{"id":19,"date":"2026-09-14T18:16:35","date_gmt":"2026-09-14T18:16:35","guid":{"rendered":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/?page_id=19"},"modified":"2026-10-02T19:17:28","modified_gmt":"2026-10-02T19:17:28","slug":"publication","status":"publish","type":"page","link":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/publication\/","title":{"rendered":"Publication"},"content":{"rendered":"\n
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The Meaning of the Digital Humanities<\/a><\/h2>\n\n\n\n

The article is written by Alan Liu, professor of the english department at the U of California. He wrote the article in 2013 talking about Digital humanities being some new media studies along with how DH explores, “new repertoires of interpretive or expressive criticism” (Liu, 128.2). The article continues to give meaning to DH in different literatures and medias of information within cultures, tribes, and more. The article continues to try and give a singular meaning for digital humanities, which I found to be quite fitting since our classroom digital humanities cannot have no single example being able to explain DH in its blooming field. <\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Constructing Musicology <\/a><\/h2>\n\n\n\n

This Publication was written by British Musicologist Alastair Williams and was initially Published in 2001. In the publication he focuses on Musicologists techniques in analyzing cultures and their music. He expresses that Musicologists are biased to the way music is approached in the West and that Musicologist should remain more neutral in their perspective’s by remembering, race, and culture when studying a cultures music.This Correlates In Digital Humanities in the way that culture remains in the forefront of both Williams mind and of Digital Humanists. <\/p>\n<\/div>\n\n\n\n

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The Meaning of the Digital Humanities The article is written by Alan Liu, professor of the english department at the U of California. He wrote the article in 2013 talking about Digital humanities being some new media studies along with how DH explores, “new repertoires of interpretive or expressive criticism” (Liu, 128.2). The article continues […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-19","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/pages\/19","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/comments?post=19"}],"version-history":[{"count":13,"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/pages\/19\/revisions"}],"predecessor-version":[{"id":206,"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/pages\/19\/revisions\/206"}],"wp:attachment":[{"href":"https:\/\/classprojects.digitalwcu.org\/EJAMusic\/wp-json\/wp\/v2\/media?parent=19"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}