eba\u7269\u4e4b\u4e00\uff0c\u53e6\u4e24\u4f4d\u4e3a\u6d77\u987f\u4e0e\u8d1d\u591a\u82ac\u3002\u4ed6\u5728\u591a\u79cd\u97f3\u4e50\u4f53\u88c1\u4e2d\u5c55\u73b0\u4e86\u4e30\u5bcc\u7684\u521b\u4f5c\u624d\u80fd\u3002\u4ed6\u4e00\u751f\u4e2d\u521b\u4f5c\u4e86 23 \u9996\u5f26\u4e50\u56db\u91cd\u594f\uff0c\u8fd9\u4e9b\u4f5c\u54c1\u4f53\u73b0\u4e86\u4ed6\u97f3\u4e50\u98ce\u683c\u7684\u53d1\u5c55\u548c\u65cb\u5f8b\u6784\u5efa\u7684\u6210\u719f\u3002\u4ece\u7b2c\u4e00\u9996\u56db\u91cd\u594f\u7684[\u534e\u4e3d\u98ce\u683c](https://en.wikipedia.org/wiki/Galant_music)\uff0c\u5230\u540e\u671f\u7684[\u53e4\u5178\u98ce\u683c](https://en.wikipedia.org/wiki/Classical_period_(music))\uff0c\u5c55\u73b0\u4e86\u4ed6\u7684\u98ce\u683c\u6f14\u8fdb\u3002\u83ab\u624e\u7279\u5c06\u8fd9\u4e9b\u4f5c\u54c1\u4f5c\u4e3a\u5b9e\u9a8c\u573a\uff0c\u7528\u6765\u63a2\u7d22[\u594f\u9e23\u66f2\u5f0f](https://en.wikipedia.org/wiki/Sonata_form)\u7684\u591a\u79cd\u6df7\u5408\u5f62\u5f0f\u548c\u590d\u6742\u8c03\u6027\u53d8\u5316\u3002", "title:de": "Mozart Streichquartette", "title:el": "\u039a\u03bf\u03c5\u03b1\u03c1\u03c4\u03ad\u03c4\u03bf \u03b5\u03b3\u03c7\u03cc\u03c1\u03b4\u03c9\u03bd \u03c4\u03bf\u03c5 Mozart", "title:en": "Mozart String Quartets", "title:fr": "Quatuors \u00e0 cordes de Mozart", "title:hr": "Guda\u010dki kvarteti W. A. Mozarta", "title:it": "Quartetti d'archi di Mozart", "title:sl": "Godalni kvarteti W. A. Mozarta", "title:zh-Hans": "\u83ab\u624e\u7279\u5f26\u4e50\u56db\u91cd\u594f", "year": "1770\u20131790" }, "pieces": { "k155": { "opus": { "collection": "Milanese Quartets", "num": "2", "piece:key": "D major", "piece:key:fr": "r\u00e9 majeur", "ref:wikipedia": "String_Quartet_No._2_(Mozart)", "ref:wikipedia:fr": "Quatuors_milanais#Quatuor_no_2_en_r\u00e9_majeur._K155/134a", "year": "1772" } }, "k155.1": { "opus": { "collection": "Milanese Quartets", "contributors": { "composer": "Wolfgang Amadeus Mozart" }, "corpus": "Mozart string quartets", "corpus:fr": "Quatuors \u00e0 cordes de Mozart", "genre": "String Quartet", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro", "id": "mozart/k155.1", "key": "D major", "movement:num": "1", "movement:numtitle": "I. (Allegro)", "movement:title": "(Allegro)", "num": "2", "opus": "K.155", "order": "155.1", "piece:key": "D major", "piece:key:fr": "r\u00e9 majeur", "piece:title": "String Quartet no. 2 in D major", "piece:title:fr": "Quatuor \u00e0 cordes n\u00b02 en r\u00e9 majeur", "piece:title:zh-Hans": "D major\u7b2c2\u53f7\u5f26\u4e50\u56db\u91cd\u594f", "ref:corpus": "https://www.dezrann.net/~/mozart-string-quartets", "ref:dezrann": "https://www.dezrann.net/~/mozart-string-quartets/k155.1", "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/quartet/k155-1.krn", "ref:wikipedia": "String_Quartet_No._2_(Mozart)", "ref:wikipedia:fr": "Quatuors_milanais#Quatuor_no_2_en_r\u00e9_majeur._K155/134a", "title": "String Quartet no. 2 in D major, K.155, I. (Allegro)", "title:fr": "Quatuor \u00e0 cordes n\u00b02 en r\u00e9 majeur, K.155, I. (Allegro)", "year": "1772" }, "quality:annotation": "2", "quality:audio": "0", "quality:audio:synchro": "0", "quality:metadata": "2", "quality:musical-time": "0", "quality:score": "3", "sources": [ { "contributors": { "editor": "Breitkopf & H\u00e4rtel, KernScores", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp" }, "license": "?", "ref": "http://doi.org/?", "score": "https://raw.githubusercontent.com/musedata/humdrum-mozart-quartets/master/kern/k155-01.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/quartets/mozart/k155.1-ref.dez", "contributors": { "analyst": "Laurent Feisthauer" }, "ref": "http://algomus.fr/data/", "ref:doi": "10.5334/tismir.27" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/borromeo-string-quartet/BSQ-k155-1.mp3", "contributors": { "info": "Live at the Isabella Stewart Gardner Museum", "performer": "Borromeo String Quartet" }, "license": "CC-BY-NC-ND-3.0", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro/k155.1-BSQ.synchro.json", "year": "2009" } ], "time-signature": "4/4" }, "k155.2": { "opus": { "collection": "Milanese Quartets", "contributors": { "composer": "Wolfgang Amadeus Mozart" }, "corpus": "Mozart string quartets", "corpus:fr": "Quatuors \u00e0 cordes de Mozart", "genre": "String Quartet", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro", "id": "mozart/k155.2", "key": "A major", "movement:num": "2", "movement:numtitle": "II. Andante", "movement:title": "Andante", "num": "2", "opus": "K.155", "order": "155.2", "piece:key": "D major", "piece:key:fr": "r\u00e9 majeur", "piece:title": "String Quartet no. 2 in D major", "piece:title:fr": "Quatuor \u00e0 cordes n\u00b02 en r\u00e9 majeur", "piece:title:zh-Hans": "D major\u7b2c2\u53f7\u5f26\u4e50\u56db\u91cd\u594f", "ref:corpus": "https://www.dezrann.net/~/mozart-string-quartets", "ref:dezrann": "https://www.dezrann.net/~/mozart-string-quartets/k155.2", "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/quartet/k155-2.krn", "ref:wikipedia": "String_Quartet_No._2_(Mozart)", "ref:wikipedia:fr": "Quatuors_milanais#Quatuor_no_2_en_r\u00e9_majeur._K155/134a", "title": "String Quartet no. 2 in D major, K.155, II. Andante", "title:fr": "Quatuor \u00e0 cordes n\u00b02 en r\u00e9 majeur, K.155, II. 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Adagio", "year": "1770" }, "quality:annotation": "2", "quality:audio": "0", "quality:audio:synchro": "0", "quality:metadata": "2", "quality:musical-time": "0", "quality:score": "3", "sources": [ { "contributors": { "editor": "Breitkopf & H\u00e4rtel, KernScores", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp" }, "license": "?", "ref": "http://doi.org/?", "score": "https://raw.githubusercontent.com/musedata/humdrum-mozart-quartets/master/kern/k080-01.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/quartets/mozart/k80.1-ref.dez", "contributors": { "analyst": "Laurent Feisthauer" }, "ref": "http://algomus.fr/data/", "ref:doi": "10.5334/tismir.27" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/borromeo-string-quartet/BSQ-k80-1.mp3", "contributors": { "info": "Live at the Isabella Stewart Gardner Museum", "performer": "Borromeo String Quartet" }, "license": "CC-BY-NC-ND-3.0", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro/k80.1-BSQ.synchro.json", "year": "2009" } ], "time-signature": "3/4" }, "k80.2": { "opus": { "contributors": { "composer": "Wolfgang Amadeus Mozart" }, "corpus": "Mozart string quartets", "corpus:fr": "Quatuors \u00e0 cordes de Mozart", "genre": "String Quartet", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro", "id": "mozart/k80.2", "key": "G major", "movement:num": "2", "movement:numtitle": "II. Allegro", "movement:title": "Allegro", "num": "1", "opus": "K.80", "order": "080.2", "piece:key": "G major", "piece:key:fr": "sol majeur", "piece:title": "String Quartet no. 1 in G major", "piece:title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur", "piece:title:zh-Hans": "G major\u7b2c1\u53f7\u5f26\u4e50\u56db\u91cd\u594f", "ref:corpus": "https://www.dezrann.net/~/mozart-string-quartets", "ref:dezrann": "https://www.dezrann.net/~/mozart-string-quartets/k80.2", "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/quartet/k80-2.krn", "ref:wikipedia": "String_Quartet_No._1_(Mozart)", "ref:wikipedia:fr": "Quatuor_\u00e0_cordes_K._80(73f)", "title": "String Quartet no. 1 in G major, K.80, II. Allegro", "title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur, K.80, II. Allegro", "year": "1770" }, "quality:annotation": "2", "quality:audio": "0", "quality:audio:synchro": "0", "quality:metadata": "2", "quality:musical-time": "0", "quality:score": "3", "sources": [ { "contributors": { "editor": "Breitkopf & H\u00e4rtel, KernScores", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp" }, "license": "?", "ref": "http://doi.org/?", "score": "https://raw.githubusercontent.com/musedata/humdrum-mozart-quartets/master/kern/k080-02.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/quartets/mozart/k80.2-ref.dez", "contributors": { "analyst": "Laurent Feisthauer" }, "ref": "http://algomus.fr/data/", "ref:doi": "10.5334/tismir.27" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/borromeo-string-quartet/BSQ-k80-2.mp3", "contributors": { "info": "Live at the Isabella Stewart Gardner Museum", "performer": "Borromeo String Quartet" }, "license": "CC-BY-NC-ND-3.0", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro/k80.2-BSQ.synchro.json", "year": "2009" } ], "time-signature": "4/4" }, "k80.3": { "opus": { "contributors": { "composer": "Wolfgang Amadeus Mozart" }, "corpus": "Mozart string quartets", "corpus:fr": "Quatuors \u00e0 cordes de Mozart", "genre": "String Quartet", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro", "id": "mozart/k80.3", "key": "G major", "movement:num": "3", "movement:numtitle": "III. Menuetto", "movement:title": "Menuetto", "num": "1", "opus": "K.80", "order": "080.3", "piece:key": "G major", "piece:key:fr": "sol majeur", "piece:title": "String Quartet no. 1 in G major", "piece:title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur", "piece:title:zh-Hans": "G major\u7b2c1\u53f7\u5f26\u4e50\u56db\u91cd\u594f", "ref:corpus": "https://www.dezrann.net/~/mozart-string-quartets", "ref:dezrann": "https://www.dezrann.net/~/mozart-string-quartets/k80.3", "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/quartet/k80-3.krn", "ref:wikipedia": "String_Quartet_No._1_(Mozart)", "ref:wikipedia:fr": "Quatuor_\u00e0_cordes_K._80(73f)", "title": "String Quartet no. 1 in G major, K.80, III. Menuetto", "title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur, K.80, III. Menuetto", "year": "1770" }, "quality:annotation": "2", "quality:audio": "0", "quality:audio:synchro": "0", "quality:metadata": "2", "quality:musical-time": "0", "quality:score": "3", "sources": [ { "contributors": { "editor": "Breitkopf & H\u00e4rtel, KernScores", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp" }, "license": "?", "ref": "http://doi.org/?", "score": "https://raw.githubusercontent.com/musedata/humdrum-mozart-quartets/master/kern/k080-03.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/quartets/mozart/k80.3-ref.dez", "contributors": { "analyst": "Laurent Feisthauer" }, "ref": "http://algomus.fr/data/", "ref:doi": "10.5334/tismir.27" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/borromeo-string-quartet/BSQ-k80-3.mp3", "contributors": { "info": "Live at the Isabella Stewart Gardner Museum", "performer": "Borromeo String Quartet" }, "license": "CC-BY-NC-ND-3.0", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro/k80.3-BSQ.synchro.json", "year": "2009" } ], "time-signature": "3/4" }, "k80.4": { "opus": { "contributors": { "composer": "Wolfgang Amadeus Mozart" }, "corpus": "Mozart string quartets", "corpus:fr": "Quatuors \u00e0 cordes de Mozart", "genre": "String Quartet", "git:synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro", "id": "mozart/k80.4", "key": "G major", "movement:num": "4", "movement:numtitle": "IV. Rondo", "movement:title": "Rondo", "num": "1", "opus": "K.80", "order": "080.4", "piece:key": "G major", "piece:key:fr": "sol majeur", "piece:title": "String Quartet no. 1 in G major", "piece:title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur", "piece:title:zh-Hans": "G major\u7b2c1\u53f7\u5f26\u4e50\u56db\u91cd\u594f", "ref:corpus": "https://www.dezrann.net/~/mozart-string-quartets", "ref:dezrann": "https://www.dezrann.net/~/mozart-string-quartets/k80.4", "ref:git": "https://github.com/musedata/humdrum-mozart-quartets", "ref:imslp": "27_Quartets_(Mozart,_Wolfgang_Amadeus)", "ref:kernscores": "mozart/quartet/k80-4.krn", "ref:wikipedia": "String_Quartet_No._1_(Mozart)", "ref:wikipedia:fr": "Quatuor_\u00e0_cordes_K._80(73f)", "title": "String Quartet no. 1 in G major, K.80, IV. Rondo", "title:fr": "Quatuor \u00e0 cordes n\u00b01 en sol majeur, K.80, IV. Rondo", "year": "1773?" }, "quality:annotation": "2", "quality:audio": "0", "quality:audio:synchro": "0", "quality:metadata": "2", "quality:musical-time": "0", "quality:score": "3", "sources": [ { "contributors": { "editor": "Breitkopf & H\u00e4rtel, KernScores", "encoder": "Edmund Correia Jr, Frances Bennion, Craig Stuart Sapp" }, "license": "?", "ref": "http://doi.org/?", "score": "https://raw.githubusercontent.com/musedata/humdrum-mozart-quartets/master/kern/k080-04.krn" }, { "analysis": "https://gitlab.com/algomus.fr/algomus-data/-/raw/master/quartets/mozart/k80.4-ref.dez", "contributors": { "analyst": "Laurent Feisthauer" }, "ref": "http://algomus.fr/data/", "ref:doi": "10.5334/tismir.27" }, { "audio": "https://ws.dezrann.net/resources/corpus/audio/borromeo-string-quartet/BSQ-k80-4.mp3", "contributors": { "info": "Live at the Isabella Stewart Gardner Museum", "performer": "Borromeo String Quartet" }, "license": "CC-BY-NC-ND-3.0", "synchro": "https://gitlab.com/algomus.fr/dezrann/dezrann-corpus/-/raw/main/corpus/mozart-string-quartets/synchro/k80.4-BSQ.synchro.json", "year": "2009" } ], "time-signature": "2/2" } } }, "openscore-lieder": { "corpus": { "availability": "The OpenScore Lieder corpus consists of over 1,300 songs from the long nineteenth century. The collection is available to play online at [musescore.com](https://musescore.com/openscore-lieder-corpus) and is also [available for download](https://github.com/OpenScore/Lieder). For more on the score collection see [(Gotham and Jonas 2021)](https://doi.org/10.1145/3273024.3273026) or [this magazine piece](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers). This Dezrann collection presents a subset of the scores by women composers, including harmonic analyses published on the [\u2018When in Rome\u2019 meta-corpus](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus) reported in [Gotham et al. 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165). The corpus uses measure maps ([Gotham et al., 2023b](https://doi.org/10.1145/3625135.3625136)) to improve annotation interoperability.", "availability:de": "Der OpenScore Liederkorpus besteht aus \u00fcber 1.300 Liedern aus dem erweiterten 19. Jahrhundert. Die Sammlung ist online auf [musescore.com](https://musescore.com/openscore-lieder-corpus) verf\u00fcgbar und kann auch [heruntergeladen werden](https://github.com/OpenScore/Lieder). Dieser Dezrann-Korpus pr\u00e4sentiert einen Ausschnitt der Noten von Komponistinnen, einschlie\u00dflich harmonischer Analysen, die mit dem [\u2018When in Rome\u2019 Metakorpus](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus) ver\u00f6ffentlicht wurden und in [Gotham et al. 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165) beschrieben sind. Der Korpus verwendet Measure Maps ([Gotham et al., 2023b](https://doi.org/10.1145/3625135.3625136)) f\u00fcr verbesserte Interoperabilit\u00e4t der Annotationen.", "availability:el": "\u03a4\u03bf OpenScore Lieder corpus \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03b1\u03c0\u03cc \u03c0\u03ac\u03bd\u03c9 \u03b1\u03c0\u03cc 1.300 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03b1\u03c0\u03cc \u03c4\u03b7 \u03bc\u03b1\u03ba\u03c1\u03ac \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf \u03c4\u03bf\u03c5 19\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1. \u0397 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03b5\u03af\u03bd\u03b1\u03b9 \u03b4\u03b9\u03b1\u03b8\u03ad\u03c3\u03b9\u03bc\u03b7 \u03b3\u03b9\u03b1 \u03b1\u03bd\u03b1\u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae online \u03c3\u03c4\u03bf [musescore.com](https://musescore.com/openscore-lieder-corpus) \u03ba\u03b1\u03b9 \u03bc\u03c0\u03bf\u03c1\u03b5\u03af \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03bd\u03b1 [\u03ba\u03b1\u03c4\u03b5\u03b2\u03ac\u03c3\u03b5\u03c4\u03b5](https://github.com/OpenScore/Lieder). \u0393\u03b9\u03b1 \u03c0\u03b5\u03c1\u03b9\u03c3\u03c3\u03cc\u03c4\u03b5\u03c1\u03b5\u03c2 \u03c0\u03bb\u03b7\u03c1\u03bf\u03c6\u03bf\u03c1\u03af\u03b5\u03c2 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c0\u03b1\u03c1\u03b1\u03c4\u03af\u03b8\u03b5\u03c4\u03b1\u03b9 \u03b7 \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03c4\u03c9\u03bd [(Gotham and Jonas 2021)](https://doi.org/10.1145/3273024.3273026) \u03ae [\u03b1\u03c5\u03c4\u03cc \u03c4\u03bf \u03ac\u03c1\u03b8\u03c1\u03bf \u03c3\u03c4\u03bf \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03cc](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers). \u0391\u03c5\u03c4\u03ae \u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c4\u03b7\u03c2 Dezrann \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03b6\u03b5\u03b9 \u03ad\u03bd\u03b1 \u03c5\u03c0\u03bf\u03c3\u03cd\u03bd\u03bf\u03bb\u03bf \u03c4\u03c9\u03bd \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03c9\u03bd \u03b1\u03c0\u03cc \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b5\u03c2 \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b5\u03c2, \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03b1\u03c1\u03bc\u03bf\u03bd\u03b9\u03ba\u03ce\u03bd \u03b1\u03bd\u03b1\u03bb\u03cd\u03c3\u03b5\u03c9\u03bd \u03c0\u03bf\u03c5 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03c4\u03b7\u03ba\u03b1\u03bd \u03c3\u03c4\u03bf [\u2018When in Rome\u2019 meta-corpus](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus) \u03c0\u03bf\u03c5 \u03b1\u03bd\u03b1\u03c6\u03ad\u03c1\u03b5\u03c4\u03b1\u03b9 \u03c3\u03c4\u03bf [Gotham et al. 