Data entry updates

There is a new update to the LED data entry mechanism. This is meant to address a few data quality issues. All our cherished contributors should notice the changes on the submission page, particularly the sub-forms.

Here is the changelog for this update, which contributors should be aware of:

* We are moving to a new controlled vocabulary for socio-economic status, so the values to select from have changed. We expect the new proposal to integrate better with the values for the Occupation field.

Contributor Newsletter 12

LED conference 24 and 25 October
The conference is fast approaching. You’ll find the programme on the website at , and the abstracts will go up on the website in the next week.

If you know of any OU or RCM postgraduates who plan to attend, we’re offering a limited number of bursaries (fee waiver only), so please encourage them to apply for one by emailing us at by 9 October (first come, first served).

Please also encourage anyone else you think would be interested in attending – registrations have been slow over the summer, so it would be great if you were able to round up more support. The deadline for the early-bird rate is 2 October, and the final deadline is 4pm on 16 October. Direct people to the LED website for details.


Contributor Newsletter 11

With apologies for the gap since the last one, here is the latest newsletter.

LED conference

Registration is now open for our conference in October. The conference programme is full of interesting papers – take a look at it on the website at . We are waiting for one or two final abstracts, but these should also be available on the website soon. Please do come if you can – we would love to see you there. You can register for a single day or the whole weekend.


The Listening Experience Database Project Conference 2015

Listening to music: people, practices and experiences
24-25 October 2015, the Royal College of Music, London, UK

The conference is held as part of the Listening Experience Database (LED) Project

The keynote speaker will be Professor Simon Frith.

How have people responded to listening to music in their everyday lives?

We have access to plenty of professional critical opinion, but what new insights are offered by an examination of the observations and feelings of ordinary listeners – what can we learn about the effects of music, its cultural value and the manner of its consumption in a range of social, historical and geographical contexts?

[UPDATED] Data entry update

Update: the mini-map is now able to render places extracted from text and trip start/end points.

A major site update was rolled out today. This revision mostly addresses features of the data entry form for registered contributors, and upgrades the data model of listening experience.

Below is the changelog of this update:

Data entry form - new features

Thirteenth International Conference on New Directions in the Humanities

From Digital Humanities to a Humanities of the Digital – Special Focus

University of British Columbia
Vancouver Campus, Vancouver, Canada
17-19 June 2015

Simon Brown will be presenting a paper at the above conference titled, ‘The Listening Experience Database Project: Collating the Responses of the “Ordinary Listener” to Prompt New Insights into Musical Experience’, co-authored by: Dr. Helen Barlow, Dr. Alessandro Adamou, Dr. Mathieu d’Aquin.

Contributor Newsletter 10

Technical update

An update is scheduled in the next couple of weeks. It will include numerous enhancements but the main difference that you are likely to see is on the entry form. Our colleagues at KMi have been working on improving the way search results appear when you begin to type information on the entry form. The improvements will return more detail so that it should be easier to determine which is the correct value to select. This will be applied to fields such as the source, music title, listener alternate name or surname, the location fields and listener nationality. Due to the format of the external dataset that we intend to draw on for the nationality, this will be renamed ‘Country of origin’. As always, we hope these improvements will help make the process smoother and more reliable but we always welcome your feedback. So, please get in touch if you have any observations (good or bad!).


Digital Conversations @ British Library: Digital Music Analysis

Prof. David Rowland (The Open University) and Simon Brown (Royal College of Music) have been invited to speak at the next Digital Conversations event at the British Library. The event provides a forum for the presentation and discussion of current ideas and existing projects in the field of digital music research. It will give participants the opportunity to share their ideas, experiences and opinions about the application of digital technology in musicological and performance research.

LED And The Analysis Of Musical Perception

As the funded phase of LED winds to its conclusion, we must all of us be thinking just a little about the overarching purpose and purport of the project. Has it been principally an exercise in Digital Humanities: of collection, transfer and the collation of interesting information ? If so, it must be considered mainly in the light of providing an aid to research for other scholars to employ in their own work. Or if there another heuristic effort going on?

‘Listening Experience’, The Journal of the British Universities Film and Video Council, Vol 95, pp. 6-7.

Simon Brown has had an article describing the project published in the British Universities Film & Video Council’s journal, Viewfinder, available at

Abstract: In his speech, ‘On Receiving the First Aspen Award’, Benjamin Britten described ‘true musical experience’ as a ‘holy triangle of composer, performer and listener’. When we think of this concept, we usually consider it to be three equal sides of a triangle, with all three participants in the musical experience being equal partners. However, when we consider the written history of music, things are anything but equal; you only need to visit the library or retrieve a quick Internet search to reveal the vast amounts of information on composers and performers. These are the people we celebrate, whose names enter the imaginary museum of musical works. For most people, they are the focus of our attention, but what about the listeners? If we accept Britten’s idea that the listener is an intrinsic and vital part of the experience – how can we hope to understand the history of music if we’re only getting two thirds of the story? This short paper attempts to explain the purpose and methodology behind the Listening Experience Database project.



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