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Abstract

Purpose - If an information retrieval system is going to be of value to the user then it must give meaning to the information which matches the meaning given to it by the user. The meaning given to music varies according to who is interpreting it - the author/composer, the performer, cataloguer or the listener - and this affects how music is organized and retrieved. This paper aims to examine the meaning of music, how meaning is communicated and suggests this may affect music retrieval. Design/methodology/approach - Musicology is used to define music and examine its functions leading to a discussion of how music has been organised and described. Various ways of establishing the meaning of music are reviewed, focussing on established musical analysis techniques. It is suggested that traditional methods are of limited use with digitised popular music. A discussion of semiotics and a review of semiotic analysis in western art music leads to a discussion of semiotics of popular music and examines ideas of Middleton, Stefani and Tagg. Findings - Agreeing that music exists when communication takes place, a discussion of selected communication models leads to the proposal of a revised version of Tagg's model, adjusting it to include listener feedback. Originality/value - The outcome of the analysis is a revised version of Tagg's communication model, adapted to reflect user feedback. It is suggested that this revised communication model reflects the way in which meaning is given to music.

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Source

Journal of the American Society for Information Science and technology. 52(2001) no.3, S.260-273

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Source

Information processing and management. 41(2005) no.3, S.599-611

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Source

Journal of the American Society for Information Science and Technology. 56(2005) no.12, S.1243-1249

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Source

Journal of the American Society for Information Science and Technology. 59(2008) no.7, S.1053-1072

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Abstract

Purpose - The purpose of this paper is to examine the art historical antecedents of providing subject access to images. After reviewing the assumptions and limitations inherent in the most prevalent descriptive method, the paper seeks to introduce a new model that allows for more comprehensive representation of visually-based cultural materials. Design/methodology/approach - The paper presents a literature-based conceptual analysis, taking Panofsky's theory of iconography and iconology as the starting-point. Panofsky's conceptual model, while appropriate for art created in the Western academic tradition, ignores or misrepresents work from other eras or cultures. Continued dependence on Panofskian descriptive methods limits the functionality and usefulness of image representation systems. Findings - The paper recommends the development of a more precise and inclusive descriptive model for art objects, which is based on the premise that art is not another sort of text, and should not be interpreted as such. Practical implications - The paper provides suggestions for the development of representation models that will enhance the description of non-textual artifacts. Originality/value - The paper addresses issues in information science, the history of art, and computer science, and suggests that a new descriptive model would be of great value to both humanist and social science scholars.