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165). \u039f \u03ba\u03bf\u03c1\u03c0\u03cc\u03c2 \u03c7\u03c1\u03b7\u03c3\u03b9\u03bc\u03bf\u03c0\u03bf\u03b9\u03b5\u03af \u03c7\u03ac\u03c1\u03c4\u03b5\u03c2 \u03bc\u03ad\u03c4\u03c1\u03c9\u03bd ([Gotham et al., 2023b](https://doi.org/10.1145/3625135.3625136)) \u03b3\u03b9\u03b1 \u03bd\u03b1 \u03b2\u03b5\u03bb\u03c4\u03b9\u03ce\u03c3\u03b5\u03b9 \u03c4\u03b7 \u03c3\u03c5\u03bc\u03b2\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b1 \u03c4\u03c9\u03bd \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03c9\u03bd.", "availability:fr": "Le corpus [OpenScore Lieder](https://github.com/OpenScore/Lieder) comprend plus de 1 300 lieder du XIX\u1d49 si\u00e8cle. ([(Gotham et Jonas 2021)](https://doi.org/10.1145/3273024.3273026), [The Art Song Magazine](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers)). La collection est disponible sur [musescore.com](https://musescore.com/openscore-lieder-corpus) et peut \u00e9galement \u00eatre [t\u00e9l\u00e9charg\u00e9e](https://github.com/OpenScore/Lieder). Ce corpus Dezrann pr\u00e9sente des lieder compos\u00e9es par des femmes, avec des analyses harmoniques publi\u00e9es sur le [m\u00e9ta-corpus 'When in Rome'](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus). Le corpus utilise les *measure maps* ([Gotham et al., 2023](https://doi.org/10.1145/3625135.3625136)) pour am\u00e9liorer l'interop\u00e9rabilit\u00e9 des annotations.", "availability:hr": "Korpus The OpenScore Lieder obuhva\u0107a preko 1300 solo pjesama dugog 19. stolje\u0107a. Zbirka je dostupna za online reprodukciju na [musescore.com](https://musescore.com/openscore-lieder-corpus), a mogu\u0107e je i [preuzimanje](https://github.com/OpenScore/Lieder). Za vi\u0161e informacija o zbirci vidi: [(Gotham i Jonas 2021)](https://doi.org/10.1145/3273024.3273026) ili [Gothamov \u010dlanak](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers). Ova Dezrannova zbirka je podskup partitura razli\u010ditih skladateljica, a uklju\u010duje i harmonijske analize objavljene na [\u2018When in Rome\u2019 meta-korpusu](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus), a predstavljene u: [Gotham i suradnici, 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165). Korpus koristi metodu mjerenja razmaka izme\u0111u taktova (\u201emeasure maps\u201c) ([Gothama i njegovih suradnika, 2023b](https://doi.org/10.1145/3625135.3625136)) za pobolj\u0161anje interoperativnosti anotacija.", "availability:it": "Il corpus OpenScore Lieder consiste in oltre 1.300 lieder del lungo XIX secolo. La collezione pu\u00f2 essere visualizzata e ascoltata online su [musescore.com](https://musescore.com/openscore-lieder-corpus) ed \u00e8 anche disponibile per il [download](https://github.com/OpenScore/Lieder). Per ulteriori informazioni sulla raccolta di spartiti, vedere [(Gotham and Jonas 2021)](https://doi.org/10.1145/3273024.3273026) o [questo articolo di rivista](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers). Questa collezione Dezrann presenta un sottoinsieme delle partiture di compositrici donne, include un'analisi armonica pubblicata sul [meta-corpus \u2018When in Rome\u2019](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus) e riportata in [Gotham et al. 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165). Il corpus utilizza la measure map (mappa delle battute) ([Gotham et al., 2023b](https://doi.org/10.1145/3625135.3625136)) per migliorare l'interoperabilit\u00e0 delle annotazioni.", "availability:sl": "Korpus OpenScore Lieder obsega ve\u010d kot 1300 pesmi iz dolgega devetnajstega stoletja. Zbirka je dostopna za predvajanje na spletu na [musescore.com](https://musescore.com/openscore-lieder-corpus) in jo je mogo\u010de tudi [prenesti](https://github.com/OpenScore/Lieder). Za ve\u010d informacij o zbirki partitur si oglejte [(Gotham in Jonas 2021)](https://doi.org/10.1145/3273024.3273026) ali [doti\u010dni prispevek](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers). Zbirka na Dezrannu vsebuje podmno\u017eico not \u017eenskih skladateljic, vklju\u010dno s harmoni\u010dnimi analizami, objavljenimi v [\u2018When in Rome\u2019 meta-korpusu](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus), ki so podrobneje opisane v [Gotham et al. 2023a](https://transactions.ismir.net/articles/10.5334/tismir.165). Korpus uporablja avtomatizirano merjenje razdalje med taktoma za namen izbolj\u0161ave interoperabilnosti oznak (*measure maps*)([Gotham et al., 2023b](https://doi.org/10.1145/3625135.3625136)).", "availability:zh-Hans": "OpenScore \u827a\u672f\u6b4c\u66f2\u8bed\u6599\u5e93\u6536\u5f55\u4e86 19 \u4e16\u7eaa\u957f\u65f6\u6bb5\u5185\u521b\u4f5c\u7684 1300 \u591a\u9996\u827a\u672f\u6b4c\u66f2\u3002\u672c\u5408\u96c6\u53ef\u5728 [musescore.com](https://musescore.com/openscore-lieder-corpus) \u5728\u7ebf\u64ad\u653e\uff0c\u4e5f\u53ef[\u4e0b\u8f7d\u83b7\u53d6](https://github.com/OpenScore/Lieder)\u3002\u66f4\u591a\u80cc\u666f\u8d44\u6599\u8bf7\u53c2\u9605 [Gotham \u4e0e Jonas 2021](https://doi.org/10.1145/3273024.3273026)\uff0c\u6216\u53c2\u9605[\u672c\u6587\u4ecb\u7ecd](http://www.sparksandwirycries.org/magazine/2020/8/18/mark-gotham-an-ode-to-digital-scores-for-singers)\u3002Dezrann \u5c55\u793a\u4e86\u5176\u4e2d\u7531\u5973\u6027\u4f5c\u66f2\u5bb6\u7684\u4f5c\u54c1\u5b50\u96c6\uff0c\u5e76\u9644\u6709\u5728 [\u201cWhen in Rome\u201d \u5143\u8bed\u6599\u5e93](https://github.com/MarkGotham/When-in-Rome/tree/master/Corpus/OpenScore-LiederCorpus) \u53d1\u5e03\u7684\u548c\u58f0\u5206\u6790\uff08\u53c2\u89c1 [Gotham \u7b49\uff0c2023a](https://transactions.ismir.net/articles/10.5334/tismir.165)\uff09\u3002\u8be5\u8bed\u6599\u5e93\u540c\u6837\u91c7\u7528\u5c0f\u8282\u6620\u5c04\uff08\u53c2\u89c1 [Gotham \u7b49\uff0c2023b](https://doi.org/10.1145/3625135.3625136)\uff09\uff0c\u4ee5\u63d0\u5347\u6ce8\u91ca\u7684\u517c\u5bb9\u6027\u3002", "contributors": { "maintainer": "Mark Gotham , Mathieu Giraud " }, "genre": "Lied", "id": "lieder", "image": "https://upload.wikimedia.org/wikipedia/commons/0/0b/Fannymendelssohn-improved.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Fanny-Mendelssohn-zoom.jpg", "license": "CC0-1.0", "motto": "176 Lieder (solo voice, piano) by 19th Century female composers, including Fanny Mendelssohn and Josephine Lang", "motto:de": "176 Lieder (Stimme, Klavier) von Komponistinnen des 19. Jahrhunderts, darunter Fanny Mendelssohn und Josephine Lang", "motto:el": "176 Lieder (\u03bc\u03bf\u03bd\u03cc\u03c6\u03c9\u03bd\u03bf, \u03c0\u03b9\u03ac\u03bd\u03bf) \u03b1\u03c0\u03cc \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u03b5\u03af\u03bf\u03c5\u03c2 \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 19\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1, \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03c4\u03c9\u03bd Fanny Mendelssohn \u03ba\u03b1\u03b9 Josephine Lang", "motto:fr": "176 Lieder (voix et piano) de compositrices du XIX\u1d49 si\u00e8cle, dont Fanny Mendelssohn et Josephine Lang", "motto:hr": "176 solo pjesama skladateljica 19. stolje\u0107a uklju\u010duju\u0107i Fanny Mendelssohn i Josephine Lang.", "motto:it": "176 Lieder (voce solista, pianoforte) di compositrici del XIX secolo, tra cui Fanny Mendelssohn e Josephine Lang", "motto:sl": "176 samospevov (solo glas, klavir) skladateljic 19. stoletja, vklju\u010dno s Fanny Mendelssohn in Josephine Lang", "motto:zh-Hans": "176 \u9996\u7531 19 \u4e16\u7eaa\u5973\u6027\u4f5c\u66f2\u5bb6\u521b\u4f5c\u7684\u827a\u672f\u6b4c\u66f2\uff08\u72ec\u5531\u4e0e\u94a2\u7434\u4f34\u594f\uff09\uff0c\u5305\u62ec\u82ac\u59ae\u00b7\u95e8\u5fb7\u5c14\u677e\u548c\u7ea6\u745f\u82ac\u00b7\u6717\u7684\u4f5c\u54c1", "next": "and synchronized audio for the cycle XXX by XXX.", "quality:corpus": 3, "quality:corpus:metadata": 4, "ref": "https://musescore.com/openscore-lieder-corpus", "shorttitle": "19th Century Lieder", "shorttitle:de": "Lieder des 19. Jahrhunderts", "shorttitle:el": "\u039b\u03af\u03bd\u03c4\u03b5\u03c1 \u03c4\u03bf\u03c5 19\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1", "shorttitle:fr": "Lieder du XIX\u1d49 si\u00e8cle", "shorttitle:hr": "Solo pjesme 19. stolje\u0107a", "shorttitle:it": "Lieder del XIX secolo", "shorttitle:sl": "Samospevi 19. stoletja", "shorttitle:zh-Hans": "19 \u4e16\u7eaa\u827a\u672f\u6b4c\u66f2", "showcase": [ "5101361", "5004640", "5000464", "6012947" ], "status": "\u2705 The corpus is in good condition, with only minor issues. The score are well presented, some of them include analyses and/or synchronized recordings. Perspectives include adding more analyses and open recordings.", "text": "Romantic [lieder](https://en.wikipedia.org/wiki/Lied) consist of solo songs for voice and piano accompaniment. These songs are typically set to poetry or lyrics and are known for their expressive and emotional qualities. In the 19th century, a period when women were often excluded from many areas of music, lieder was one genre where female composers made significant contributions. [Fanny Mendelssohn](https://en.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://en.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://en.wikipedia.org/wiki/Josephine_Lang), [Louise Reichardt](https://en.wikipedia.org/wiki/Louise_Reichardt), [Augusta Holm\u00e8s](https://en.wikipedia.org/wiki/Augusta_Holm%C3%A8s) and other women added depth and diversity to the world of lieder, expanding its horizons and contributing to the rich tapestry of 19th-century music.", "text:de": "Romantische [Lieder](https://de.wikipedia.org/wiki/Lied) sine f\u00fcr Sologesang mit Klavierbegleitung komponiert. Diese Lieder zielen in der Regel auf Poesie oder Texte ab und zeichnen sich durch ihre ausdrucksstarken und emotionalen Qualit\u00e4ten aus. Im 19. Jahrhundert, einer Zeit, in der Frauen oft von vielen Bereichen der Musik ausgeschlossen waren, haben Komponistinnen einen bedeutenden Beitrag zum Genre der Lieder geleistet. [Fanny Mendelssohn](https://de.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://de.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://de.wikipedia.org/wiki/Josephine_Lang), [Louise Reichardt](https://de.wikipedia.org/wiki/Louise_Reichardt), [Augusta Holm\u00e8s](https://de.wikipedia.org/wiki/Augusta_Holm%C3%A8s) und viele weitere mehr trugen zu mehr Tiefgang und Diversit\u00e4t des Kunstliedes bei und erweiterten ihren Horizont.", "text:el": "\u039f\u03b9 \u03c1\u03bf\u03bc\u03b1\u03bd\u03c4\u03b9\u03ba\u03bf\u03af [\u03bb\u03af\u03bd\u03c4\u03b5\u03c1](https://en.wikipedia.org/wiki/Lied) \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03bf\u03cd\u03bd\u03c4\u03b1\u03b9 \u03b1\u03c0\u03cc \u03bc\u03bf\u03bd\u03cc\u03c6\u03c9\u03bd\u03b1 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03b3\u03b9\u03b1 \u03c6\u03c9\u03bd\u03ae \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bd\u03bf\u03b4\u03b5\u03af\u03b1 \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5. \u0391\u03c5\u03c4\u03ac \u03c4\u03b1 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03c3\u03c5\u03bd\u03ae\u03b8\u03c9\u03c2 \u03c1\u03c5\u03b8\u03bc\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03b5 \u03c0\u03bf\u03af\u03b7\u03c3\u03b7 \u03ae \u03c3\u03c4\u03af\u03c7\u03bf\u03c5\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b3\u03bd\u03c9\u03c3\u03c4\u03ac \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03ad\u03ba\u03c6\u03c1\u03b1\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03c3\u03c5\u03bd\u03b1\u03b9\u03c3\u03b8\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5\u03c2 \u03c0\u03bf\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1. \u039a\u03b1\u03c4\u03ac \u03c4\u03bf\u03bd 19\u03bf \u03b1\u03b9\u03ce\u03bd\u03b1, \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf \u03ba\u03b1\u03c4\u03ac \u03c4\u03b7\u03bd \u03bf\u03c0\u03bf\u03af\u03b1 \u03bf\u03b9 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b5\u03c2 \u03c3\u03c5\u03c7\u03bd\u03ac \u03b1\u03c0\u03bf\u03ba\u03bb\u03b5\u03af\u03bf\u03bd\u03c4\u03b1\u03bd \u03b1\u03c0\u03cc \u03c0\u03bf\u03bb\u03bb\u03bf\u03cd\u03c2 \u03c4\u03bf\u03bc\u03b5\u03af\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2, \u03c4\u03b1 \u03bb\u03af\u03bd\u03c4\u03b5\u03c1 \u03ae\u03c4\u03b1\u03bd \u03ad\u03bd\u03b1 \u03b5\u03af\u03b4\u03bf\u03c2 \u03cc\u03c0\u03bf\u03c5 \u03bf\u03b9 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b5\u03c2 \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b5\u03c2 \u03ad\u03ba\u03b1\u03bd\u03b1\u03bd \u03c3\u03b7\u03bc\u03b1\u03bd\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bd\u03b5\u03b9\u03c3\u03c6\u03bf\u03c1\u03ad\u03c2. \u0397 [Fanny Mendelssohn](https://en.wikipedia.org/wiki/Fanny_Mendelssohn), \u03b7 [Clara Schumann](https://en.wikipedia.org/wiki/Clara_Schumann), \u03b7 [Josephine Lang](https://en.wikipedia.org/wiki/Josephine_Lang), \u03b7 [Louise Reichardt](https://en.wikipedia.org/wiki/Louise_Reichardt), \u03b7 [Augusta Holm\u00e8](https://en.wikipedia.org/wiki/Augusta_Holm%C3%A8s) \u03ba\u03b1\u03b9 \u03ac\u03bb\u03bb\u03b5\u03c2 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b5\u03c2 \u03c0\u03c1\u03cc\u03c3\u03b8\u03b5\u03c3\u03b1\u03bd \u03c0\u03bb\u03bf\u03cd\u03c4\u03bf \u03ba\u03b1\u03b9 \u03c0\u03bf\u03b9\u03ba\u03b9\u03bb\u03af\u03b1 \u03c3\u03c4\u03bf\u03bd \u03ba\u03cc\u03c3\u03bc\u03bf \u03c4\u03c9\u03bd \u03bb\u03af\u03bd\u03c4\u03b5\u03c1, \u03b4\u03b9\u03b5\u03c5\u03c1\u03cd\u03bd\u03bf\u03bd\u03c4\u03b1\u03c2 \u03c4\u03b9\u03c2 \u03bf\u03c1\u03b9\u03b6\u03cc\u03bd\u03c4\u03b9\u03b5\u03c2 \u03c4\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bdcontributing to the rich tapestry of 19th-century music.", "text:fr": "Les [lieder romantiques](https://en.wikipedia.org/wiki/Lied) sont des chansons pour voix accompagn\u00e9es d'un piano. Ces compositions mettent en musique des po\u00e8mes et sont r\u00e9put\u00e9es pour leurs qualit\u00e9s expressives et \u00e9motionnelles. Au XIX\u1d49 si\u00e8cle, une p\u00e9riode o\u00f9 les femmes \u00e9taient souvent exclues de nombreux domaines de la musique, les lieder constituaient l'un des rares genres o\u00f9 les compositrices ont apport\u00e9 des contributions significatives. [Fanny Mendelssohn](https://fr.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://fr.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://fr.wikipedia.org/wiki/Josephine_Caroline_Lang), Louise Reichardt, [Augusta Holm\u00e8s](https://fr.wikipedia.org/wiki/Augusta_Holm%C3%A8s) et d'autres femmes ont enrichi le monde des lieder et contribu\u00e9 \u00e0 la diversit\u00e9 de la musique du XIX\u1d49 si\u00e8cle.", "text:hr": "Skladbe za glas i klavirsku pratnju napisane u razdoblju glazbenog romantizma imenujemo solo pjesme. U vrijeme kada su \u017eene bile isklju\u010dene iz brojnih podru\u010dja javnog \u017eivota te im nije prili\u010dilo bilo kakvo umjetni\u010dko stvarala\u0161tvo, je specifi\u010dna namjena solo pjesama za intimna okru\u017eenja dopu\u0161tala da se u njoj oku\u0161aju i pripadnice drugog spola. K obliku solo pjesme su zna\u010dajno doprinesle [Fanny Mendelssohn](https://en.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://en.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://en.wikipedia.org/wiki/Josephine_Lang), [Louise Reichardt](https://en.wikipedia.org/wiki/Louise_Reichardt), [Augusta Holm\u00e8](https://en.wikipedia.org/wiki/Augusta_Holm%C3%A8s) i druge.", "text:it": "I [lieder](https://it.wikipedia.org/wiki/Lied) romantici consistono in canzoni soliste per voce e accompagnamento pianistico. Queste canzoni hanno tipicamente un'ambientazione data da testi poetici e sono conosciute per le loro qualit\u00e0 espressive ed emotive. Nel XIX secolo, un periodo in cui le donne erano spesso escluse da molte aree della musica, i lieder erano uno dei generi in cui le compositrici fecero significative contribuzioni. [Fanny Mendelssohn](https://it.