Giovanni Pierluigi da Palestrina: catalogue of works. Online-database and critical presentation of the sources.

预测的在线帕莱斯特里纳作品目录的目标是收集所有已知来源(目前已知：约22,300)的所有相关书目数据，为帕莱斯特里纳(825)现存的每一部作品建立一个数据库。此外，根据这些作品最重要的来源，这些作品将被数字化(处理模式：原始部分的真实副本，采用测音法--但以乐谱编排--通过基于文本的音乐雕刻程序lilypond)和可视化，包括由程序自动生成的不同来源之间的变体的呈现。除了通常的数据库搜索方法外，还将有机会搜索乐谱中的各种音乐参数和结构背景。数据库软件(用Java编写)已经编制完成，几乎完成。特别是，基本的音乐搜索功能几乎没有错误地运行(搜索旋律；搜索纯粹的音高或节奏模式等)。在下一次，这些搜索方法应该得到能够搜索复调结构的程序的补充。该项目的创新元素是将作品目录和来源索引与数字化乐谱编排中的音乐来源再现的可视化相结合。与印刷的作品目录不同，这允许科学和音乐实践之间的各种接口。通过上述备选案文的介绍，将有可能描述特定历史、地理和社会历史背景下的表演做法的具体特点。这可能会为当代的演奏实践创造新的方式，因为它将有可能从一部作品的幸存版本的保留曲目中产生个人乐谱，这些乐谱反映了特定的历史表演传统。

The projected online catalogue of the works of Palestrina has the goal to gather all relevant bibliographical data of all known sources (currently known: ca. 22,300) for every extant work by Palestrina (825) in a database. Furthermore, based on their most important sources, these works will be digitized (mode of proceeding: true copy of the original parts in mensural notation - but in score arrangement - by means of the text-based music engraving program LilyPond) and visualized, including the presentation of variants between the different sources, automatically generated by the program. Apart from the usual methods of database search there will be opportunities to search for various musical parameters and structural contexts in the scores. The database software (written in Java) was already worked out and is almost complete. In particular the fundamental musical search functions are running almost bug-free (search for melodies; search for purely pitch or rhythmic patterns etc.). In the next time these search methods should be supplemented by procedures which enable the search for polyphonic structures. The innovative element of this project is the combination of a work catalogue and index of sources with a visualization of reproductions of musical sources in digitized score arrangement. This allows - in contrast to printed catalogues of works – various interfaces between science and musical practice. By means of the above-mentioned presentation of variants it will be possible to depict specific characteristics of performance practice in a particular historical, geographical and socio-historical context. This could create new ways for contemporary performance practice, because it will be possible to produce individual scores from the repertory of surviving versions of a work, scores, which reflect specific historical performance traditions.