Download Computational Music Analysis by David Meredith PDF

By David Meredith

This ebook presents an in-depth advent and evaluation of present learn in computational song research. Its seventeen chapters, written by means of top researchers, jointly symbolize the range in addition to the technical and philosophical sophistication of the paintings being performed this present day during this intensely interdisciplinary box. A wide variety of techniques are provided, utilising suggestions originating in disciplines equivalent to linguistics, info concept, info retrieval, development acceptance, desktop studying, topology, algebra and sign processing. a few of the equipment defined draw on well-established theories in tune idea and research, corresponding to Forte's pitch-class set concept, Schenkerian research, the equipment of semiotic research constructed via Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative idea of Tonal tune. The booklet is split into six elements, overlaying methodological matters, harmonic and pitch-class set research, shape and voice-separation, grammars and hierarchical aid, motivic research and development discovery and, ultimately, class and the invention of targeted styles. As an in depth and up to date photo of present examine in computational song research, the ebook offers a useful source for researchers, academics and scholars in track thought and research, computing device technological know-how, song info retrieval and comparable disciplines. It additionally offers a state of the art reference for practitioners within the tune know-how undefined.

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Extra info for Computational Music Analysis

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Melodic harmonization), rely on chord labelling that is relevant and characteristic of particular idioms. There exist different typologies for encoding note simultaneities that embody different levels of harmonic information/abstraction and cover different harmonic idioms. For instance, for tonal musics, chord notations such as the following are commonly used: figured bass (pitch classes denoted above a bass note—no concept of ‘chord’); popular music guitar-style notation or jazz notation (absolute chord); and Roman numeral encoding (chord function relative to a key) (Laitz, 2012).

To read something like ‘bars 72 to 96 are dominant preparation’ does not immediately translate to a way of hearing the piece. In illustration of this, I recount an event when I witnessed a visiting speaker at the university where I was a student. One of the staff of that university disagreed with the visiting speaker’s interpretation of the harmony of a passage, and in response the speaker did not use logical argument to persuade his adversary but instead played the passage again, playing some of the chords louder.

Then the GCT representation will be described. Finally, the DIC vector chord transition encoding will be presented. ) prior to establishing more elementary aspects such as individual pitch octave information, note doubling, note omission and chord inversion. This intuition is reflected in established musicological theoretical typologies such as the standard guitar-like chord encoding or Roman numeral analytic labels or even pc-set categories. Advantages and shortcomings of such chord formalisms will be discussed primarily in relation to computational music analysis.

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