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://it.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://it.wikipedia.org/wiki/Josephine_Lang), [Louise Reichardt](https://it.wikipedia.org/wiki/Louise_Reichardt), [Augusta Holm\u00e8s](https://it.wikipedia.org/wiki/Augusta_Holm%C3%A8s) e altre donne arricchirono il mondo dei lieder, ampliandone gli orizzonti e contribuendo al ricco tessuto della musica del XIX secolo.", "text:sl": "Sklabe za glas in klavirsko spremljavo iz obdobja romantike imenujemo [samospevi](https://en.wikipedia.org/wiki/Lied). \u010cetudi je bilo 19. stoletje obdobje, ko so bile \u017eenske (\u0161e) pogosto izklju\u010dene iz ve\u010dine glasbenih dejavnosti, so skladateljice, kot so [Fanny Mendelssohn](https://en.wikipedia.org/wiki/Fanny_Mendelssohn), [Clara Schumann](https://en.wikipedia.org/wiki/Clara_Schumann), [Josephine Lang](https://en.wikipedia.org/wiki/Josephine_Lang), [Louise Reichardt](https://en.wikipedia.org/wiki/Louise_Reichardt), [Augusta Holm\u00e8](https://en.wikipedia.org/wiki/Augusta_Holm%C3%A8s) in druge s svojimi samospevi prispevale k obogaditvi palete glasbe 19. stoletja.", "text:zh-Hans": "\u6d6a\u6f2b\u4e3b\u4e49\u65f6\u671f\u7684[\u827a\u672f\u6b4c\u66f2](https://en.wikipedia.org/wiki/Lied)\u662f\u4e00\u79cd\u4e3a\u72ec\u5531\u4e0e\u94a2\u7434\u4f34\u594f\u800c\u4f5c\u7684\u58f0\u4e50\u4f5c\u54c1\uff0c\u901a\u5e38\u914d\u4ee5\u8bd7\u6b4c\u6216\u6292\u60c5\u6587\u672c\uff0c\u4ee5\u5176\u8868\u73b0\u529b\u548c\u60c5\u611f\u6df1\u5ea6\u8457\u79f0\u300219 \u4e16\u7eaa\uff0c\u5973\u6027\u5728\u97f3\u4e50\u521b\u4f5c\u9886\u57df\u5e38\u906d\u6392\u65a5\uff0c\u800c\u827a\u672f\u6b4c\u66f2\u662f\u5973\u6027\u4f5c\u66f2\u5bb6\u80fd\u591f\u53d1\u6325\u7684\u91cd\u8981\u4f53\u88c1\u4e4b\u4e00\u3002[\u82ac\u59ae\u00b7\u95e8\u5fb7\u5c14\u677e](https://en.wikipedia.org/wiki/Fanny_Mendelssohn)\u3001[\u514b\u62c9\u62c9\u00b7\u8212\u66fc](https://en.wikipedia.org/wiki/Clara_Schumann)\u3001[\u7ea6\u745f\u82ac\u00b7\u6717](https://en.wikipedia.org/wiki/Josephine_Lang)\u3001[\u8def\u6613\u4e1d\u00b7\u8d56\u54c8\u7279](https://en.wikipedia.org/wiki/Louise_Reichardt)\u3001[\u5965\u53e4\u65af\u5854\u00b7\u5965\u5c14\u59c6\u65af](https://en.wikipedia.org/wiki/Augusta_Holm%C3%A8s)\u7b49\u4f5c\u66f2\u5bb6\u4e3a\u827a\u672f\u6b4c\u66f2\u589e\u6dfb\u4e86\u4e30\u5bcc\u7684\u8272\u5f69\uff0c\u62d3\u5c55\u4e86\u5176\u97f3\u4e50\u8bed\u8a00\u4e0e\u60c5\u611f\u8868\u8fbe\u7684\u7ef4\u5ea6\uff0c\u4e30\u5bcc\u4e86 19 \u4e16\u7eaa\u7684\u97f3\u4e50\u56fe\u666f\u3002", "title": "19th Century Lieder from female composers", "title:de": "Kunstlieder von Komponistinnen des 19. Jahrhunderts", "title:el": "\u039b\u03af\u03bd\u03c4\u03b5\u03c1 \u03c4\u03bf\u03c5 19\u03bf\u03c5 \u03b1\u03b9\u03ce\u03bd\u03b1 \u03b1\u03c0\u03cc \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u03b5\u03af\u03bf\u03c5\u03c2 \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b5\u03c2", "title:fr": "Compositrices et Lieder du XIX\u1d49 si\u00e8cle", "title:hr": "Solo pjesme skladateljica 19. stolje\u0107a", "title:it": "Lieder di compositrici del XIX secolo", "title:sl": "Samospevi skladateljic 19. stoletja", "title:zh-Hans": "19 \u4e16\u7eaa\u5973\u6027\u4f5c\u66f2\u5bb6\u7684\u827a\u672f\u6b4c\u66f2", "year": "" }, "pieces": { "4919673": { "opus": { "contributors": { "composer": "Clara Wieck", "lyricist": "Heinrich Heine" }, "id": "OpenScore/Lieder/4919673", "ref:corpus": "https://www.dezrann.net/~/openscore-lieder", "ref:dezrann": "https://www.dezrann.net/~/openscore-lieder/4919673", "ref:imslp#": "323995", "ref:musescore": "openscore-lieder-corpus/scores/4919673", "ref:wikipedia": "Clara_Schumann", 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"https://github.com/MarkGotham/When-in-Rome/raw/refs/heads/master/Corpus/OpenScore-LiederCorpus//Chaminade,_C\u00e9cile/_/Bonne_humeur/lc6264562.mscz" }, { "audio:yt": "bIlOkaaTOJ8", "contributors": { "editor": "Deutsche Grammophon", "performer": "Anne Sofie von Otter, Bengt Forsberg" }, "name": "Anne Sofie von Otter, Bengt Forsberg", "source": "https://www.youtube.com/playlist?list=OLAK5uy_kYZNVTGlm0k97nbUd0piSk0buQHUHeFr0", "year": 2001 } ] }, "6312216": { "opus": { "contributors": { "composer": "C\u00e9cile Chaminade", "lyricist": "Armand Lafrique" }, "id": "OpenScore/Lieder/6312216", "ref:corpus": "https://www.dezrann.net/~/openscore-lieder", "ref:dezrann": "https://www.dezrann.net/~/openscore-lieder/6312216", "ref:imslp#": "154289", "ref:musescore": "openscore-lieder-corpus/scores/6312216", "ref:wikipedia": "C\u00e9cile_Chaminade", "title": "Chanson espagnole", "year": "1857-1944" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": 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"contributors": { "editor": "OpenScore Lieder", "license": "CC0-1.0", "ref": "https://doi.org/10.17613/1my2-dm23" }, "measure-map": "GEN", "name": "OpenScore Lieder", "score": "https://github.com/MarkGotham/When-in-Rome/raw/refs/heads/master/Corpus/OpenScore-LiederCorpus//Mayer,_Emilie/_/Der_Erlk\u00f6nig/lc6573780.mscz" } ] }, "6635424": { "analysis:default": "analysis_dez_format.dez", "opus": { "contributors": { "composer": "M\u00e9lanie Bonis", "lyricist": "L\u00e9on Rimbault" }, "id": "OpenScore/Lieder/6635424", "key": "A minor", "ref:corpus": "https://www.dezrann.net/~/openscore-lieder", "ref:dezrann": "https://www.dezrann.net/~/openscore-lieder/6635424", "ref:imslp#": "654022", "ref:musescore": "openscore-lieder-corpus/scores/6635424", "ref:wikipedia": "M\u00e9lanie_Bonis", "title": "Allons prier!", "year": "1858-1937" }, "quality:annotation": "3", "quality:audio": "4", "quality:audio:synchro": "3", "quality:metadata": "3", "quality:musical-time": "3", "quality:score": "4", "sources": [ { "contributors": { "editor": "OpenScore Lieder", "license": "CC0-1.0", "ref": "https://doi.org/10.17613/1my2-dm23" }, "measure-map": "GEN", "name": "OpenScore Lieder", "score": "https://github.com/MarkGotham/When-in-Rome/raw/refs/heads/master/Corpus/OpenScore-LiederCorpus//Bonis,_Mel/_/Allons_prier!/lc6635424.mscz" }, { "analysis": "https://github.com/MarkGotham/When-in-Rome/raw/refs/heads/master/Corpus/OpenScore-LiederCorpus//Bonis,_Mel/_/Allons_prier!/analysis_dez_format.dez" } ] } } }, "schubert-winterreise": { "corpus": { "availability": "The Schubert Winterreise Dataset (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) contains, for all of the 24 lieder, scores, harmonic and formal analyses, as well as synchronized recordings. The free recordings with Gerhard H\u00fcsch and Hanns-Udo M\u00fcller (1933) and Randall Scarlata and Jeremy Denk (2006) are available through Dezrann.", "availability:de": "Das Schubert Winterreise Dataset (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) enth\u00e4lt f\u00fcr alle 24 Lieder Noten, harmonische und formale Analysen sowie synchronisierte Aufnahmen. Die gemeinfreien Aufnahmen mit Gerhard H\u00fcsch und Hanns-Udo M\u00fcller (1933) sowie Randall Scarlata und Jeremy Denk (2006) sind \u00fcber Dezrann verf\u00fcgbar.", "availability:el": "\u03a4\u03bf Schubert Winterreise Dataset (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9, \u03b3\u03b9\u03b1 \u03cc\u03bb\u03b1 \u03c4\u03b1 24 lieder, \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b5\u03c2, \u03b1\u03c1\u03bc\u03bf\u03bd\u03b9\u03ba\u03ad\u03c2 \u03ba\u03b1\u03b9 \u03c6\u03bf\u03c1\u03bc\u03b1\u03bb\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b1\u03bd\u03b1\u03bb\u03cd\u03c3\u03b5\u03b9\u03c2, \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2. \u039f\u03b9 \u03b4\u03c9\u03c1\u03b5\u03ac\u03bd \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2 \u03bc\u03b5 \u03c4\u03bf\u03c5\u03c2 Gerhard H\u00fcsch \u03ba\u03b1\u03b9 Hanns-Udo M\u00fcller (1933) \u03ba\u03b1\u03b9 Randall Scarlata \u03ba\u03b1\u03b9 Jeremy Denk (2006) \u03b5\u03af\u03bd\u03b1\u03b9 \u03b4\u03b9\u03b1\u03b8\u03ad\u03c3\u03b9\u03bc\u03b5\u03c2 \u03bc\u03ad\u03c3\u03c9 \u03c4\u03bf\u03c5 Dezrann.", "availability:fr": "Le [Schubert Winterreise Dataset](https://dx.doi.org/10.1145/3429743) (SWD) contient, pour chacun des 24 lieder, des partitions, des analyses harmoniques et formelles, ainsi que des enregistrement synchronis\u00e9s. Les enregistrements libres de Gerhard H\u00fcsch et Hanns-Udo M\u00fcller (1933) et Randall Scarlata et Jeremy Denk (2006) sont disponibles via Dezrann.", "availability:hr": "Skup podataka o Zimskom putovanju, op. 89, D911 Franza Schuberta (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) sadr\u017ei note, harmonijske i oblikovne analize te sinkronizirane snimke. Na platformi Dezrann besplatno su dostupne snimke s Gerhardom H\u00fcschom i Hanns-Udo M\u00fcllerom (1933) te Randallom Scarlatom i Jeremyjem Denkom (2006).", "availability:it": "Il Dataset Schubert Winterreise (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) contiene, per tutti e 24 i lieder, partiture, analisi di armonia e forma, nonch\u00e9 registrazioni sincronizzate. Le registrazioni di dominio pubblico con Gerhard H\u00fcsch e Hanns-Udo M\u00fcller (1933) e Randall Scarlata e Jeremy Denk (2006) sono disponibili tramite Dezrann.", "availability:sl": "Digitalna zbirka Schubertovega cikla Zimsko popotovanje (SWD, [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)) vsebuje partiture vseh 24 samospevov ter vizualizirano harmoni\u010dno in formalno analizo, skupaj z usklajenimi posnetki. Posnetki z izvajalci Gerhardom H\u00fcschom in Hanns-Udo M\u00fcllerjem (1933) ter Randallom Scarlato in Jeremyjem Denkom (2006) so prosto dostopni na Dezrannu.", "availability:zh-Hans": "\u8212\u4f2f\u7279\u300a\u51ac\u4e4b\u65c5\u300b\u6570\u636e\u96c6\uff08SWD\uff0c\u53c2\u89c1 [Wei\u00df 2021](https://dx.doi.org/10.1145/3429743)\uff09\u6db5\u76d6\u6240\u6709 24 \u9996\u827a\u672f\u6b4c\u66f2\u7684\u4e50\u8c31\u3001\u548c\u58f0\u4e0e\u66f2\u5f0f\u5206\u6790\uff0c\u5e76\u914d\u6709\u540c\u6b65\u5f55\u97f3\u3002\u53ef\u901a\u8fc7 Dezrann \u5728\u7ebf\u83b7\u53d6\u4e24\u7248\u514d\u8d39\u5f55\u97f3\uff1a\u4e00\u4e3a Gerhard H\u00fcsch \u4e0e Hanns-Udo M\u00fcller\uff081933\uff09\uff0c\u4e00\u4e3a Randall Scarlata \u4e0e Jeremy Denk\uff082006\uff09\u3002", "contributors": { "composer": "Franz Schubert", "encoder": "Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller", "maintainer": "Christof Wei\u00df , Emmanuel Leguy ", "performer:1": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller (1933)", "performer:2": "Randall Scarlata, Jeremy Denk (2006)" }, "genre": "Lied", "id": "schubert-winterreise", "image": "https://upload.wikimedia.org/wikipedia/commons/0/0d/Franz_Schubert_by_Wilhelm_August_Rieder_1875.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Schubert-zoom.jpg", "license": "CC-BY-3.0 (scores, annotations), PDM-1.0, CC-BY-NC-ND-3.0 (audio)", "motto": "Schubert's song cycle of 24 songs (1827-28) on romantic poems by Wilhelm M\u00fcller, score synchronized with two recordings (1933, 2006)", "motto:de": "Schuberts Liederzyklus mit 24 Liedern (1827-28) zu romantischen Gedichten von Wilhelm M\u00fcller, Noten synchronisiert mit zwei Aufnahmen (1933, 2006)", "motto:el": "\u03a4\u03bf \u03ba\u03cd\u03ba\u03bb\u03bf\u03c2 \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03ce\u03bd \u03c4\u03bf\u03c5 \u03a3\u03bf\u03cd\u03bc\u03c0\u03b5\u03c1\u03c4 \u03b1\u03c0\u03cc 24 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 (1827-28) \u03c3\u03b5 \u03c1\u03bf\u03bc\u03b1\u03bd\u03c4\u03b9\u03ba\u03ac \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03bf\u03c5 \u0392\u03af\u03bb\u03c7\u03b5\u03bb\u03bc \u039c\u03af\u03bb\u03b5\u03c1, \u03bc\u03b5 \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03ad\u03bd\u03b7 \u03c0\u03b1\u03c1\u03c4\u03b9\u03c4\u03bf\u03cd\u03c1\u03b1 \u03c0\u03bf\u03c5 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03af\u03b6\u03b5\u03c4\u03b1\u03b9 \u03bc\u03b5 \u03b4\u03cd\u03bf \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2 (1933, 2006)", "motto:fr": "24 Lieder de Schubert (1827-28) sur des po\u00e8mes de Wilhem M\u00fcller, partitions et deux enregistrements (1933, 2006)", "motto:hr": "Ciklus 24 solo pjesama skladatelja Franza Schuberta i pjesnika Wilhelma M\u00fcllera. Partitura je uskla\u0111ena s dvije audio snimke iz 1933. i 2006.", "motto:it": "Il ciclo di 24 lieder di Schubert (1827-28) su poesie romantiche di Wilhelm M\u00fcller, partiture sincronizzate con due registrazioni (1933, 2006)", "motto:sl": "Schubertov cikel 24 samospevov (1827-28) na romanti\u010dna besedila Wilhelma M\u00fcllerja, partiture katerih so usklajene z zvo\u010dnimi posnetki (1933, 2006)", "motto:zh-Hans": "\u8212\u4f2f\u7279\u6839\u636e\u5a01\u5ec9\u00b7\u7a46\u52d2\u7684\u6d6a\u6f2b\u4e3b\u4e49\u8bd7\u4f5c\u8c31\u5199\u7684 24 \u9996\u827a\u672f\u6b4c\u66f2\uff081827\u201328\uff09\uff0c\u914d\u6709\u4e24\u4efd\u5f55\u97f3\uff081933 \u5e74\u4e0e 2006 \u5e74\uff09\u540c\u6b65\u4e50\u8c31", "opus": "op. 89", "quality:corpus": 3, "quality:corpus:metadata": 4, "ref:doi": "10.1145/3429743", "ref:imslp": "Winterreise,_D.911_(Schubert,_Franz)", "ref:musicbrainz": "29508946-042c-4afa-8830-7254d1a08e45", "ref:wikipedia": "Winterreise", "ref:wikipedia:fr": "Winterreise", "shorttitle": "Winterreise", "shorttitle:de": "Winterreise", "shorttitle:el": "Winterreise", "shorttitle:en": "Schubert's Winterreise", "shorttitle:fr": "Winterreise, Schubert", "shorttitle:hr": "Zimsko putovanje", "shorttitle:it": "Winterreise", "shorttitle:sl": "Zimsko popotovanje", "shorttitle:zh-Hans": "\u8212\u4f2f\u7279\u300a\u51ac\u4e4b\u65c5\u300b", "showcase": [ "02", "03", "05" ], "status": "The corpus is in good condition. Most scores are well presented, with two synchronized recordings and analyses. \u26a0\ufe0f However, some issues remain on specific pieces.", "text": "The song cycle [Winterreise](https://en.wikipedia.org/wiki/Winterreise) by [Franz Schubert](https://en.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) includes 24 art songs or lieder, which were composed in two parts during the last two years of Schubert\u2019s life. The lieder were set to selected poems by his contemporary, [Wilhelm M\u00fcller](https://en.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). The romantic era brings illustrious descriptions of individual emotions or states, focusing especially on the loneliness and isolation. This is sensed not only in the M\u00fcller's poems, but well captured by Schubert\u2019s music in both, voice and piano part. His expertise in word painting release the piano from a mere chordal or arpeggiated accompaniment. Musical emphasis on certain words embodies [\u201cleitmotifs\u201d](https://en.wikipedia.org/wiki/Leitmotif), which reoccur in selected songs throughout the cycle.", "text:de": "Der Liederzyklus [Winterreise](https://de.wikipedia.org/wiki/Winterreise) von [Franz Schubert](https://de.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) umfasst 24 Kunstlieder, die in den letzten beiden Jahren von Schuberts Leben komponiert wurden. Die Lieder vertonen ausgew\u00e4hlten Gedichten seines Zeitgenossen [Wilhelm M\u00fcller](https://de.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). Die Romantik bringt klanvolle Beschreibungen individueller Emotionen oder Zust\u00e4nde mit sich und besch\u00e4ftigt sich besonders mit Einsamkeit und Isolation. Dies sp\u00fcrt man nicht nur in M\u00fcllers Gedichten, sondern wird auch von Schuberts Musik in Stimme und Klavierpart gut eingefangen. Seine gekonnte Wortmalerei befreit das Klavier von einer blo\u00dfen akkordischen oder arpeggierten Begleitung. Die musikalische Betonung bestimmter W\u00f6rter verk\u00f6rpert [Leitmotive](https://de.wikipedia.org/wiki/Leitmotiv), die in ausgew\u00e4hlten Liedern des Zyklus wiederkehren.", "text:el": "\u039f \u03ba\u03cd\u03ba\u03bb\u03bf\u03c2 \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03ce\u03bd [Winterreise](https://en.wikipedia.org/wiki/Winterreise) \u03c4\u03bf\u03c5 [\u03a6\u03c1\u03b1\u03bd\u03c4\u03c2 \u03a3\u03bf\u03cd\u03bc\u03c0\u03b5\u03c1\u03c4](https://en.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 24 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ac \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03ae lieder, \u03c4\u03b1 \u03bf\u03c0\u03bf\u03af\u03b1 \u03c3\u03c5\u03bd\u03b8\u03ad\u03c4\u03b7\u03ba\u03b1\u03bd \u03c3\u03b5 \u03b4\u03cd\u03bf \u03bc\u03ad\u03c1\u03b7 \u03ba\u03b1\u03c4\u03ac \u03c4\u03b1 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03b4\u03cd\u03bf \u03c7\u03c1\u03cc\u03bd\u03b9\u03b1 \u03c4\u03b7\u03c2 \u03b6\u03c9\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03a3\u03bf\u03cd\u03bc\u03c0\u03b5\u03c1\u03c4. \u03a4\u03b1 lieder \u03ad\u03c7\u03bf\u03c5\u03bd \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c5\u03c0\u03cc\u03ba\u03b5\u03b9\u03bc\u03b5\u03bd\u03b7 \u03c3\u03b5 \u03b5\u03c0\u03b9\u03bb\u03b5\u03b3\u03bc\u03ad\u03bd\u03b1 \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03bf\u03c5 \u03c3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03bf\u03c5 \u03c4\u03bf\u03c5 [\u0392\u03af\u03bb\u03c7\u03b5\u03bb\u03bc \u039c\u03af\u03bb\u03b5\u03c1](https://en.