| Tasty byte-size provocations to refuel your thinking! | Brought to you by:  |
| Tasty byte-size provocations to refuel your thinking! | Brought to you by: |
Edited by Gavin S. K. Lee and Melanie Plesch
Since entering public awareness in 2022, generative AI has rapidly achieved mainstream adoption, becoming both a powerful force and a source of concern in academia. Setting aside the “friend or foe” debates, generative AI is reshaping how many disciplines within the Humanities approach scholarly work.
In this issue of Musicological Brainfood, we invited contributors to examine the multifaceted impacts of generative AI on musicology. The aim was to explore potential paradigms where AI not only augments traditional research methodologies but also reshapes them, posing questions about the future of our discipline in a digitally fluent world.
IMS President Kate van Orden concluded her keynote at the VI Congreso de la ARLAC with a video of her presented in flawless Spanish (a language in which she is not fluent), challenging us to envision a future where digital polyglotism is the norm. What could this mean for the inclusivity and reach of international conferences? What are the broader implications for a global scholarly community?
To date, AI has shown promise in analyzing extensive music corpora. Yet, the possibility remains open: Could we develop dedicated AI models tailored for musicology, as seen in literary criticism and art history? Richard Freedman and Daniel Russo-Batterham reflect on the practical applications of large language models in musicological research examining both music information as data and music as a dataset itself.
One thing I love about the big IMS Congresses is the mix of scholars and languages. As people spill out of paper sessions at coffee breaks, the languages multiply, and listening to them is deeply pleasurable, such …
New technologies of writing have always complicated the relationship between authors and readers. This is especially true of the performing art of music …