Refereed Publications by Graham Freeman
Journal of Information Architecture, 2021
2021. With Robert J. Glushko. “Music as an Organizing System: Using an Information Architecture A... more 2021. With Robert J. Glushko. “Music as an Organizing System: Using an Information Architecture Approach to Understand Musical Complexity.” Journal of Information Architecture 6(2). https://journalofia.org/volume6/issue2/02-glushko/
Software Quality Professional, 2020
The test pyramid is a conceptual model that describes how quality checks can be organized to... more The test pyramid is a conceptual model that describes how quality checks can be organized to ensure coverage of all components of a system, at all scales. Originally conceived to help aerospace engineers plan tests to determine how material changes impact system integrity, the concept was gradually introduced into software engineering. Today, the test pyramid is typically used to illustrate that the majority of tests should be performed at the lowest (unit test) level, with fewer integration tests, and even fewer acceptance tests (which are the most expensive to produce, and the slowest to execute). Although the value of acceptance tests and integration tests increasingly depends on the integrity of the underlying data, models, and pipelines, software development and data management organizations have traditionally been siloed and quality assurance practice is not as mature in data operations as it is for software. Companies that close this gap by developing cross-organizational systems will create new competitive advantage and differentiation. By taking a more holistic view of testing that crosses these boundaries, practitioners can help their organizations close the gap.
Knowledge Organization, 2019
The organization of musical resources in a piece of music is opaque for everyone but for those wi... more The organization of musical resources in a piece of music is opaque for everyone but for those with the highest levels of musical education. For the average listener, the specific vocabulary of musical organization is usually replaced by metaphorical language relating to inspiration and musical affect, or by a social perspective that rids the music of its specific theoretical language and provides a more relatable perspective of the music as a historical and communal event. This paper examines the ways in which information architecture and organizational theory can surface the inner workings of music in a relatable and approachable way. We consider music as a series of design resources that composers draw upon and organize according to a series of constraints that create a sense of musical structure to which the listener can relate. After a general introduction to the literature relating to constraints and creativity, we use two historical anecdotes that provide accessible demonstrations of how musicians in the 17th and 20 centuries organized their musical resources both for their own compositional needs and for the purposes of didactic communication.
JOQAT – JOURNAL OF QUALITY MANAGEMENT SYSTEMS, APPLIED ENGINEERING, AND TECHNOLOGY MANAGEMENT, 2018
The quality of a product or service is judged with respect to a customer’s wants, needs, and expe... more The quality of a product or service is judged with respect to a customer’s wants, needs, and expectations of value. Understanding the multiple levels on which customer needs are expressed can help organizations produce, improve, and prioritize solutions that promote quality. “Voice of the Customer” (VoC) is the label that has been given to the process of identifying, articulating, and prioritizing these needs over the past three decades. Throughout this time, many qualitative and quantitative methods have emerged to help organizations gain insight into VoC. This article presents a comprehensive literature review of VoC approaches, techniques, and tools, and describes a conceptual framework for the various dimensions of VoC to help organizations better manage their VoC process. Both traditional methods and modern, intelligent methods for Quality 4.0 (based on machine learning) are covered.
ON 14 MARCH 2005, THE BRITISH MP DAVID BLUNKETT delivered a speech to the Institute for Public Po... more ON 14 MARCH 2005, THE BRITISH MP DAVID BLUNKETT delivered a speech to the Institute for Public Policy Research entitled 'A New England: An English Identity within Britain'. As indicated by the title, the theme was the necessity of negotiating a place in which English people could maintain pride in their cultural institutions without running foul of the multicultural cosmopolitanism that forms such an integral part of the contemporary social climate in Britain. Besides extolling the expected virtues of football, pastoral scenes, and even fox hunting, Blunkett listed music as an institution in which the English should demonstrate great satisfaction:
Non-Refereed Publications by Graham Freeman
A response to Dr. C.J. Bearman.
Talks by Graham Freeman
The English lute repertoire is one of the largest instrumental repertories in Western music.
By most accounts, the first large-scale attempts at introducing printed music to the English mark... more By most accounts, the first large-scale attempts at introducing printed music to the English market were a debacle. Elizabeth I granted a monopoly for printing music to Thomas Tallis and William Byrd in 1575, after which they issued their first significant publication, the Cantiones Sacrae. By 1577, Tallis and Byrd were appealing for financial assistance from the crown, as the work had sold so poorly that it failed to recoup their investment and lost them a considerable amount of money. All indications were that printed music was not going to go over well in England, for a 1582 royal assessment of the patent stated that "while the paper is somewhat beneficiall, as for the musick books, I would not provide necessary furniture to have them." The complex legal machinations of the printing monopoly, while fascinating enough, are not of primary concern here, but it will suffice to say that though a small number of printed works were published and sold in England during the late 16 th and early 17th century, that number pales in comparison to printed music on the Continent, and that music printing in England had largely ceased after about 1614 before its eventual revival under John Playford in 1650.
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Refereed Publications by Graham Freeman
Non-Refereed Publications by Graham Freeman
Talks by Graham Freeman