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). \u0397 \u03c1\u03bf\u03bc\u03b1\u03bd\u03c4\u03b9\u03ba\u03ae \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf\u03c2 \u03c6\u03ad\u03c1\u03bd\u03b5\u03b9 \u03b5\u03c0\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03b1\u03c4\u03bf\u03bc\u03b9\u03ba\u03ce\u03bd \u03c3\u03c5\u03bd\u03b1\u03b9\u03c3\u03b8\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd \u03ae \u03ba\u03b1\u03c4\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03c9\u03bd, \u03b5\u03c0\u03b9\u03ba\u03b5\u03bd\u03c4\u03c1\u03ce\u03bd\u03bf\u03bd\u03c4\u03b1\u03c2 \u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03c3\u03c4\u03b7\u03bd \u03bc\u03bf\u03bd\u03b1\u03be\u03b9\u03ac \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03b1\u03c0\u03bf\u03c7\u03b1\u03c1\u03b1\u03ba\u03c4\u03b7\u03c1\u03b9\u03c3\u03bc\u03cc. \u0391\u03c5\u03c4\u03cc \u03b1\u03bd\u03c4\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03c4\u03b1\u03b9 \u03cc\u03c7\u03b9 \u03bc\u03cc\u03bd\u03bf \u03c3\u03c4\u03b1 \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03bf\u03c5 \u039c\u03af\u03bb\u03b5\u03c1, \u03b1\u03bb\u03bb\u03ac \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03ba\u03b1\u03bb\u03cd\u03c0\u03c4\u03b5\u03c4\u03b1\u03b9 \u03b5\u03c0\u03b1\u03c1\u03ba\u03ce\u03c2 \u03b1\u03c0\u03cc \u03c4\u03b7 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03a3\u03bf\u03cd\u03bc\u03c0\u03b5\u03c1\u03c4, \u03c4\u03cc\u03c3\u03bf \u03c3\u03c4\u03bf \u03c6\u03c9\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc \u03cc\u03c3\u03bf \u03ba\u03b1\u03b9 \u03c3\u03c4\u03bf \u03c0\u03b9\u03ac\u03bd\u03bf. \u0397 \u03b5\u03b9\u03b4\u03af\u03ba\u03b5\u03c5\u03c3\u03ae \u03c4\u03bf\u03c5 \u03c3\u03c4\u03bf\u03bd \u03c0\u03af\u03bd\u03b1\u03ba\u03b1 \u03bb\u03ad\u03be\u03b5\u03c9\u03bd \u03b1\u03c0\u03b5\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03ce\u03bd\u03b5\u03b9 \u03c4\u03bf \u03c0\u03b9\u03ac\u03bd\u03bf \u03b1\u03c0\u03cc \u03bc\u03b9\u03b1 \u03b1\u03c0\u03bb\u03ae \u03b1\u03ba\u03bf\u03c1\u03bd\u03c4\u03b9\u03ba\u03ae \u03ae \u03b1\u03c1\u03c0\u03b9\u03c3\u03c4\u03ae \u03c3\u03c5\u03bd\u03bf\u03b4\u03b5\u03af\u03b1. \u0397 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03ad\u03bc\u03c6\u03b1\u03c3\u03b7 \u03c3\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03b5\u03c2 \u03bb\u03ad\u03be\u03b5\u03b9\u03c2 \u03b5\u03bd\u03c3\u03b1\u03c1\u03ba\u03ce\u03bd\u03b5\u03b9 \u03c4\u03b1 [\u201cleitmotifs\u201d](https://en.wikipedia.org/wiki/Leitmotif), \u03c4\u03b1 \u03bf\u03c0\u03bf\u03af\u03b1 \u03b5\u03c0\u03b1\u03bd\u03ad\u03c1\u03c7\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03b5 \u03b5\u03c0\u03b9\u03bb\u03b5\u03b3\u03bc\u03ad\u03bd\u03b1 \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03ba\u03b1\u03c4\u03ac \u03c4\u03b7 \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03bf\u03bb\u03cc\u03ba\u03bb\u03b7\u03c1\u03bf\u03c5 \u03c4\u03bf\u03c5 \u03ba\u03cd\u03ba\u03bb\u03bf\u03c5.", "text:fr": "Le cycle de chansons [Winterreise](https://fr.wikipedia.org/wiki/Winterreise) de [Franz Schubert](https://fr.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) comprend 24 *lieder*, compos\u00e9es en deux fois au cours des deux derni\u00e8res ann\u00e9es de la vie de Schubert. Schubert a mis en musique des po\u00e8mes de son contemporain, [Wilhelm M\u00fcller](https://fr.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). L'\u00e8re romantique souligne les descriptions imag\u00e9es des \u00e9motions, en particulier sur la solitude et l'isolement. Elles sont ressenties non seulement dans les mots de M\u00fcller, mais bien aussi dans la musique de Schubert, tant du point de vue vocal que pianistique. Le piano accompagne bien plus que par de simple accords ou arp\u00e8ges. Certains mots sont soulign\u00e9s comme des [*leitmotifs*](https://fr.wikipedia.org/wiki/Leitmotif) qui r\u00e9apparaissent dans certaines chansons tout au long du cycle.", "text:hr": "[Zimsko putovanje](https://en.wikipedia.org/wiki/Winterreise) je ciklus solo pjesama (njem. [lied](https://en.wikipedia.org/wiki/Lied))) [Franza Schuberta](https://en.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) na stihove [Wilhelma M\u00fcllera](https://en.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). Obuhva\u0107a 24 solo pjesama napisanih u posljednje dvije godine skladateljeva \u017eivota. Romantizam 19. stolje\u0107a razdoblje je slikovitih opisa emocionalnih stanja pojedinaca s posebnim zanimanjem za osje\u0107aj osamljenosti, \u0161to se vidi i u M\u00fcllerovoj poeziji te Schubertovoj glazbi. Vokalna i klavirska dionica ovdje su ravnopravne: klavir nije sveden na puku akordsku pranju, ve\u0107 sudjeluje u slikanju atmosfere M\u00fcllerovih stihova. Pojedine rije\u010di imaju posebnu te\u017einu, \u0161to se vidi i u glazbenoj analizi, posebice zbog na njih vezane melodijske ili harmonijske obrasce (mogli bi govoriti o [\u201cleitmotivima\u201d](https://en.wikipedia.org/wiki/Leitmotif)).", "text:it": "Il ciclo [Winterreise](https://it.wikipedia.org/wiki/Winterreise) di [Franz Schubert](https://it.wikipedia.org/wiki/Franz_Schubert) (1797-1828) include 24 canzoni d'arte o lieder. Il ciclo \u00e8 diviso in due parti, e fu composto da Schubert durante gli ultimi due anni della sua vita. I lieder mettono in musica una selezione di poesie del suo contemporaneo [Wilhelm M\u00fcller](https://it.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794-1827). Il periodo romantico \u00e8 caratterizzato da descrizioni illustri di emozioni e stati d'animo individuali, che si concentrano soprattutto sulla solitudine e sull'isolamento. Questo viene trasmesso non solo dalle poesie di M\u00fcller, ma \u00e8 ben catturato anche dalla musica di Schubert, sia nella melodia cantata, che nella parte del pianoforte. La competenza di Schubert nel dipingere le parole coi suoni libera il pianoforte da un mero accompagnamento di accordi o arpeggi. L'accento musicale su alcune parole incarna i [\u201cleitmotifs\u201d](https://it.wikipedia.org/wiki/Leitmotiv), che si ripetono in alcune canzoni del ciclo.", "text:sl": "Cikel pesmi [Zimsko Popotovanje (oz. Winterreise)](https://en.wikipedia.org/wiki/Winterreise) skladatelja [Franza Schuberta](https://sl.wikipedia.org/wiki/Franz_Schubert) (1797\u20131828) obsega 24 samospevov v dveh delih, ki sta nastala v zadnjih dveh letih Schubertovega \u017eivljenja. Samospevi so bili komponirani na izbrane pesmi njegovega sodobnika [Wilhelma M\u00fcllera](https://en.wikipedia.org/wiki/Wilhelm_M%C3%BCller) (1794\u20131827). Romanti\u010dna doba prina\u0161a ilustrativne opise posameznih \u010dustev ali stanj, pri \u010demer se osredoto\u010da zlasti na osamljenost in izolacijo. To ni prisotno le v M\u00fcllerjevih pesmih, ampak je dobro ujeto tudi v Schubertovi glasbi tako v vokalnem kot klavirskem delu. Njegovo dobro obvladovanje glasbenega slikanja M\u00fcllerjevih verzov, klavir osvobaja preproste akordske ali razlo\u017eene spremljave. Dolo\u010dene besede imajo posebno te\u017eo, kar je razvidno iz glasbene analize, predvsem zaradi melodi\u010dnih ali harmoni\u010dnih vzorcev, ki so jim pripeti (lahko bi govorili o [\u201cleitmotivih\u201d](https://en.wikipedia.org/wiki/Leitmotif)).", "text:zh-Hans": "[\u300a\u51ac\u4e4b\u65c5\u300b](https://en.wikipedia.org/wiki/Winterreise) \u662f [\u5f17\u6717\u8328\u00b7\u8212\u4f2f\u7279](https://en.wikipedia.org/wiki/Franz_Schubert)\uff081797\u20131828\uff09\u751f\u547d\u6700\u540e\u4e24\u5e74\u95f4\u521b\u4f5c\u7684\u58f0\u4e50\u5957\u66f2\uff0c\u5171\u5305\u542b 24 \u9996\u827a\u672f\u6b4c\u66f2\uff08Lieder\uff09\u3002\u8fd9\u4e9b\u6b4c\u66f2\u53d6\u6750\u81ea\u5176\u540c\u65f6\u4ee3\u8bd7\u4eba[\u5a01\u5ec9\u00b7\u7a46\u52d2](https://en.wikipedia.org/wiki/Wilhelm_M%C3%BCller)\uff081794\u20131827\uff09\u7684\u9009\u5b9a\u8bd7\u4f5c\u3002\u6d6a\u6f2b\u4e3b\u4e49\u65f6\u671f\u7279\u522b\u6ce8\u91cd\u4e2a\u4f53\u60c5\u611f\u7684\u63cf\u7ed8\uff0c\u4f5c\u54c1\u4e2d\u5145\u6ee1\u5b64\u72ec\u4e0e\u758f\u79bb\u7684\u60c5\u7eea\u3002\u8fd9\u4e0d\u4ec5\u4f53\u73b0\u5728\u7a46\u52d2\u7684\u8bd7\u4e2d\uff0c\u4e5f\u6df1\u523b\u53cd\u6620\u4e8e\u8212\u4f2f\u7279\u7684\u97f3\u4e50\u2014\u2014\u65e0\u8bba\u662f\u5728\u58f0\u4e50\u65cb\u5f8b\u8fd8\u662f\u94a2\u7434\u4f34\u594f\u4e2d\u3002\u8212\u4f2f\u7279\u7cbe\u6e5b\u7684\u201c\u6587\u5b57\u63cf\u7ed8\u201d\u6280\u5de7\u8d4b\u4e88\u94a2\u7434\u8d85\u8d8a\u548c\u5f26\u5f0f\u6216\u7436\u97f3\u4f34\u594f\u7684\u8868\u73b0\u529b\u3002\u5bf9\u67d0\u4e9b\u8bcd\u8bed\u7684\u5f3a\u8c03\u901a\u8fc7\u97f3\u4e50\u4e2d\u7684[\u4e3b\u9898\u52a8\u673a\uff08leitmotifs\uff09](https://en.wikipedia.org/wiki/Leitmotif) \u5f97\u4ee5\u4f53\u73b0\uff0c\u5728\u5957\u66f2\u7684\u82e5\u5e72\u6b4c\u66f2\u4e2d\u53cd\u590d\u51fa\u73b0\u3002", "title": "Winterreise", "title:de": "Winterreise", "title:el": "Winterreise", "title:en": "Winterreise (Winter Journey)", "title:fr": "Winterreise (Voyage d'Hiver)", "title:hr": "Franz Schubert: Zimsko putovanje, op. 89, D911", "title:it": "Winterreise di Schubert", "title:sl": "Franz Schubert: Zimsko popotovanje, op. 89, D911", "title:zh-Hans": "\u300a\u51ac\u4e4b\u65c5\u300b\uff08Winterreise\uff09", "year": "1827\u20131828" }, "pieces": { "01": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. 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Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "18", "movement:num": "18", "movement:title": "Der st\u00fcrmische Morgen", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/18", "sources-path": "../../../../schubert-winterreise/", "title": "Der st\u00fcrmische Morgen", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "18.mm.json", "score": "18.xml" }, { "analysis": "18.dez" }, { "audio": "18_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "18_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "4/4" }, "19": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "19", "movement:num": "19", "movement:title": "T\u00e4uschung", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/19", "sources-path": "../../../../schubert-winterreise/", "title": "T\u00e4uschung", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "19.mm.json", "score": "19.xml" }, { "analysis": "19.dez" }, { "audio": "19_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "19_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "6/8", "time-signature-upbeat": 0.5 }, "20": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "20", "movement:num": "20", "movement:title": "Der Wegweiser.", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/20", "sources-path": "../../../../schubert-winterreise/", "title": "Der Wegweiser.", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "20.mm.json", "score": "20.xml" }, { "analysis": "20.dez" }, { "audio": "20_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "20_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "2/4", "time-signature-upbeat": 0.5 }, "21": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "21", "movement:num": "21", "movement:title": "Das Wirtshaus", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/21", "sources-path": "../../../../schubert-winterreise/", "title": "Das Wirtshaus", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "21.mm.json", "score": "21.xml" }, { "analysis": "21.dez" }, { "audio": "21_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "21_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "4/4" }, "22": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "22", "movement:num": "22", "movement:title": "Mut!", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/22", "sources-path": "../../../../schubert-winterreise/", "title": "Mut!", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "22.mm.json", "score": "22.xml" }, { "analysis": "22.dez" }, { "audio": "22_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "22_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "2/4" }, "23": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "23", "movement:num": "23", "movement:title": "Die Nebensonnen", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/23", "sources-path": "../../../../schubert-winterreise/", "title": "Die Nebensonnen", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "23.mm.json", "score": "23.xml" }, { "analysis": "23.dez" }, { "audio": "23_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "23_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "3/4", "time-signature-upbeat": 0.5 }, "24": { "opus": { "collection": "Winterreise", "collection:zh-Hans": "\u51ac\u4e4b\u65c5", "contributors": { "composer": "Franz Schubert", "encoder": " Christof Wei\u00df, Frank Zalkow, Vlora Arifi-M\u00fcller, Meinard M\u00fcller, Hendrik Vincent Koops, Anja Volk, Harald G. Grohganz", "lyricist": "Wilhelm M\u00fcller" }, "genre": "lied", "id": "24", "movement:num": "24", "movement:title": "Der Leiermann", "opus": "op. 89, D.911", "ref:corpus": "https://www.dezrann.net/~/schubert-winterreise", "ref:dezrann": "https://www.dezrann.net/~/schubert-winterreise/24", "sources-path": "../../../../schubert-winterreise/", "title": "Der Leiermann", "year": "1827-1828" }, "quality:audio": "4", "quality:audio:synchro": "4", "sources": [ { "measure-map": "24.mm.json", "score": "24.xml" }, { "analysis": "24.dez" }, { "audio": "24_HU33.wav", "contributors": { "performer": "Gerhard H\u00fcsch, Hanns-Udo M\u00fcller" }, "synchro": "synchro_HU33.json", "year": "1933" }, { "audio": "24_SC06.wav", "contributors": { "performer": "Randall Scarlata, Jeremy Denk" }, "synchro": "synchro_SC06.json", "year": "2006" } ], "time-signature": "3/4" } } }, "slovenian-folk-song-ballads": { "corpus": { "availability": "Zbirka Slovenske ljudske pripovedne pesmi vsebuje transkribirano terensko gradivo, ki so ga zbrali slovenski etnologi, folkloristi, etnomuzikologi in razli\u010dni sodelavci [Glasbenonarodopisni in\u0161titut ZRC SAZU](https://gni.zrc-sazu.si/sl) v letih od 1819 do 1995. Tematsko razvr\u0161\u010dena v dru\u017einske pripovedne pesmi, obsega 404 enoglasnih zapisov ljudskih pesmi in vklju\u010duje za\u010detni verz besedila, obse\u017ene metapodatke in glasbeno analizo, ki zajema konture, harmonijo in strukturo pesmi (melodije in besedila)([glej Borsan et al., 2023](https://hal.science/hal-04142315)). Poleg tega vklju\u010duje omejeno \u0161tevilo (23) razpolo\u017eljivih posnetkov. Uredni\u0161ki odbor zbirke: Vanessa Nina Borsan, aktualni \u010dlani [Glasbenonarodopisni in\u0161titut ZRC SAZU (Mojca Kova\u010di\u010d, Marjeta Pisk)](https://gni.zrc-sazu.si/sl) in raziskovalna skupina Algomus.", "availability:de": "Die Sammlung slowenischer Volkslieder enth\u00e4lt Transkriptionen, das von slowenischen Ethnolog*innen, Folklorist*innen, Musikethnolog*innen und Mitarbeiter*innen des [GNI ZRC SAZU](https://gni.zrc-sazu.si/sl) in den Jahren 1819 bis 1995 in Feldforschungen gesammelt wurde. Thematisch unterteilt, umfasst sie 404 einstimmige Aufzeichnungen von Volksliedern und enth\u00e4lt den Anfangsvers des Textes, umfangreiche Metadaten und musikalische Analysen, die Konturen, Harmonie und Struktur des Liedes umfassen (Melodie und Text)([siehe Borsan et al., 2023](https://hal.science/hal-04142315)). Dar\u00fcber hinaus enth\u00e4lt sie eine begrenzte Anzahl von verf\u00fcgbaren Aufnahmen (23). Kurator*innen der Sammlung: Vanessa Nina Borsan, aktuelle Mitglieder des [GNI ZRC SAZU (Mojca Kova\u010di\u010d, Marjeta Pisk)](https://gni.zrc-sazu.si/sl) und die Forschungsgruppe Algomus.", "availability:el": "\u0397 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03a3\u03bb\u03bf\u03b2\u03b5\u03bd\u03b9\u03ba\u03ce\u03bd \u0394\u03b7\u03bc\u03bf\u03c4\u03b9\u03ba\u03ce\u03bd \u0391\u03c6\u03b7\u03b3\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ce\u03bd \u03a4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03ce\u03bd \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf \u03c0\u03b5\u03b4\u03af\u03bf, \u03c4\u03b9\u03c2 \u03bf\u03c0\u03bf\u03af\u03b5\u03c2 \u03c3\u03c5\u03bd\u03ad\u03bb\u03b5\u03be\u03b1\u03bd \u03c3\u03bb\u03bf\u03b2\u03ad\u03bd\u03bf\u03b9 \u03b5\u03b8\u03bd\u03bf\u03bb\u03cc\u03b3\u03bf\u03b9, \u03bb\u03b1\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03b9, \u03b5\u03b8\u03bd\u03bf\u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03bb\u03cc\u03b3\u03bf\u03b9 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03bf\u03b9 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03ac\u03c4\u03b5\u03c2 \u03c4\u03bf\u03c5 [GNI ZRC SAZU](https://gni.zrc-sazu.si/sl) \u03b1\u03c0\u03cc \u03c4\u03bf 1819 \u03ad\u03c9\u03c2 \u03c4\u03bf 1995. \u0398\u03b5\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac \u03c4\u03b1\u03be\u03b9\u03bd\u03bf\u03bc\u03b7\u03bc\u03ad\u03bd\u03b7 \u03c3\u03b5 \u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ac \u03b1\u03c6\u03b7\u03b3\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1, \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 404 \u03bc\u03bf\u03bd\u03cc\u03c6\u03c9\u03bd\u03b5\u03c2 \u03b5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03b4\u03b7\u03bc\u03bf\u03c4\u03b9\u03ba\u03ce\u03bd \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03ce\u03bd \u03ba\u03b1\u03b9 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c4\u03bf\u03bd \u03b1\u03c1\u03c7\u03b9\u03ba\u03cc \u03c3\u03c4\u03af\u03c7\u03bf \u03c4\u03bf\u03c5 \u03ba\u03b5\u03b9\u03bc\u03ad\u03bd\u03bf\u03c5, \u03b5\u03ba\u03c4\u03b5\u03bd\u03b5\u03af\u03c2 \u03bc\u03b5\u03c4\u03b1\u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03b1 \u03ba\u03b1\u03b9 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03b1\u03bd\u03ac\u03bb\u03c5\u03c3\u03b7, \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd \u03ba\u03b1\u03bc\u03c0\u03c5\u03bb\u03ce\u03bd, \u03b1\u03c1\u03bc\u03bf\u03bd\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03b4\u03bf\u03bc\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03bf\u03cd (\u03bc\u03b5\u03bb\u03c9\u03b4\u03af\u03b1 \u03ba\u03b1\u03b9 \u03ba\u03b5\u03af\u03bc\u03b5\u03bd\u03bf) ([\u03b4\u03b5\u03af\u03c4\u03b5 Borsan et al., 2023](https://hal.science/hal-04142315)). \u0395\u03c0\u03b9\u03c0\u03bb\u03ad\u03bf\u03bd, \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c0\u03b5\u03c1\u03b9\u03bf\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03b1\u03c1\u03b9\u03b8\u03bc\u03cc (23) \u03b4\u03b9\u03b1\u03b8\u03ad\u03c3\u03b9\u03bc\u03c9\u03bd \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03c9\u03bd. \u0395\u03c0\u03b9\u03bc\u03b5\u03bb\u03b7\u03c4\u03b9\u03ba\u03ae \u03bf\u03bc\u03ac\u03b4\u03b1 \u03c4\u03b7\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae\u03c2: Vanessa Nina Borsan, \u03c4\u03c1\u03ad\u03c7\u03bf\u03bd\u03c4\u03b1 \u03bc\u03ad\u03bb\u03b7 \u03c4\u03bf\u03c5 [GNI ZRC SAZU (Mojca Kova\u010di\u010d, Marjeta Pisk)](https://gni.zrc-sazu.si/sl) \u03ba\u03b1\u03b9 \u03b7 \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1 \u03c4\u03bf\u03c5 Algomus.", "availability:en": "The collection of Slovenian folk song ballads contains transcribed field material collected by Slovenian ethnologists, folklorists, ethnomusicologists and various colleagues of [Glasbenonarodopisni in\u0161titut ZRC SAZU](https://gni.zrc-sazu.si/en) spanning from the years 1819 to 1995. Categorized thematically as family ballads, this collection features 404 folk songs, and includes the initial verse of the lyrics, extensive metadata, and musical analysis, encompassing contours, harmony, and song structure (melody and lyric) (see [(Borsan et al., 2023)](https://hal.science/hal-04142315) and [(Borsan et al., 2025)](https://hal.science/hal-05040730)). 23 of these songs have historical recordings.", "availability:fr": "Ce corpus de ballades slov\u00e8nes provient de transcriptions collect\u00e9es par des ethnologues, des folkloristes, des ethnomusicologues et divers contributeurs slov\u00e8nes entre 1819 et 1995. Le corpus comprend 404 chansons folkloriques. Sont ici disponibles le premier couplet, des m\u00e9tadonn\u00e9s, une analyse musicale incluant la structure et l'harmonie. Un enregistrement historique est disponibe pour 23 de ces chansons.", "availability:hr": "Zbirka Slovenskih pripovjednih narodnih pjesama obuhva\u0107a transkripcije terenske gra\u0111e koju su skupljali slovenski etnolozi, folkloristi, etnomuzikolozi te brojni drugi suradnici [GNI ZRC SAZU](https://gni.zrc-sazu.si/en/homepage) od 1819. do 1995 godine. Zbirka je tematski svrstana pod obiteljske pripovjedne pjesme, sadr\u017ei 404 jednoglasnih zapisa narodnih pjesana, uklju\u010duje po\u010detni stih teksta, opse\u017ene metapodatke te glazbenu analizu strukture (melodije i teksta), kontura i harmonija ([vidi Borsan i suradnici, 2023](https://hal.science/hal-04142315)). Osim toga, zbirka zahva\u0107a i ograni\u010deni broj (23) dostupnih snimaka. Uredni\u010dki odbor zbirke \u010dine: Vanessa Nina Borsan, trenutni \u010dlanovi [GNI ZRC SAZU (Mojca Kova\u010di\u010d, Marjeta Pisk)](https://gni.zrc-sazu.si/sl) i istra\u017eiva\u010dka skupina Algomus.", "availability:it": "La raccolta di canzoni popolari slovene include materiale trascritto sul campo, raccolto da etnologi, folcloristi, etnomusicologi e vari collaboratori dell'Istituto di Etnomusicologia [GNI ZRC SAZU](https://gni.zrc-sazu.si/sl) tra il 1819 e il 1995. Questa collezione di ballate popolari, categorizzate tematicamente come ballate familiari, comprende 404 canzoni popolari, e ne include la prima strofa del testo, una estesa collezione di metadati e un'analisi musicale che copre profili melodici, armonia e struttura della canzone (melodia e testo)([vedi Borsan et al., 2023](https://hal.science/hal-04142315)). Inoltre, 23 di queste sono accompagnate da registrazioni storiche.", "availability:zh-Hans": "\u8be5\u6b4c\u8c23\u96c6\u7531\u65af\u6d1b\u6587\u5c3c\u4e9a\u6c11\u65cf\u5b66\u5bb6\u3001\u6c11\u4fd7\u5b66\u8005\u3001\u6c11\u65cf\u97f3\u4e50\u5b66\u8005\u53ca[\u65af\u6d1b\u6587\u5c3c\u4e9a\u79d1\u5b66\u9662 ZRC SAZU \u97f3\u4e50\u6c11\u4fd7\u7814\u7a76\u6240](https://gni.zrc-sazu.si/en)\u7684\u7814\u7a76\u4eba\u5458\u4e8e 1819 \u81f3 1995 \u5e74\u95f4\u91c7\u96c6\u3002\u6839\u636e\u201c\u5bb6\u5ead\u53d9\u4e8b\u6b4c\u8c23\u201d\u4e3b\u9898\u5206\u7c7b\uff0c\u5171\u6536\u5f55 404 \u9996\u6c11\u95f4\u6b4c\u66f2\uff0c\u5305\u542b\u6b4c\u8bcd\u9996\u53e5\u3001\u4e30\u5bcc\u7684\u5143\u6570\u636e\u4e0e\u97f3\u4e50\u5206\u6790\uff0c\u5305\u62ec\u65cb\u5f8b\u7ebf\u6761\u3001\u548c\u58f0\u4e0e\u6b4c\u66f2\u7ed3\u6784\uff08\u65cb\u5f8b\u4e0e\u6b4c\u8bcd\u642d\u914d\uff09\u3002\u8be6\u89c1 [Borsan \u7b49\uff0c2023](https://hal.science/hal-04142315) \u4e0e Borsan \u7b49\u540e\u7eed\u63d0\u4ea4\u7a3f\u4ef6\u3002\u8be5\u8bed\u6599\u4e2d\u6709 23 \u9996\u6b4c\u66f2\u914d\u6709\u5386\u53f2\u5f55\u97f3\u3002", "columns": "ethno", "contributors": { "analyst": "Vanessa Nina Borsan, Mojca Kova\u010di\u010d, Marjeta Pisk, Glasbenonarodopisni in\u0161titut ZRC SAZU", "encoder": "Matev\u017e Pesek, Matija Marolt, Vanessa Nina Borsan", "maintainer": "Vanessa Nina Borsan , Mathieu Giraud " }, "genre:en": "folk songs", "genre:sl": "ljudske pesmi", "id": "slovenian-folk-song-ballads", "image": "http://ismir2023program.ismir.net/static/paper_images/156", "image:other": "https://ws.dezrann.net/resources/corpus/images/logo-ZRC-SAZU.jpg", "license": "CC-BY-NC-SA-4.0", "motto": "Zbirka slovenskih ljudskih pripovednih pesmi z dru\u017einsko tematiko, zbranih, posnetih ali zapisanih med letoma 1819 in 1995.", "motto:de": "Sammlung volkst\u00fcmlicher slowenischer Volksliedballaden mit popul\u00e4ren Themen, gesammelt, aufgezeichnet oder aufgezeichnet zwischen 1819 und 1995.", "motto:el": "\u03a3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c3\u03bb\u03bf\u03b2\u03b5\u03bd\u03b9\u03ba\u03ce\u03bd \u03b4\u03b7\u03bc\u03bf\u03c4\u03b9\u03ba\u03ce\u03bd \u03b1\u03c6\u03b7\u03b3\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ce\u03bd \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03ce\u03bd \u03bc\u03b5 \u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03cc \u03b8\u03ad\u03bc\u03b1, \u03c3\u03c5\u03bb\u03bb\u03b5\u03b3\u03bc\u03ad\u03bd\u03c9\u03bd, \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ad\u03bd\u03c9\u03bd \u03ae \u03ba\u03b1\u03c4\u03b1\u03b3\u03b5\u03b3\u03c1\u03b1\u03bc\u03bc\u03ad\u03bd\u03c9\u03bd \u03bc\u03b5\u03c4\u03b1\u03be\u03cd \u03c4\u03c9\u03bd \u03b5\u03c4\u03ce\u03bd 1819 \u03ba\u03b1\u03b9 1995.", "motto:en": "404 Slovenian folk song ballads with family themes, collected between the years 1819 and 1995.", "motto:fr": "404 chansons folkloriques slov\u00e8nes sur la famille, collect\u00e9es entre 1819 et 1995.", "motto:hr": "Zbirka slovenskih pripovjednih narodnih pjesama obiteljske tematike, prikupljenih, snimljenih i zapisanih izme\u0111u 1819. i 1995. godine.", "motto:it": "Raccolta di ballate popolari slovene a tema familiare, raccolte, registrate o scritte tra il 1819 e il 1995.", "motto:zh-Hans": "404 \u9996\u4ee5\u5bb6\u5ead\u4e3b\u9898\u4e3a\u4e3b\u7684\u65af\u6d1b\u6587\u5c3c\u4e9a\u6c11\u95f4\u53d9\u4e8b\u6b4c\u8c23\uff0c\u91c7\u96c6\u65f6\u95f4\u8de8\u8d8a 1819 \u81f3 1995 \u5e74", "quality:corpus": "5", "quality:corpus:metadata": "4", "ref": "https://www.algomus.fr/data", "ref:doi": "10.57745/SINZFK", "ref:pub": "(Borsan et al., submitted)", "shorttitle": "Slovenske pripovedne pesmi", "shorttitle:de": "Slowenische Familiensagen", "shorttitle:el": "\u03a3\u03bb\u03bf\u03b2\u03b5\u03bd\u03b9\u03ba\u03ad\u03c2 \u039f\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ad\u03c2 \u039c\u03c0\u03b1\u03bb\u03ac\u03bd\u03c4\u03b5\u03c2", "shorttitle:en": "Slovenian Family Ballads", "shorttitle:fr": "Ballades slov\u00e8nes", "shorttitle:hr": "Slovenske pripovjedne pjesme", "shorttitle:it": "Ballate familiari slovene", "shorttitle:sl": "Slovenske pripovedne pesmi", "shorttitle:zh-Hans": "\u65af\u6d1b\u6587\u5c3c\u4e9a\u5bb6\u5ead\u6b4c\u8c23", "showcase": [ "267-56--B", "248-18", "256-11--A1", "263-5" ], "status": "\u2705 The corpus is in good condition, with only minor issues. It is fully reproducible from a long-term archive. For the majority of pieces, the score are well presented and include analyses. A few of them have synchronized recordings.", "sub-genre:1:en": "ballad", "sub-genre:1:sl": "pripovedna", "sub-genre:2:en": "ballad-lyrical", "sub-genre:2:sl": "pripovedno-lirska", "sub-genre:3:en": "lyrical", "sub-genre:3:sl": "lirska", "text": "Zbirka sestoji iz dru\u017einskih pripovednih pesmi, tj. pesmi, z relativno kratkimi, a ponavljajo\u010dimi se melodi\u010dnimi odseki, skozi katere pevec preko besedila pripoveduje dalj\u0161o pripoved. Tematsko spadajo vklju\u010deni tipi med tiste, ki pojejo o *dru\u017einskih usodah*. Poleg izvirnih slovenskih motivov je v teh kar nekaj splo\u0161no evropskih ali slovanskih tem. Vsebina se velikokrat zadr\u017euje pri opisovanju naravnega \u017eivljenjskega dru\u017einskega toka, torej pot od snubitve do otroka. Tematika in motivika dru\u017einskih balad se vrti okoli dru\u017ebeno-pravnih razmer (fevdalno, kme\u010dko okolje, \u010das tur\u0161kih vpadov, romanj idr.) in bli\u017enjih ter \u0161ir\u0161ih dru\u017einskih zadev v zgodovinskih obdobjih, od koder izvirajo posamezne balade.", "text:de": "Die Sammlung besteht aus popul\u00e4ren erz\u00e4hlerischen Liedern, die zu den *Volksballaden* geh\u00f6ren, d. h. Lieder mit relativ kurzen, aber sich wiederholenden melodischen Abschnitten, durch die der/die S\u00e4nger/in \u00fcber den Text eine l\u00e4ngere Erz\u00e4hlung vortr\u00e4gt. Thematisch geh\u00f6rt der hier enthaltene Liedtypus zu einem, der \u00fcber das *Familienschicksal* singt. Neben originalen slowenischen Motiven gibt es viele weit verbreitete europ\u00e4ische oder slawische Themen. Der Inhalt konzentriert sich oft darauf, den nat\u00fcrlichen Verlauf des Familienlebens zu beschreiben, also den Weg von der Brautwerbung bis zum Kind. Thematik und Motive der Familiensagen (feudale, b\u00e4uerliche Umgebung, Zeit der t\u00fcrkischen Invasionen, Pilgerreisen usw.) umfassen famili\u00e4re Beziehungen sowie die sozio-\u00f6konomischen Bedingungen der historischen Zeitr\u00e4umen, aus denen die jeweiligen Balladen stammen.", "text:el": "\u0397 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03b1\u03c0\u03cc \u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ac \u03b1\u03c6\u03b7\u03b3\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1, \u03c4\u03b1 \u03bf\u03c0\u03bf\u03af\u03b1 \u03b1\u03bd\u03ae\u03ba\u03bf\u03c5\u03bd \u03c3\u03c4\u03b9\u03c2 *\u03bb\u03b1\u03ca\u03ba\u03ad\u03c2 \u03bc\u03c0\u03b1\u03bb\u03ac\u03bd\u03c4\u03b5\u03c2*, \u03b4\u03b7\u03bb\u03b1\u03b4\u03ae \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1 \u03bc\u03b5 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03ba\u03bf\u03bd\u03c4\u03ac, \u03b1\u03bb\u03bb\u03ac \u03b5\u03c0\u03b1\u03bd\u03b1\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03cc\u03bc\u03b5\u03bd\u03b1 \u03bc\u03b5\u03bb\u03c9\u03b4\u03b9\u03ba\u03ac \u03c4\u03bc\u03ae\u03bc\u03b1\u03c4\u03b1, \u03bc\u03ad\u03c3\u03b1 \u03b1\u03c0\u03cc \u03c4\u03b1 \u03bf\u03c0\u03bf\u03af\u03b1 \u03bf \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03b9\u03c3\u03c4\u03ae\u03c2 \u03b1\u03c6\u03b7\u03b3\u03b5\u03af\u03c4\u03b1\u03b9 \u03ad\u03bd\u03b1 \u03bc\u03b5\u03b3\u03b1\u03bb\u03cd\u03c4\u03b5\u03c1\u03bf \u03b1\u03c6\u03ae\u03b3\u03b7\u03bc\u03b1 \u03bc\u03ad\u03c3\u03b1 \u03b1\u03c0\u03cc \u03c4\u03bf \u03ba\u03b5\u03af\u03bc\u03b5\u03bd\u03bf. \u0398\u03b5\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac, \u03b1\u03bd\u03ae\u03ba\u03bf\u03c5\u03bd \u03c3\u03b5 \u03ba\u03b1\u03c4\u03b7\u03b3\u03bf\u03c1\u03af\u03b5\u03c2 \u03c0\u03bf\u03c5 \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03bf\u03cd\u03bd \u03b3\u03b9\u03b1 \u03c4\u03b9\u03c2 *\u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ad\u03c2 \u03bc\u03bf\u03af\u03c1\u03b5\u03c2*. \u0395\u03ba\u03c4\u03cc\u03c2 \u03b1\u03c0\u03cc \u03c4\u03b1 \u03c0\u03c1\u03c9\u03c4\u03cc\u03c4\u03c5\u03c0\u03b1 \u03c3\u03bb\u03bf\u03b2\u03b5\u03bd\u03b9\u03ba\u03ac \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1, \u03c5\u03c0\u03ac\u03c1\u03c7\u03bf\u03c5\u03bd \u03b1\u03c1\u03ba\u03b5\u03c4\u03ac \u03b3\u03b5\u03bd\u03b9\u03ba\u03ac \u03b5\u03c5\u03c1\u03c9\u03c0\u03b1\u03ca\u03ba\u03ac \u03ae \u03c3\u03bb\u03b1\u03b2\u03b9\u03ba\u03ac \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1. \u0397 \u03c0\u03b5\u03c1\u03b9\u03b5\u03c7\u03cc\u03bc\u03b5\u03bd\u03b7 \u03c3\u03c5\u03c7\u03bd\u03ac \u03b5\u03c0\u03b9\u03ba\u03b5\u03bd\u03c4\u03c1\u03ce\u03bd\u03b5\u03c4\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u03c4\u03b7\u03c2 \u03c6\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03b6\u03c9\u03ae\u03c2 \u03c4\u03b7\u03c2 \u03bf\u03b9\u03ba\u03bf\u03b3\u03ad\u03bd\u03b5\u03b9\u03b1\u03c2, \u03b4\u03b7\u03bb\u03b1\u03b4\u03ae \u03c4\u03bf \u03c4\u03b1\u03be\u03af\u03b4\u03b9 \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd \u03c0\u03c1\u03bf\u03c4\u03c1\u03bf\u03c0\u03ae \u03c9\u03c2 \u03c4\u03bf \u03c0\u03b1\u03b9\u03b4\u03af. \u0397 \u03b8\u03b5\u03bc\u03b1\u03c4\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b7 \u03bc\u03bf\u03c4\u03af\u03b2\u03bf \u03c4\u03c9\u03bd \u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ce\u03bd \u03bc\u03c0\u03b1\u03bb\u03ac\u03bd\u03c4\u03c9\u03bd (\u03c6\u03b5\u03bf\u03c5\u03b4\u03b1\u03bb\u03b9\u03ba\u03cc, \u03c7\u03c9\u03c1\u03b9\u03ba\u03cc \u03c0\u03b5\u03c1\u03b9\u03b2\u03ac\u03bb\u03bb\u03bf\u03bd, \u03b5\u03c0\u03bf\u03c7\u03ad\u03c2 \u03c4\u03c9\u03bd \u03c4\u03bf\u03c5\u03c1\u03ba\u03b9\u03ba\u03ce\u03bd \u03b5\u03c0\u03b9\u03b8\u03ad\u03c3\u03b5\u03c9\u03bd, \u03c0\u03c1\u03bf\u03c3\u03ba\u03c5\u03bd\u03ae\u03bc\u03b1\u03c4\u03b1 \u03ba.