The history of nineteenth-century music is on the verge of being rewritten. There is emerging, in addition to a chronicle of composers and works, and of a thick description of musical cultures and institutions, the possibility of writing the music history of the century in terms of its reception of composers of the previous century and before. The fusion of traditional modes of historical narrative with views of the century that give due weight to questions of reception is one of the most exciting opportunities facing music history today.
Welcome to the first issue of the DHCommons journal, a new kind of publication for digital humanities projects.
DHCommons attempts to meet a long-standing but growing need in the DH community for robust peer review of in progress—that is, beyond the planning stages—but still developing projects. While building on precedents set by groups such as NINES or 18th Connect, DHCommons seeks to offer feedback earlier in projects’ lives, when new directions and development are still possible, and also to certify those projects’ early contributions to both the digital humanities and their disciplinary fields. We review projects from centerNet's many regions and languages and, whenever possible, in the project directors' preferred languages, so as to better reflect the scope and diversity of digital humanities work around the world. DHCommons complements the growing cadre of journals publishing digital humanities articles by providing a venue for full-project peer review. The project statements we will publish in each issue attempt to document both a project's contributions and its struggles, and the reviews we will publish alongside them outline projects' strengths, as well as areas for expansion or improvement. We hope these genres will provide scholars with valuable, transparent, and even practical access to the theories and methods of digital humanities work.