Collective Intelligence and Digital Archives DIGITAL TOOLS AND USES SET Coordinated by Imad Saleh This book presents the most up-to-date research from different areas of digital archives to show how and why collective intelligence is being developed to organize and better communicate new masses of information. Current archive digitization projects produce an enormous amount of digital data (Big Data). Thanks to the proactive approach of large public institutions, this data is increasingly accessible. Despite the recent stabilization of technical and legal frameworks, the use of data has yet to be enriched by processes such as collective intelligence. By exploring the field of digital humanities, audiovisual archives, preservation of cultural heritage, crowdsourcing and the recovery of scientific archives, this book presents and analyzes concrete examples of collective intelligence for use in digital archives.

The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer's works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714-87) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible -- together with the soprano Pauline Viardot -- for the 'revival' of the composer's Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck's music for the Parisian stage. The 'revival' of Orfeo is contextualised among other attempts at reviving Gluck's works in the 1860s, and the role of Berlioz, Viardot and a host of others re-examined.

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