\u03ac.) \u03c0\u03b5\u03c1\u03b9\u03c3\u03c4\u03c1\u03ad\u03c6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b3\u03cd\u03c1\u03c9 \u03b1\u03c0\u03cc \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03b9\u03ba\u03bf-\u03bd\u03bf\u03bc\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c7\u03ad\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03bf\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ac \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1 \u03c3\u03b5 \u03b9\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b5\u03c1\u03b9\u03cc\u03b4\u03bf\u03c5\u03c2, \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03bf\u03c0\u03bf\u03af\u03b5\u03c2 \u03c0\u03c1\u03bf\u03ad\u03c1\u03c7\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c4\u03b1 \u03be\u03b5\u03c7\u03c9\u03c1\u03b9\u03c3\u03c4\u03ac \u03bc\u03c0\u03b1\u03bb\u03ac\u03bd\u03c4\u03b5\u03c2.", "text:en": "Family songs are *folk song ballads*, i.e., songs with relatively short but repetitive melodic sections through which the singer narrates a longer story through the lyrics. The melody and lyrics are known not to be fully dependent on each other, meaning, the same melody could be adapted for another lyric and vice versa. Thematically, they fall into the category of those that sing about *family destinies*, including several motifs from Slovenian, Slavic, and broader European themes. The content often focuses on describing the natural course of family life, from courtship to childbirth. The themes and motifs of family ballads (feudal, rural environment, the time of Turkish invasions, pilgrimages, etc.) revolve around socio-legal relations and both immediate and broader family matters in historical periods from which individual ballads originate.", "text:fr": "Les chansons familiales sont des *ballades populaires*, c'est-\u00e0-dire des chansons avec des m\u00e9lodies courtes mais r\u00e9p\u00e9titives, le chanteur racontant une histoire plus longue \u00e0 travers plusieurs couplets. La m\u00e9lodie et les paroles ne sont pas sp\u00e9cifiques: la m\u00eame m\u00e9lodie peut \u00eatre chant\u00e9e sur d'autres paroles, et vice et versa. Ces chansons pr\u00e9sentent des *destin\u00e9es familiales*, avec des histoires slov\u00e8nes, slaves, et plus g\u00e9n\u00e9ralement europ\u00e9ennes, sur la naissance, l'amour, la mort, le tout dans un contexte social et historique (environnement f\u00e9odal, rural, \u00e9poque des invasions turques, p\u00e8lerinages...).", "text:hr": "Zbirka obuhva\u0107a obiteljske pripovjedne pjesme koje spadaju u *narodne balade* relativno kratkih, ponavljaju\u0107ih melodijskih obrazaca. Osim izvornih slovenskih, mogu se na\u0107i i slavenski ili motivi ra\u0161ireni po cijeloj Europi. Pjeva\u010d izla\u017ee du\u017eu pripovijest o razli\u010ditim *obiteljskim sudbinama*, a sadr\u017eaj se \u010desto zadr\u017eava pri opisivanju \u017eivotnog tijeka obitelji, naj\u010de\u0161\u0107e od trenutka zaruka pa do dolaska novoro\u0111en\u010dadi. Tematika i motivika obiteljskih balada u velikoj mjeri po\u010diva na dru\u0161tveno-pravnim odnosima te usko i/ili \u0161iroko postavljenim obiteljskim pitanjima u povijesnim razdobljima kojima pripadaju same balade (naj\u010de\u0161\u0107e se radi o selja\u010dkom okru\u017eenju u feudalnom dru\u0161tvu u vrijeme turskih upada ili hodo\u010da\u0161\u0107a).", "text:it": "La raccolta consiste in ballate popolari a tema familiare, che rientrano tra le *ballate popolari*, cio\u00e8 canzoni con sezioni melodiche relativamente brevi ma ripetitive, attraverso le quali il cantante narra una storia pi\u00f9 lunga attraverso il testo. La melodia e il testo sono spesso disconnessi: la stessa melodia pu\u00f2 essere riutilizzata con diversi testi intercambiabili, e viceversa. Tematicamente, rientrano nella categoria di ballate popolari che trattano dei *destini delle famiglie*, e includono motivi sloveni, e temi comuni europei o slavi. Il contenuto spesso si sofferma sulla descrizione del naturale corso della vita familiare, dal corteggiamento alla nascita di un bambino. Le tematiche e i motivi delle ballate familiari (ambientate in contesti feudali, rurali, durante le invasioni turche, pellegrinaggi, ecc.) ruotano attorno a questioni giuridico-sociali e a questioni familiari di ampia portata nei periodi storici da cui le singole ballate provengono.", "text:zh-Hans": "\u5bb6\u5ead\u6b4c\u8c23\u662f\u4e00\u79cd*\u6c11\u95f4\u53d9\u4e8b\u6b4c\u8c23*\uff0c\u5373\u65cb\u5f8b\u77ed\u5c0f\u91cd\u590d\u3001\u6b4c\u8bcd\u53d9\u8ff0\u957f\u7bc7\u6545\u4e8b\u7684\u6b4c\u66f2\u3002\u8fd9\u7c7b\u6b4c\u66f2\u7684\u65cb\u5f8b\u4e0e\u6b4c\u8bcd\u5f7c\u6b64\u76f8\u5bf9\u72ec\u7acb\u2014\u2014\u540c\u4e00\u65cb\u5f8b\u53ef\u7528\u4e8e\u4e0d\u540c\u6b4c\u8bcd\uff0c\u53cd\u4e4b\u4ea6\u7136\u3002\u5728\u4e3b\u9898\u4e0a\uff0c\u5b83\u4eec\u805a\u7126\u4e8e*\u5bb6\u5ead\u547d\u8fd0*\uff0c\u5c55\u73b0\u65af\u6d1b\u6587\u5c3c\u4e9a\u3001\u65af\u62c9\u592b\u53ca\u66f4\u5e7f\u6cdb\u6b27\u6d32\u4f20\u7edf\u4e2d\u7684\u5404\u79cd\u9898\u6750\u3002\u6b4c\u8c23\u5185\u5bb9\u5e38\u56f4\u7ed5\u5bb6\u5ead\u751f\u6d3b\u7684\u81ea\u7136\u6d41\u7a0b\u5c55\u5f00\uff0c\u4ece\u604b\u7231\u6c42\u5076\u5230\u751f\u80b2\u80b2\u513f\u3002\u8fd9\u4e9b\u5bb6\u5ead\u53d9\u4e8b\u6b4c\u8c23\u7684\u4e3b\u9898\u4e0e\u6bcd\u9898\uff08\u5982\u5c01\u5efa\u793e\u4f1a\u3001\u519c\u6751\u751f\u6d3b\u3001\u5965\u65af\u66fc\u5165\u4fb5\u3001\u671d\u5723\u65c5\u884c\u7b49\uff09\u6d89\u53ca\u5386\u53f2\u65f6\u671f\u4e2d\u7684\u793e\u4f1a\u6cd5\u5f8b\u5173\u7cfb\u3001\u4eb2\u5c5e\u7ed3\u6784\u53ca\u66f4\u5e7f\u6cdb\u7684\u5bb6\u5ead\u4e8b\u52a1\u3002", "title": "Slovenske ljudske pripovedne pesmi: Dru\u017einske", "title:de": "Slowenische Volksliedballaden: Familiensagen", "title:el": "\u03a3\u03bb\u03bf\u03b2\u03b5\u03bd\u03b9\u03ba\u03ac \u039b\u03b1\u03ca\u03ba\u03ac \u03a4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9\u03b1: \u039f\u03b9\u03ba\u03bf\u03b3\u03b5\u03bd\u03b5\u03b9\u03b1\u03ba\u03ac \u039c\u03c0\u03b1\u03bb\u03ac\u03bd\u03c4\u03b5\u03c2", "title:en": "Slovenian Folk Song Ballads", "title:fr": "Chants folkloriques slov\u00e8nes: ballades familiales", "title:hr": "Slovenske narodne balade: Obiteljske balade", "title:it": "Ballate popolari slovene: Ballate familiari", "title:zh-Hans": "\u65af\u6d1b\u6587\u5c3c\u4e9a\u6c11\u95f4\u53d9\u4e8b\u6b4c\u8c23", "topic": "family", "topic:sl": "dru\u017einske", "year": "1819\u20131995" }, "pieces": { "237-3": { "analysis:default": "237-3.dez", "opus": { "collection:title": "Slovenske ljudske pripovedne pesmi", "collection:title:en": "Slovenian Folk Ballads", "collection:topic": "Family ballads", "collection:topic:en": "Dru\u017einske pripovedne pesmi", "contributors": { "collector": "Franc Kramar", "singer": "Ne\u017ea Pirc", "singer:type": "F_Solo" }, "genre": "pripovedne pesmi", "genre:en": "ballad", "git": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main/", "id": "237-3", "key": "G (major mode)", "key:pcs": "G, A, H, C, D, E, F#", "key:pcs:en": "G, A, B, C, D, E, F#", "meter:poetic": "7", "opus": "slp-237-3", "origin:region": "Gorenjska", "origin:region:en": "Upper Carniola", "piece:num": "237", "piece:title": "O\u010de dolo\u010da usodo h\u010dere", "piece:title:en": "A father determines his daughter's fate", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/237-3", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Ta star Purgar za mizo sedi", "variant:first:en": "The old Purgar sits at the table", "variant:num": "3", "year": 1910 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/237-3.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/237-3.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/237-3.dez" }, { "audio": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-audio/237-3.mp3", "synchro": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-synchro/slp-237-3-synchro.json" } ] }, "237-4": { "analysis:default": "237-4.dez", "opus": { "collection:title": "Slovenske ljudske pripovedne pesmi", "collection:title:en": "Slovenian Folk Ballads", "collection:topic": "Family ballads", "collection:topic:en": "Dru\u017einske pripovedne pesmi", "contributors": { "collector": "Franc Stele", "singer": "Marija Stele", "singer:type": "F_Solo" }, "genre": "pripovedne pesmi", "genre:en": "ballad", "git": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main/", "id": "237-4", "key": "G (major mode)", "key:pcs": "G, A, H, C, D, E, F#", "key:pcs:en": "G, A, B, C, D, E, F#", "meter:poetic": "8", "opus": "slp-237-4", "origin:region": "Gorenjska", "origin:region:en": "Upper Carniola", "piece:num": "237", "piece:title": "O\u010de dolo\u010da usodo h\u010dere", "piece:title:en": "A father determines his daughter's fate", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/237-4", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Stari purgar za mizo sedi", "variant:first:en": "The old Purgar sits at the table", "variant:num": "4", "year": 1909 }, 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"piece:title:en": "A convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-74", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Kaj je tebi, Ur\u0161ka mlada", "variant:first:en": "What's the matter with you, young Ur\u0161ka", "variant:num": "74", "year": 1974 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-74.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-74.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-74.dez" }, { "audio": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-audio/287-74.mp3", "synchro": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-synchro/slp-287-74-synchro.json" } ] }, "287-75": { "analysis:default": "287-75.dez", "opus": { "collection:title": "Slovenske ljudske pripovedne pesmi", "collection:title:en": "Slovenian Folk Ballads", "collection:topic": "Family ballads", "collection:topic:en": "Dru\u017einske pripovedne pesmi", "contributors": { "collector": "GNI (Mirko Ramov\u0161, Julijan Strajnar)", "singer": "Jo\u017ee Ferjan\u010di\u010d", "singer:type": "M_Solo" }, "genre": "pripovedne pesmi", "genre:en": "ballad", "git": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main/", "id": "287-75", "key": "G (major mode)", "key:pcs": "G, A, H, C, D, E, F#", "key:pcs:en": "G, A, B, C, D, E, F#", "meter:poetic": "8-7", "opus": "slp-287-75", "origin:region": "Primorska", "origin:region:en": "Littoral", "piece:num": "287", "piece:title": "Obsojena detomorilka", "piece:title:en": "A convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-75", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Zofka, Zofka ljubezniva", "variant:first:en": "Lovely Sophie, Sophie", "variant:num": "75", "year": 1975 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-75.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-75.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-75.dez" }, { "audio": 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"piece:title:en": "A convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-76", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Nekaj novega sem zvedev", "variant:first:en": "I learnt something new", "variant:num": "76", "year": 1982 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-76.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-76.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-76.dez" }, { "audio": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-audio/287-76.mp3", "synchro": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-synchro/slp-287-76-synchro.json" } ] }, "287-77": { "analysis:default": "287-77.dez", "opus": { "collection:title": "Slovenske ljudske pripovedne pesmi", "collection:title:en": "Slovenian Folk Ballads", "collection:topic": "Family ballads", "collection:topic:en": "Dru\u017einske pripovedne pesmi", "contributors": { "collector": "GNI (Mirko Ramov\u0161)", "singer": "Pepca Gabrovec", "singer:type": "F_Solo" }, "genre": "pripovedne pesmi", "genre:en": "ballad", "git": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main/", "id": "287-77", "key": "G (major mode)", "key:pcs": "G, A, H, C, D, E, F#", "key:pcs:en": "G, A, B, C, D, E, F#", "meter:poetic": "8-7", "opus": "slp-287-77", "origin:region": "Gorenjska", "origin:region:en": "Upper Carniola", "piece:num": "287", "piece:title": "Obsojena detomorilka", "piece:title:en": "A convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-77", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Dobro jutro, Rozka zala", "variant:first:en": "Good morning, beautiful Rozka", "variant:num": "77", "year": 1984 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-77.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-77.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-77.dez" }, { "audio": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-audio/287-77.mp3", "synchro": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-synchro/slp-287-77-synchro.json" } ] }, "287-78": { "analysis:default": "287-78.dez", "opus": { "collection:title": "Slovenske ljudske pripovedne pesmi", "collection:title:en": "Slovenian Folk Ballads", "collection:topic": "Family ballads", "collection:topic:en": "Dru\u017einske pripovedne pesmi", "contributors": { "collector": "GNI (Mirko Ramov\u0161, Zmaga Kumer, Igor Cvetko)", "singer": "Marija Kropf", "singer:type": "F_Solo" }, "genre": "pripovedne pesmi", "genre:en": "ballad", "git": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main/", "id": "287-78", "key": "G (major mode)", "key:pcs": "G, A, H, C, D, E", "key:pcs:en": "G, A, B, C, D, E", "meter:poetic": "8-7", "opus": "slp-287-78", "origin:region": "\u0160tajerska", "origin:region:en": "Styria", "piece:num": "287", "piece:title": "Obsojena detomorilka", "piece:title:en": "A convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-78", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Nekaj novega sem zvedev", "variant:first:en": "I learnt something new", "variant:num": "78", "year": 1984 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-78.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-78.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-78.dez" }, { "audio": 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convicted infanticide", "recording": "N", "ref:corpus": "https://www.dezrann.net/~/slovenian-folk-song-ballads", "ref:dezrann": "https://www.dezrann.net/~/slovenian-folk-song-ballads/287-80", "ref:publication": "XXX", "topic": "dru\u017einske pesmi", "topic:en": "family ballad", "variant:first": "Dekle, dekle, kaj's storilo", "variant:first:en": "Maiden, maiden, what have you done", "variant:num": "80", "year": 1987 }, "quality:annotation": "4", "quality:audio": "5", "quality:audio:synchro": "3", "quality:metadata": "4", "quality:musical-time": "4", "quality:score": "3", "sources": [ { "measure-map": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-mmap/287-80.mm.json", "score": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-scores/287-80.mxl" }, { "analysis": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-annotations/287-80.dez" }, { "audio": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-audio/287-80.mp3", "synchro": "https://gitlab.com/algomus.fr/slovenian-folksongs/-/raw/main//slp-synchro/slp-287-80-synchro.json" } ] } } }, "supra": { "corpus": { "availability": "The [Stanford University Piano Roll Archive](https://supra.stanford.edu/about) is a research portal for some rolls digitized from the Stanford Libraries\u2019 collection of 15,000+ piano and organ rolls. SUPRA contains 456 Welte T-100 piano rolls from the years 1905-1928 with rendered 'expressive' audio, talking into account dynamics and tempo information. The Dezrann corpus shows here these 456 piano rolls aligned to the audio files.", "availability:de": "Das [Stanford University Piano Roll Archive (SUPRA)](https://supra.stanford.edu/about) ist ein Forschungsportal f\u00fcr einige digitalisierte Rollen aus der Sammlung der Stanford Libraries mit mehr als 15.000 Klavier- und Orgelrollen. SUPRA enth\u00e4lt 456 Welte T-100 Notenrollen aus den Jahren 1905-1928 mit \u201eexpressiver\u201c Audiowiedergabe, die mithilfe von MIDI-Technologie und einer speziell angepassten Aufnahmevorrichtung erstellt wurden. Der gesamte Aufnahmeprozess wird im [SUPRA-Projektbericht](https://osf.io/qy3av/) beschrieben.", "availability:el": "\u03a4\u03bf [Stanford University Piano Roll Archive](https://supra.stanford.edu/about) \u03b5\u03af\u03bd\u03b1\u03b9 \u03ad\u03bd\u03b1 \u03b5\u03c1\u03b5\u03c5\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc \u03c0\u03cd\u03bb\u03b7 \u03b3\u03b9\u03b1 \u03bf\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03b1 \u03c1\u03bf\u03bb\u03cc\u03b9\u03b1 \u03c0\u03bf\u03c5 \u03ad\u03c7\u03bf\u03c5\u03bd \u03c8\u03b7\u03c6\u03b9\u03bf\u03c0\u03bf\u03b9\u03b7\u03b8\u03b5\u03af \u03b1\u03c0\u03cc \u03c4\u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae 15.000+ \u03c1\u03bf\u03bb\u03ce\u03bd \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03bf\u03c1\u03b3\u03ac\u03bd\u03c9\u03bd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 Stanford. \u03a4\u03bf SUPRA \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 456 \u03c1\u03bf\u03bb\u03cc\u03b9\u03b1 \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5 Welte T-100 \u03b1\u03c0\u03cc \u03c4\u03b1 \u03ad\u03c4\u03b7 1905-1928 \u03bc\u03b5 \u03b5\u03ba\u03c6\u03c1\u03b1\u03c3\u03c4\u03b9\u03ba\u03ae \u03b7\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7 \u03c0\u03bf\u03c5 \u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c5\u03c0\u03cc\u03c8\u03b7 \u03c4\u03b7 \u03b4\u03c5\u03bd\u03b1\u03bc\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c4\u03b9\u03c2 \u03c0\u03bb\u03b7\u03c1\u03bf\u03c6\u03bf\u03c1\u03af\u03b5\u03c2 \u03c4\u03bf\u03c5 \u03c1\u03c5\u03b8\u03bc\u03bf\u03cd. \u039f \u03ba\u03bf\u03c1\u03c0\u03cc\u03c2 Dezrann \u03b4\u03b5\u03af\u03c7\u03bd\u03b5\u03b9 \u03b5\u03b4\u03ce \u03b1\u03c5\u03c4\u03ac \u03c4\u03b1 456 \u03c1\u03bf\u03bb\u03cc\u03b9\u03b1 \u03c0\u03b9\u03ac\u03bd\u03bf\u03c5 \u03b5\u03c5\u03b8\u03c5\u03b3\u03c1\u03b1\u03bc\u03bc\u03b9\u03c3\u03bc\u03ad\u03bd\u03b1 \u03bc\u03b5 \u03c4\u03b1 \u03b1\u03c1\u03c7\u03b5\u03af\u03b1 \u03ae\u03c7\u03bf\u03c5.", "availability:fr": "SUPRA (Stanford University Piano Roll Archive) est un portail de recherche donnant acc\u00e8s \u00e0 la num\u00e9risation de quelques-un de leur collection de plus de 15 000 rouleaux.", "availability:hr": "[Arhiv klavirskih trakova Sveu\u010dili\u0161ta Stanford](https://supra.stanford.edu/about), skra\u0107eno SUPRA, je portal namijenjen istra\u017eivanju trakova koje su digitalizirale knji\u017enice\u2019 sveu\u010dili\u0161ta. Arhiv \u010duva preko 15.000 klavirskih i orgulja\u0161kih trakova, od toga 456 klavirskih trakova Welte T-100 iz razdoblja od 1905. do 1928. godine. Potonje imaju prepoznatljiv zvuk te uzimaju u obzir oznake za dinamiku i tempo. Dezrannov korpus sadr\u017ei upravo tih 456 klavirskih trakova uskla\u0111enih sa zvu\u010dnim zapisima.", "availability:it": "L'[Archivio dei Rulli per Pianoforte della Stanford University](https://supra.stanford.edu/about) \u00e8 un portale che contiene alcuni dei rulli della collezione della biblioteca della Stanford University (pi\u00f9 di 15.000 in totale, tra rulli per piano e per organo) che sono stati digitalizzati. SUPRA contiene 456 rulli Welte T-100 degli anni 1905-1928 con resa audio espressiva. Il corpus Dezrann presenta i 455 rulli allineati con il file audio.", "availability:sl": "[Arhiv klavirskih zvitkov Univerze Stanford](https://supra.stanford.edu/about) je portal za iskanje zvitkov, digitaliziranih iz zbirke ve\u010d kot 15.000 klavirskih in orgelskih zvitkov, od tega 456 klavirskih zvitkov Welte T-100 iz obdobja med 1905 in 1928. Slednji so vklju\u010deni v Dezrannovo zbirko, kjer so vizualne podobe zvitkov usklajene tudi s pripadajo\u010dimi zvo\u010dnimi posnetki.", "availability:zh-Hans": "[\u65af\u5766\u798f\u5927\u5b66\u94a2\u7434\u5377\u6863\u6848](https://supra.stanford.edu/about) \u662f\u4e00\u4e2a\u7814\u7a76\u5e73\u53f0\uff0c\u5c55\u793a\u4e86\u65af\u5766\u798f\u56fe\u4e66\u9986\u85cf\u7684 15,000 \u591a\u4e2a\u94a2\u7434\u4e0e\u98ce\u7434\u5377\u4e2d\u7684\u90e8\u5206\u6570\u5b57\u5316\u5185\u5bb9\u3002SUPRA \u6570\u636e\u96c6\u5305\u542b 1905\u20131928 \u5e74\u95f4\u7684 456 \u4e2a Welte T-100 \u94a2\u7434\u5377\uff0c\u5e76\u57fa\u4e8e\u529b\u5ea6\u4e0e\u901f\u5ea6\u4fe1\u606f\u751f\u6210\u4e86\u201c\u8868\u73b0\u6027\u201d\u97f3\u9891\u3002Dezrann \u8bed\u6599\u5e93\u5728\u6b64\u5c55\u793a\u4e86\u8fd9\u4e9b\u94a2\u7434\u5377\u4e0e\u97f3\u9891\u7684\u540c\u6b65\u7248\u672c\u3002", "contributors": { "maintainer": "Emmanuel Leguy " }, "genre": "Piano", "id": "supra", "image": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Rotlle_de_pianola%2C_Themodist.jpg/800px-Rotlle_de_pianola%2C_Themodist.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/SUPRA-zoom.jpg", "license": "CC-BY-NC-SA-4.0", "motto": "456 piano rolls with expressive audio renderings from the Stanford University Piano Roll Archive", "motto:de": "456 Notenrollen mit expressiven Audio-Wiedergaben aus dem Stanford University Piano Roll Archive", "motto:el": "456 \u03c0\u03b9\u03ac\u03bd\u03bf \u03c1\u03bf\u03bb\u03cc\u03b9 \u03bc\u03b5 \u03b5\u03ba\u03c6\u03c1\u03b1\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf Stanford University Piano Roll Archive", "motto:fr": "456 rouleaux de piano m\u00e9canique, avec des rendus expressifs du projet SUPRA (Stanford University Piano Roll Archive)", "motto:hr": "456 klavirskih trakova sa zvu\u010dnim datotekama iz Arhiva klavirskih trakova Sveu\u010dili\u0161ta Stanford", "motto:it": "456 rulli di scheda perforata per pianoforte meccanico con resa audio espressiva dall'Archivio dei rulli per pianoforte della Stanford University", "motto:sl": "456 klavirskih zvitkov z izraznimi zvo\u010dnimi upodobitvami iz Arhiva klavirskih zvitkov Univerze Stanford", "motto:zh-Hans": "\u6765\u81ea\u65af\u5766\u798f\u5927\u5b66\u94a2\u7434\u5377\u6863\u6848\u7684 456 \u4e2a\u94a2\u7434\u5377\uff0c\u914d\u6709\u8868\u73b0\u6027\u97f3\u9891\u6e32\u67d3", "quality:corpus": 3, "quality:corpus:metadata": 3, "ref": "https://supra.stanford.edu", "ref:publication": "https://archives.ismir.net/ismir2019/paper/000062.pdf", "shorttitle:de": "SUPRA", "shorttitle:el": "SUPRA", "shorttitle:hr": "Klavirski trakovi SUPRA", "shorttitle:it": "SUPRA", "shorttitle:sl": "SUPRA", "showcase": [ "WM_757_zk440mh1715", "WM_270_ph502kz9777" ], "status": "\u2705 The corpus is in good condition, with only minor issues. Most piano rolls are well presented, with synchronized audio. Perspectives include to add scores and analyses for some pieces.", "text": "At the start of the XXth century, [piano rolls](https://en.wikipedia.org/wiki/Piano_roll) were common in bars and other public spaces. They were one of the main ways to distribute music to the society. Among them, the Welte T-100 rolls are often called *red Welte rolls* due to their red paper. They keep information of the notes, but also of several parameters controlling dynamics and pedals.", "text:de": "Zu Beginn des 20. Jahrhunderts waren [Notenrollen](https://de.wikipedia.org/wiki/Notenrolle) in Bars und an anderen \u00f6ffentlichen Orten verbreitet. Sie waren eine der Hauptmethoden zur Verbreitung von Musik. Unter ihnen werden die Welte T-100 Rollen aufgrund ihres roten Papiers oft als *die roten Welterollen* bezeichnet. Sie enthalten Informationen \u00fcber die Noten, aber auch \u00fcber weitere Parameter, die Dynamik und Pedale steuern.", "text:el": "\u03a3\u03c4\u03b9\u03c2 \u03b1\u03c1\u03c7\u03ad\u03c2 \u03c4\u03bf\u03c5 20\u03bf\u03cd \u03b1\u03b9\u03ce\u03bd\u03b1, \u03c4\u03b1 [\u03c0\u03b9\u03ac\u03bd\u03bf \u03c1\u03bf\u03bb\u03cc\u03b9](https://en.wikipedia.org/wiki/Piano_roll) \u03ae\u03c4\u03b1\u03bd \u03c3\u03c5\u03bd\u03b7\u03b8\u03b9\u03c3\u03bc\u03ad\u03bd\u03b1 \u03c3\u03b5 \u03bc\u03c0\u03b1\u03c1 \u03ba\u03b1\u03b9 \u03ac\u03bb\u03bb\u03bf\u03c5\u03c2 \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03bf\u03c5\u03c2 \u03c7\u03ce\u03c1\u03bf\u03c5\u03c2. \u0389\u03c4\u03b1\u03bd \u03ad\u03bd\u03b1\u03c2 \u03b1\u03c0\u03cc \u03c4\u03bf\u03c5\u03c2 \u03ba\u03cd\u03c1\u03b9\u03bf\u03c5\u03c2 \u03c4\u03c1\u03cc\u03c0\u03bf\u03c5\u03c2 \u03b4\u03b9\u03b1\u03bd\u03bf\u03bc\u03ae\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03c3\u03c4\u03b7\u03bd \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1. \u0391\u03bd\u03ac\u03bc\u03b5\u03c3\u03ac \u03c4\u03bf\u03c5\u03c2, \u03c4\u03b1 \u03c1\u03bf\u03bb\u03cc\u03b9 Welte T-100 \u03bf\u03bd\u03bf\u03bc\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03c5\u03c7\u03bd\u03ac *\u03ba\u03cc\u03ba\u03ba\u03b9\u03bd\u03b1 \u03c1\u03bf\u03bb\u03ac Welte* \u03bb\u03cc\u03b3\u03c9 \u03c4\u03bf\u03c5 \u03ba\u03cc\u03ba\u03ba\u03b9\u03bd\u03bf\u03c5 \u03c7\u03b1\u03c1\u03c4\u03b9\u03bf\u03cd \u03c4\u03bf\u03c5\u03c2. \u0394\u03b9\u03b1\u03c4\u03b7\u03c1\u03bf\u03cd\u03bd \u03c0\u03bb\u03b7\u03c1\u03bf\u03c6\u03bf\u03c1\u03af\u03b5\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b9\u03c2 \u03bd\u03cc\u03c4\u03b5\u03c2, \u03b1\u03bb\u03bb\u03ac \u03ba\u03b1\u03b9 \u03b3\u03b9\u03b1 \u03b1\u03c1\u03ba\u03b5\u03c4\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03bc\u03ad\u03c4\u03c1\u03bf\u03c5\u03c2 \u03c0\u03bf\u03c5 \u03b5\u03bb\u03ad\u03b3\u03c7\u03bf\u03c5\u03bd \u03c4\u03b7 \u03b4\u03c5\u03bd\u03b1\u03bc\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c4\u03b1 \u03c0\u03b5\u03c4\u03ac\u03bb\u03b9\u03b1.", "text:fr": "Au d\u00e9but du XXe si\u00e8cle, les [rouleaux de pianos m\u00e9caniques](https://fr.wikipedia.org/wiki/Rouleau_de_piano_pneumatique) \u00e9taient l'un des moyens principaux de diffusion de la musique, dans des bars et autres endroits publics.", "text:hr": "[Klavirski trakovi](https://en.wikipedia.org/wiki/Piano_roll) bili su na po\u010detku 20. stolje\u0107a jedan od glavnih na\u010dina distribucije glazbe te kao takvi potpuno obi\u010dajni u kavanama, barovima ili drugim javnim prostorima. Me\u0111u klavirskim trakovima posebno su bili popularani trakovi Welte T-100, zbog crvenog papira poznati i pod imenom *crveni Welte trakovi*, koji nisu sadr\u017eavali samo to\u010dne informacije o tonskim visinama, ve\u0107 i o drugim glazbenim parametrima, npr. dinamici ili pravilnoj upotrebi pedala.", "text:it": "All'inizio del XX secolo, i rulli per [pianoforte meccanico](https://it.wikipedia.org/wiki/Pianola) erano comuni nei bar e in altri luoghi pubblici. Erano uno dei principali modi per distribuire la musica alla societ\u00e0. Tra di essi, i rulli Welte T-100 sono spesso chiamati *rulli Welte rossi* pre via del colore della carta. Il corpus di rulli per pianoforte della Stanford University, chiamato SUPRA, include una vasta gamma di rulli di varie epoche e stili musicali.", "text:sl": "[Klavirski zvitki oz. *piano rolls*](https://en.wikipedia.org/wiki/Piano_roll) so bili eden glavnih na\u010dinov distribucije glasbe na za\u010detku 20. stoletja, pogosto prisotni v kavarnah, barih ali drugih javnih prostorih. Zvitki Welte T-100, znani tudi kot *rde\u010di Welte zvitki* zaradi rde\u010dega papirja, so bili \u0161e posebej priljubljeni, saj niso vsebovali le natan\u010dnih informacij o vi\u0161inah, temve\u010d tudi o drugih glasbenih parametrih, kot je dinamika ali pravilna uporaba pedalov.", "text:zh-Hans": "\u5728 20 \u4e16\u7eaa\u521d\uff0c[\u94a2\u7434\u5377](https://en.wikipedia.org/wiki/Piano_roll) \u5e7f\u6cdb\u7528\u4e8e\u9152\u5427\u7b49\u516c\u5171\u573a\u6240\uff0c\u662f\u5f53\u65f6\u97f3\u4e50\u4f20\u64ad\u7684\u4e3b\u8981\u65b9\u5f0f\u4e4b\u4e00\u3002\u5176\u4e2d\uff0cWelte T-100 \u578b\u94a2\u7434\u5377\u56e0\u5176\u7ea2\u8272\u7eb8\u5f20\u5e38\u88ab\u79f0\u4e3a *\u7ea2\u8272 Welte \u5377*\u3002\u8fd9\u7c7b\u5377\u8f74\u4e0d\u4ec5\u8bb0\u5f55\u97f3\u7b26\u4fe1\u606f\uff0c\u8fd8\u5305\u542b\u529b\u5ea6\u548c\u8e0f\u677f\u7b49\u591a\u79cd\u6f14\u594f\u53c2\u6570\u3002", "title": "SUPRA", "title:de": "SUPRA Notenrollen", "title:el": "SUPRA \u03c0\u03b9\u03ac\u03bd\u03bf \u03c1\u03bf\u03bb\u03cc\u03b9", "title:hr": "SUPRA", "title:it": "SUPRA rulli per pianoforte", "title:sl": "SUPRA klavirskih zvitkov", "title:zh-Hans": "SUPRA", "year": "1905\u20131928" }, "pieces": { "WM_1005_hk155fw7898": { "composer": "Grieg, Edvard ", "id": "WM_1005_hk155fw7898", "opus": { "contributors": { "composer": "Grieg, Edvard", "editor": "Freiburg i. Br. : M. Welte & S\u00f6hne", "performer": "Stebel, Paula" }, "id": "WM_1005_hk155fw7898", "imprint": "Freiburg i. Br. : M. Welte & S\u00f6hne, [1907]", "opus": "op. 43.", "ref:corpus": "https://www.dezrann.net/~/supra", "ref:dezrann": "https://www.dezrann.net/~/supra/WM_1005_hk155fw7898", "ref:supra": "hk155fw7898", "ref:wm": "WM_1005 hk155fw7898", "title": "Schmetterling", "year": "1907" }, "quality:audio": "3", "quality:audio:synchro": "3", "quality:musical-time": 0, "sources": { "audios": [ { "file": "WM_1005.mp3", "images": [ { "image": "roll_512.jpg", "type": "wave" } ], "onset-date": "synchro.json" } ], "license": "CC-BY-NC-SA-4.0" } }, "WM_1023_zw751nw0097": { "composer": "Leoncavallo, Ruggiero ", "id": "WM_1023_zw751nw0097", "opus": { "contributors": { "composer": "Leoncavallo, Ruggiero", "editor": "Freiburg im Breisgau Germany : Welte-Mignon", "performer": "Leoncavallo, Ruggiero" }, "id": "WM_1023_zw751nw0097", "imprint": "[Freiburg im Breisgau, Germany] : Welte-Mignon, [1907]", "ref:corpus": "https://www.dezrann.net/~/supra", "ref:dezrann": "https://www.dezrann.net/~/supra/WM_1023_zw751nw0097", "ref:supra": "zw751nw0097", "ref:wm": "WM_1023 zw751nw0097", "title": "Valse de musette : a. II. Act \"die Boh\u00e8me\"", "year": "1907" }, "quality:audio": "3", "quality:audio:synchro": "3", "quality:musical-time": 0, "sources": { "audios": [ { "file": "WM_1023.mp3", "images": [ { "image": "roll_512.jpg", "type": "wave" } ], "onset-date": "synchro.json" } ], "license": "CC-BY-NC-SA-4.0" } }, "WM_1032_ry948sf9078": { "composer": "Liszt, Franz ", "id": "WM_1032_ry948sf9078", "opus": { "contributors": { "composer": "Liszt, Franz", "editor": "Freiburg i. Br. : M. Welte & S\u00f6hne", "performer": "Stavenhagen, Bernhard" }, "id": "WM_1032_ry948sf9078", "imprint": "Freiburg i. Br. : M. Welte & S\u00f6hne, [1907]", "movement:title": "Der hl. Franziskus \u00fcber die Wogen schreitend", "piece:title": "II. Legende", "ref:corpus": "https://www.dezrann.net/~/supra", "ref:dezrann": "https://www.dezrann.net/~/supra/WM_1032_ry948sf9078", "ref:supra": "ry948sf9078", "ref:wm": "WM_1032 ry948sf9078", "year": "1907" }, "quality:audio": "3", "quality:audio:synchro": "3", "quality:musical-time": 0, "sources": { "audios": [ { "file": "WM_1032.mp3", "images": [ { "image": "roll_512.jpg", "type": "wave" } ], "onset-date": "synchro.json" } ], "license": "CC-BY-NC-SA-4.0" } }, "WM_1033_bx815rz0622": { "composer": "Liszt, Franz ", "id": "WM_1033_bx815rz0622", "opus": { "contributors": { "composer": "Liszt, Franz", "editor": "Freiburg i. B. : M. Welte & S\u00f6hne", "performer": "Stavenhagen, Bernhard" }, "id": "WM_1033_bx815rz0622", "imprint": "Freiburg i. B. : M. 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Br. : M. Welte & S\u00f6hne", "performer": "Elvyn, Myrtle" }, "id": "WM_993_tb707nd8515", "imprint": "Freiburg i. Br. : M. Welte & S\u00f6hne, [1907]", "ref:corpus": "https://www.dezrann.net/~/supra", "ref:dezrann": "https://www.dezrann.net/~/supra/WM_993_tb707nd8515", "ref:supra": "tb707nd8515", "ref:wm": "WM_993 tb707nd8515", "title": "Widmung", "year": "1907" }, "quality:audio": "3", "quality:audio:synchro": "3", "quality:musical-time": 0, "sources": { "audios": [ { "file": "WM_993.mp3", "images": [ { "image": "roll_512.jpg", "type": "wave" } ], "onset-date": "synchro.json" } ], "license": "CC-BY-NC-SA-4.0" } } } }, "telemann-flute-fantaisies": { "corpus": { "availability": "For all of the 12 fantasias: scores, voices annotations as well as synchronized recordings are available. Full harmonic analyse are only available for fantasias 1, 2 and 3.", "contributors": { "composer": "Georg Philipp Telemann", "encoder": "\u00c1rp\u00e1d Zolt\u00e1n Szab\u00f3, Patrice Thibaud" }, "genre": "Solo Flute", "id": "telemann-flute-fantaisies", "image": "https://ws.dezrann.net/resources/corpus/images/Telemann-zoom.jpg", "image:card": "https://ws.dezrann.net/resources/corpus/images/Telemann.jpg", "motto": "12 Fantasias for solo flute by Telemann", "motto:fr": "12 fantaisies pour fl\u00fbte seule de Telemann", "opus": "TWV 40:2-13", "quality:corpus": "2", "quality:corpus:metadata": "0", "ref:git": "https://github.com/https://gitlab.com/algomus.fr/telemannvoicesinterleave", "ref:imslp": "12_Fantasias_for_Flute_without_Bass,_TWV_40:2-13_(Telemann,_Georg_Philipp)", "ref:publication": "https://hal.science/hal-05102415", "ref:wikipedia": "12_Fantasias_for_Solo_Flute_(Telemann)", "ref:wikipedia:fr": "12_fantaisies_pour_fl\u00fbte_seule", "shorttitle:en": "Telemann Flute Fantasias", "shorttitle:fr": "Fantaisies pour Fl\u00fbte Telemann", "showcase": [ "twv40:02" ], "text": "The [12 fantasias for solo flute (TWV 40:2-13)](https://en.wikipedia.org/wiki/12_Fantasias_for_Solo_Flute) by Georg Philipp Telemann (1681-1767), are one of the rare significant works for unaccompanied flute before the twentieth century. Each fantasia is a free-form composition, characterized by a sequence of themes evoking improvisation, divided into at least three short movements, and up to seven, with the final one always being a dance. Some passages feature implied polyphony through interleaving of two or more melodic lines. This Dezrann corpus was released as part of the stufy of [Thibaud (2025)](https://hal.science/hal-05102415) on timing deviations. It contains curated scores from the manuscripts, voice annotations based on Eppinger (1984), Min (1998), Silva and Carlos (2012), and other sources, as well as six synchronized audio (Rampal, Kuijken, Porter, Lazarevitch, Pahud, Pitelina).", "text:fr": "Les [12 fantaisies pour fl\u00fbte seule (TWV 40:2-13)](https://fr.wikipedia.org/wiki/12_fantaisies_pour_fl%C3%BBte_seule) de Georg Philipp Telemann (1681-1767) comptent parmi les rares oeuvres