By David Meredith
This e-book presents an in-depth creation and evaluate of present learn in computational song research. Its seventeen chapters, written by means of prime researchers, jointly symbolize the range in addition to the technical and philosophical sophistication of the paintings being performed this day during this intensely interdisciplinary box. A extensive variety of techniques are awarded, utilizing strategies originating in disciplines reminiscent of linguistics, info idea, details retrieval, trend reputation, laptop studying, topology, algebra and sign processing. a number of the equipment defined draw on well-established theories in track thought and research, comparable to Forte's pitch-class set concept, Schenkerian research, the equipment of semiotic research constructed through Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative thought of Tonal Music.
The ebook is split into six elements, protecting methodological matters, harmonic and pitch-class set research, shape and voice-separation, grammars and hierarchical aid, motivic research and development discovery and, eventually, category and the invention of certain styles.
As an in depth and updated photo of present learn in computational track research, the booklet offers a useful source for researchers, lecturers and scholars in tune thought and research, computing device technology, song info retrieval and comparable disciplines. It additionally offers a state of the art reference for practitioners within the track know-how industry.
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Extra info for Computational Music Analysis
Jordanous, 2008, and Chap. 6, this volume). Cambouropoulos (2008) adopts a different approach in which multi-note sonorities are allowed within individual ‘voices’. Allowing both horizontal and vertical integration allows the algorithm to perform well not only in polyphonic music that has a ﬁxed number of ‘monophonic’ lines, but in the general case where both polyphonic and homophonic elements are mixed together. In this sense, the musical surface is considered as consisting of both simple notes organized in melodic streams, and chords organized in chordal streams (such streams may appear independently, or in parallel, or may overlap).
2), questions of the ‘correctness’ of computational analysis seem irrelevant. The computational step produces only an ‘inventory’ and the real analytical step follows from the application of other factors to select from the inventory and interpret what it shows. In this case the question is not so much whether the inventory is correct, but whether it is sufﬁciently complete: does it contain the information required to make a correct 1 Music Analysis by Computer: Ontology and Epistemology 23 analysis of the piece?
In this sense, the musical surface is considered as consisting of both simple notes organized in melodic streams, and chords organized in chordal streams (such streams may appear independently, or in parallel, or may overlap). A common underlying assumption in much cognitive and computational modelling of musical understanding is that musical structural processing starts at the musical surface and proceeds towards higher structural levels, such as metre, rhythmic patterns, melodic motives, harmonic structure and so on.