Franz Pazdírek was a Viennese music publisher who, in the first decade of the twentieth century, compiled a ‘Universal Handbook of Music Literature’ – a composite catalogue of all sheet music then in print, worldwide. This ambitious undertaking (which, perhaps not surprisingly, was never repeated) was published over six years, and resulted in nineteen 600-page volumes listing music publications by 1,400 publishers covering every continent except Antarctica. Continue reading →
Triangulation is a research technique that involves looking at the same thing from two different perspectives. In surveying, it enables positions and distances to be calculated by measuring angles from two locations. In the social sciences, it can increase the reliability of conclusions if they are found by two (or more) different methods. And in statistical historical musicology, looking for the same works or composers in two or more datasets can tell us a lot about the characteristics of the datasets, and about the works’ patterns of survival or dissemination. Continue reading →
Pick a composer, any composer
Often in statistical analysis we need to select things at random. For example, if it is impractical to work with a complete dataset, the only option might be to use a random sample. The science of statistics tells us how to analyse a sample in order to reach conclusions about the entire dataset, and gives us ways to calculate margins of error based on the size of the sample. But I digress.
So, how might we pick a random composer? Continue reading →