importantes pour fl\u00fbte solo avant le XXe si\u00e8cle. Chaque fantaisie est une composition libre, caract\u00e9ris\u00e9e par une s\u00e9quence de th\u00e8mes \u00e9voquant l'improvisation, divis\u00e9e en au moins trois courts mouvements, et jusqu'\u00e0 sept, le dernier \u00e9tant toujours une danse. Certains passages pr\u00e9sentent une polyphonie implicite gr\u00e2ce \u00e0 l'entrelacement de deux ou plusieurs lignes m\u00e9lodiques. Ce corpus Dezrann a \u00e9t\u00e9 publi\u00e9 dans le cadre de l'\u00e9tude de [Thibaud (2025)](https://hal.science/hal-05102415) sur les \u00e9carts de timings. Il contient des partitions corrig\u00e9es \u00e0 partir des manuscrits, des annotations vocales bas\u00e9es sur Eppinger (1984), Min (1998), Silva et Carlos (2012) et d'autres sources, ainsi que six enregistrements audio synchronis\u00e9s (Rampal, Kuijken, Porter, Lazarevitch, Pahud, Pitelina).", "title": "12 Fantasias for Flute without Bass, TWV 40:2-13", "title:en": "12 fantasias for solo flute", "title:fr": "12 fantaisies pour fl\u00fbte seule", "year": "1732-1733" }, "pieces": { "twv40:02": { "analysis:default": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/analysis_full/twv40-02-analysis.dez", "opus": { "collection": "12 fantasias for solo flute", "collection:fr": "12 fantaisies pour fl\u00fbte seule", "contributors": { "composer": "Georg Philipp Telemann" }, "genre": "fantasia", "id": "twv40:02", "key": "A major", "opus": "TWV 40:02", "path": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/", "path:analysis": 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"score": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main//dataset/mei/Telemann-Flute-Fantasia-12-twv40-13.mei" }, { "analysis": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/analysis_full/twv40-13-analysis.dez" }, { "contributors": { "performer": "Katja Pitelina" }, "info": "Oude Kerk Scheveningen (The Hague), The Netherlands", "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/pitelina/synchro_f12.json", "video:yt": "kc48KF6_uKA", "year": "2020" }, { "audio:yt": "A9c8Y12zT04", "contributors": { "editor": "Alpha Classics", "performer": "Fran\u00e7ois Lazarevitch" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/lazarevitch/synchro_f12.json", "year": "2017" }, { "audio:yt": "fzrgM5Qgbk8", "contributors": { "editor": "Parlophone Records", "performer": "Emmanuel Pahud" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/pahud/synchro_f12.json", "year": "2018" }, { "audio:yt": "0AOx5OubzZY", "contributors": { "editor": "Denon", "performer": "Jean-Pierre Rampal" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/rampal/synchro_f12.json", "year": "1972" }, { "audio:yt": "EPTgofxKZPI", "contributors": { "editor": "Accent", "performer": "Barthold Kuijken" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/kuijken/synchro_f12.json", "year": "1978" }, { "audio:yt": "SfYxxKg71Ok", "contributors": { "editor": "Tresona Multimedia", "performer": "Amy Porter" }, "license": "YouTube", "synchro": "https://gitlab.com/algomus.fr/telemann-voices-interleave/-/raw/main/dataset/synchros/porter/synchro_f12.json", "year": "2016" } ] } }, "status": "The corpus is in good condition. Complete harmonics annotations are only available for the fantasia n\u00b01 and 2" }, "weimar-jazz": { "corpus": { "availability": "Started at the University of Music in Weimar, the [Jazzomat](https://jazzomat.hfm-weimar.de/) project studied the jazz repertoire, in particular by transcribing and analyzing 400+ solos and aligning them to recordings. The Dezrann corpus contains 330+ of these high-quality jazz transcriptions, with chords, sections, and form annotation, from which 200+ with synchronized audio.

\ud83d\udea7 Note that work is still ongoing on this corpus, in particular the display of scores could be improved", "availability:de": "Das Projekt [Jazzomat](https://jazzomat.hfm-weimar.de/) an der Hochschule f\u00fcr Musik in Weimar untersuchte das Jazz-Repertoire mithilfe von mit Aufnahmen alignierten Transkriptionen und Analysen von 400+ Soli. Der Dezrann-Korpus enth\u00e4lt 330+ hochwertige Jazz-Transkriptionen mit Akkorden und Formannotationen, von denen 200+ mit Audioaufnahmen synchronisiert sind.", "availability:el": "\u039e\u03b5\u03ba\u03af\u03bd\u03b7\u03c3\u03b5 \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u03c4\u03b7\u03c2 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03c3\u03c4\u03bf Weimar, \u03c4\u03bf [Jazzomat](https://jazzomat.hfm-weimar.de/) \u03ad\u03c1\u03b3\u03bf \u03bc\u03b5\u03bb\u03ad\u03c4\u03b7\u03c3\u03b5 \u03c4\u03bf \u03c1\u03b5\u03c0\u03b5\u03c1\u03c4\u03cc\u03c1\u03b9\u03bf \u03c4\u03b7\u03c2 \u03c4\u03b6\u03b1\u03b6, \u03b9\u03b4\u03b9\u03b1\u03af\u03c4\u03b5\u03c1\u03b1 \u03bc\u03b5 \u03c4\u03b7 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ae \u03ba\u03b1\u03b9 \u03b1\u03bd\u03ac\u03bb\u03c5\u03c3\u03b7 \u03c3\u03cc\u03bb\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03cc \u03c4\u03bf\u03c5\u03c2 \u03bc\u03b5 \u03b7\u03c7\u03bf\u03b3\u03c1\u03b1\u03c6\u03ae\u03c3\u03b5\u03b9\u03c2. \u03a4\u03bf Dezrann corpus \u03c0\u03b5\u03c1\u03b9\u03ad\u03c7\u03b5\u03b9 330+ \u03c5\u03c8\u03b7\u03bb\u03ae\u03c2 \u03c0\u03bf\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03c4\u03b6\u03b1\u03b6, \u03bc\u03b5 \u03c3\u03c5\u03b3\u03c7\u03bf\u03c1\u03b4\u03af\u03b5\u03c2, \u03c4\u03bc\u03ae\u03bc\u03b1\u03c4\u03b1 \u03ba\u03b1\u03b9 \u03b1\u03bd\u03b1\u03c6\u03bf\u03c1\u03ac \u03c3\u03c4\u03b7 \u03bc\u03bf\u03c1\u03c6\u03ae, \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03bf\u03c0\u03bf\u03af\u03b5\u03c2 \u03c4\u03bf 200+ \u03bc\u03b5 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03ae\u03c7\u03bf.", "availability:fr": "Initi\u00e9 \u00e0 l'Universit\u00e9 de Weimar, le projet [Jazzomat](https://jazzomat.hfm-weimar.de/) a \u00e9tudi\u00e9 le r\u00e9pertoire jazz, en particulier en retranscrivant et analysant 400+ solos et en les alignant sur des enregistrements historiques. Le corpus Dezrann contient 330+ de ces transcriptions pr\u00e9cises de solos, avec des annotations d'accords, de sections et de forme. 200+ enregistrements synchronis\u00e9s sont disponibles.", "availability:hr": "Projekt [Jazzomat](https://jazzomat.hfm-weimar.de/) zasnovan je na Glazbenom sveu\u010dili\u0161tu u Weimaru. Obuhva\u0107a istra\u017eivanja jazzovskog repertoara s naglaskom na transkripciji i analizi poznatih jazz sola te njihovim uskla\u0111ivanjem s dostupnim snimkama. Korpus platforme Dezrann sadr\u017ei 330+ visoko kvalitetnih transkripcija jazz glazbe s anotacijama akordskih progresija, sekcija i glazbenih oblika, a 200+ ih je sinkronizirano i opremljeno sa zvu\u010dnim snimkama.", "availability:it": "Avviato presso l'Universit\u00e0 di Musica di Weimar, il progetto [Jazzomat](https://jazzomat.hfm-weimar.de/) ha studiato il repertorio jazz, in particolare trascrivendo e analizzando assoli e allineandoli alle registrazioni. Il corpus Dezrann contiene 330+ trascrizioni jazz di alta qualit\u00e0, con annotazioni sugli accordi, le sezioni e la forma. 200+ pezzi sono provvisti di audio sincronizzato.", "availability:sl": " Sprva na Univerzi za glasbo v Weimarju, je [Jazzomat](https://jazzomat.hfm-weimar.de/) projekt preu\u010deval jazz repertoar, zlasti s prepisovanjem in analiziranjem solov ter usklajevanjem z njihovimi posnetki. Dezrann korpus vsebuje 330+ visokokakovostnih prepisov jazza, z akordi, odseki in ozna\u010devanjem oblike, od katerih je 200+ usklajenih s pripadajo\u010dimi zvo\u010dnimi posnetki.", "availability:zh-Hans": "\u8be5\u9879\u76ee\u8d77\u6e90\u4e8e\u9b4f\u739b\u97f3\u4e50\u5927\u5b66\uff0c[Jazzomat \u9879\u76ee](https://jazzomat.hfm-weimar.de/) \u81f4\u529b\u4e8e\u7814\u7a76\u7235\u58eb\u66f2\u5e93\uff0c\u5c24\u5176\u901a\u8fc7\u8f6c\u5f55\u4e0e\u5206\u6790 400 \u591a\u9996\u72ec\u594f\uff0c\u5e76\u5c06\u5176\u4e0e\u97f3\u9891\u5f55\u97f3\u5bf9\u9f50\u3002Dezrann \u8bed\u6599\u5e93\u5c55\u793a\u4e86\u5176\u4e2d 330 \u591a\u4efd\u9ad8\u8d28\u91cf\u8f6c\u5f55\u7a3f\uff0c\u5305\u542b\u548c\u5f26\u3001\u6bb5\u843d\u4e0e\u66f2\u5f0f\u6807\u6ce8\uff0c\u5176\u4e2d 200 \u591a\u4efd\u914d\u6709\u540c\u6b65\u97f3\u9891\u3002

\u26cf \u6ce8\u610f\uff1a\u8be5\u8bed\u6599\u5e93\u4ecd\u5728\u6301\u7eed\u66f4\u65b0\uff0c\u7279\u522b\u662f\u4e50\u8c31\u663e\u793a\u65b9\u9762\u4ecd\u53ef\u6539\u8fdb\u3002", "contributors": { "editor": "Martin Pfleiderer, Klaus Frieler, Jakob Abesser, Wolf-Georg Zaddach, Benjamin Burkhar", "maintainer": "Klaus Frieler , Mathieu Giraud ", "transcriber": "Martin Breternitz, Peter Heppner, Yvette Kneisel, Benedikt Koch, Simon Meininger, Benjamin Napravnik, Albrecht Probst, Franziska Risch, Lydia Schulz, Amelie Zimmermann, Alaa Zouiten" }, "genre": "Jazz", "id": "weimar-jazz", "image": "https://jazzomat.hfm-weimar.de/_images/wjazzd_logo.png", "image:card": "https://ws.dezrann.net/resources/corpus/images/WJD-zoom.jpg", "license": "ODbL", "motto": "330+ high-quality jazz transcriptions, some of them with synchronized audio, from the Jazzomat project", "motto:de": "330+ hochwertige Jazz-Transkriptionen aus dem Jazzomat-Projekt, einige davon mit synchronisiertem Audio", "motto:el": "330+ \u03c5\u03c8\u03b7\u03bb\u03ae\u03c2 \u03c0\u03bf\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2 \u03c4\u03b6\u03b1\u03b6, \u03bc\u03b5\u03c1\u03b9\u03ba\u03ad\u03c2 \u03b1\u03c0\u03cc \u03b1\u03c5\u03c4\u03ad\u03c2 \u03bc\u03b5 \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf \u03ae\u03c7\u03bf, \u03b1\u03c0\u03cc \u03c4\u03bf \u03ad\u03c1\u03b3\u03bf Jazzomat", "motto:fr": "330+ transcriptions pr\u00e9cises de solos de jazz, certaines synchronis\u00e9es avec des enregistrements, du projet Jazzomat", "motto:hr": "330+ visokokvalitetnih transkripcija jazza. Neke s sinkroniziranim zvukom iz projekta Jazzomat", "motto:it": "330+ trascrizioni jazz di alta qualit\u00e0, alcune con audio sincronizzato, dal progetto Jazzomat", "motto:sl": "330+ visokokakovostnih prepisov jazza, izmed katerih so nekateri usklajenim zvo\u010dnimi posnetki iz projekta Jazzomat", "motto:zh-Hans": "\u6765\u81ea Jazzomat \u9879\u76ee\u7684 330 \u591a\u4efd\u9ad8\u8d28\u91cf\u7235\u58eb\u5373\u5174\u8f6c\u5f55\u7a3f\uff0c\u5176\u4e2d\u90e8\u5206\u9644\u6709\u97f3\u9891\u540c\u6b65", "quality:corpus": 2, "quality:corpus:metadata": 4, "ref": "https://jazzomat.hfm-weimar.de", "ref:isbn": "9783959831246", "showcase": [ "0070" ], "status": "\ud83d\udea7 Work on this corpus is still ongoing to improve the integration into Dezrann. The rendering of scores could be improved with a better extraction from WJD internal data. The synchronization is sometimes off.", "text": "[Improvisation](https://en.wikipedia.org/wiki/Jazz_improvisation) is the essence of jazz. It includes the spontaneous creation of solo lines or accompaniment parts, often performed over a chord grid. Listening, transcribing, analyzing, and sometimes playing great *jazz solos* are invaluable to better understand jazz music and to contribute to its perpetual dynamism.", "text:de": "[Improvisation](https://de.wikipedia.org/wiki/Improvisation_(Musik)#Jazz) ist das Wesen des Jazz. Sie das spontane Spiel von Melodielinien oder Begleitmustern, zumeist \u00fcber einem Akkordschema. Das Zuh\u00f6ren, Transkribieren, Analysieren und Nachspielen gro\u00dfartiger *Jazz-Soli* ist von unsch\u00e4tzbarem Wert wenn es darum geht, Jazzmusik besser zu verstehen und spielen.", "text:el": "[\u0391\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2](https://en.wikipedia.org/wiki/Jazz_improvisation) \u03b5\u03af\u03bd\u03b1\u03b9 \u03c4\u03bf \u03bf\u03c5\u03c3\u03b9\u03b1\u03c3\u03c4\u03b9\u03ba\u03cc \u03c4\u03b7\u03c2 \u03c4\u03b6\u03b1\u03b6. \u03a0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c4\u03b7 \u03c3\u03c0\u03bf\u03bd\u03c4\u03b1\u03af\u03b1 \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03af\u03b1 \u03c3\u03bf\u03bb\u03bf\u03b3\u03c1\u03b1\u03bc\u03bc\u03ce\u03bd \u03ae \u03bc\u03b5\u03c1\u03ce\u03bd \u03c3\u03c5\u03bd\u03bf\u03b4\u03b5\u03af\u03b1\u03c2, \u03c3\u03c5\u03c7\u03bd\u03ac \u03b5\u03ba\u03c4\u03b5\u03bb\u03bf\u03cd\u03bc\u03b5\u03bd\u03c9\u03bd \u03c0\u03ac\u03bd\u03c9 \u03c3\u03b5 \u03c0\u03bb\u03ad\u03b3\u03bc\u03b1 \u03c3\u03c5\u03b3\u03c7\u03bf\u03c1\u03b4\u03b9\u03ce\u03bd. \u0397 \u03b1\u03ba\u03c1\u03cc\u03b1\u03c3\u03b7, \u03b7 \u03bc\u03b5\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ae, \u03b7 \u03b1\u03bd\u03ac\u03bb\u03c5\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c6\u03bf\u03c1\u03ad\u03c2 \u03b7 \u03b5\u03ba\u03c4\u03ad\u03bb\u03b5\u03c3\u03b7 \u03bc\u03b5\u03b3\u03ac\u03bb\u03c9\u03bd *\u03c4\u03b6\u03b1\u03b6 \u03c3\u03cc\u03bb\u03c9\u03bd* \u03b5\u03af\u03bd\u03b1\u03b9 \u03b1\u03bd\u03b5\u03ba\u03c4\u03af\u03bc\u03b7\u03c4\u03b5\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03ba\u03b1\u03bb\u03cd\u03c4\u03b5\u03c1\u03b7 \u03ba\u03b1\u03c4\u03b1\u03bd\u03cc\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03c4\u03b6\u03b1\u03b6 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03c3\u03c5\u03bc\u03b2\u03bf\u03bb\u03ae \u03c3\u03c4\u03b7 \u03c3\u03c5\u03bd\u03b5\u03c7\u03ae \u03b4\u03c5\u03bd\u03b1\u03bc\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2.", "text:fr": "L'improvisation est l'essence du jazz. \u00c9couter, transcrire, analyser et parfois jouer des solos c\u00e9l\u00e8bres est une belle mani\u00e8re de mieux comprendre la musique jazz.", "text:hr": "[Improvizacija](https://en.wikipedia.org/wiki/Jazz_improvisation) je u samoj sr\u017ei jazza. Prate\u0107i logiku prepoznatljivih akordskih progresija, melodije i pratnja naj\u010de\u0161\u0107e su stvoreni na licu mjesta. Aktivno slu\u0161anje, transkribiranje, analiziranje, a ponekad i samo izvo\u0111enje poznatih *jazzovskih sola*, klju\u010dan su dio razumijevanja jazza te doprinose njegovom dinamizmu.", "text:it": "L'[improvvisazione](https://it.wikipedia.org/wiki/Improvvisazione_(musica)) \u00e8 l'essenza stessa del jazz. Consiste nella creazione estemporanea di linee soliste o parti di accompagnamento, spesso eseguite su una griglia di accordi. L'ascolto, la trascrizione, l'analisi e talvolta l'esecuzione di grandi *assoli jazz* sono pratiche musicali di importanza inestimabile, che ci aiutano a comprendere meglio questo stile di musica e che contribuiscono al suo dinamismo perpetuo.", "text:sl": "[Improvizacija](https://en.wikipedia.org/wiki/Jazz_improvisation) je eden izmed najpogostej\u0161ih principov jazza. Po logiki prepoznavnih akordskih sosledij se melodije in spremljave najve\u010dkrat ustvarjajo sproti. Aktivno poslu\u0161anje, prepisovanje, analiziranje in v\u010dasih celo izvajanje slavnih *jazz solov* so klju\u010dni del razumevanja jazza.", "text:zh-Hans": "[\u5373\u5174\u6f14\u594f](https://en.wikipedia.org/wiki/Jazz_improvisation) \u662f\u7235\u58eb\u4e50\u7684\u6838\u5fc3\u3002\u5b83\u6307\u7684\u662f\u5728\u548c\u5f26\u8fdb\u884c\u7684\u57fa\u7840\u4e0a\uff0c\u5373\u5174\u521b\u4f5c\u65cb\u5f8b\u6216\u4f34\u594f\u58f0\u90e8\u3002\u8046\u542c\u3001\u8f6c\u5f55\u3001\u5206\u6790\u4e43\u81f3\u6f14\u594f\u6770\u51fa\u7684*\u7235\u58eb\u5373\u5174\u72ec\u594f*\uff0c\u6709\u52a9\u4e8e\u6df1\u5165\u7406\u89e3\u7235\u58eb\u97f3\u4e50\uff0c\u5e76\u63a8\u52a8\u8fd9\u4e00\u98ce\u683c\u6301\u7eed\u53d1\u5c55\u3002", "title": "\ud83d\udea7 Weimar Jazz Database", "title:de": "\ud83d\udea7 Weimar Jazz Database", "title:el": "\ud83d\udea7 Weimar Jazz Database", "title:hr": "\ud83d\udea7 Zbirka weimarskog jazza", "title:it": "\ud83d\udea7 Weimar Jazz Database", "title:sl": "\ud83d\udea7 Zbirka: Weimar Jazz", "title:zh-Hans": "\u9b4f\u739b\u7235\u58eb\u6570\u636e\u5e93", "year": "1920-2010" }, "pieces": { "0001": { "analysis:default": "0001.dez", "grid": "A1: ||Bb6 G7 |C-7 F7 |Bb G-7 |C-7 F7 |F-7 Bb7 |Eb7 Ab7 |D-7 G7 |C-7 F7 ||\nA2: ||Bb6 G7 |C-7 F7 |Bb G-7 |C-7 F7 |F-7 Bb7 |Eb7 Ab7 |C-7 F7 |Bb6 ||\nB1: ||D7 |D7 |G7 |G7 |C7 |C7 |F7 |F7 ||\nA3: ||Bb G7 |C-7 F7 |Bb G-7 |C-7 F7 |F-7 Bb7 |Eb7 Ab7 |C-7 F7 |Bb6 ||", "id": "wjd-0001", "opus": { "collection": "Weimar Jazz Database", "contributors": { "artist": "Art Pepper", "performer": "" }, "id": "0001", "instrument": "cl", "key": "Bb major", "meter": "swing", "opus": "wjd-0001", "ref:corpus": "https://www.dezrann.net/~/weimar-jazz", "ref:dezrann": "https://www.dezrann.net/~/weimar-jazz/0001", "ref:isbn": "9783959831246", "ref:wjd": 1, "style": "jazz:solo:cool", "tempo:bpm": 218.8, "tempo:feel": "swing", "title": "Anthropology" }, "quality:annotation": "3", "quality:audio": "4", "quality:musical-time": "2", "quality:score": 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