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Enhancing long-term structure in symbolic music generation via a cascaded Skeleton-to-texture framework. [PDF]
Sci RepYalan Y.
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Ancillary body movements in piano performance: a critical narrative review of structural coupling, audience cues, and cognitive-scaffolding claims. [PDF]
Front PsycholSun Y, Wang Y.
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Retrieving and Recreating Musical Form
2008This paper discusses musical form from a cognitive and a computational viewpoint. While several time-windows exist in the brain, we here put emphasis on the superchunks of up to more than 30 seconds lengths. We compare a strategy for auditive analysis based on human cognition with a strategy for automatic analysis based on feature extraction.
Kühl, Ole de Fine +1 more
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2022
Abstract To understand the conventions of primo ottocento opera requires an understanding of its musical forms. Philip Gossett’s distinction between kinetic and static movements is key. Kinetic movements include action and are harmonically open-ended; static movements contain reflection and reach full closure.
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Abstract To understand the conventions of primo ottocento opera requires an understanding of its musical forms. Philip Gossett’s distinction between kinetic and static movements is key. Kinetic movements include action and are harmonically open-ended; static movements contain reflection and reach full closure.
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Musical form and algorithmic solutions
Proceedings of the 5th conference on Creativity & cognition - C&C '05, 2005In this paper we explore some issues with implementing purely algorithmic solutions to compositional strategies around musical form, and suggest the limits to such approaches. We explore the differences between textbook definitions, of musical form, often modelled by those implementing computational strategies, and what significant composers actually ...
Peter Copley, Andrew Gartland-Jones
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"Musical Form and Musical Performance" Reconsidered
Music Theory Spectrum, 1985Performance appeared in 1968.1 Although widely discussed, it occasioned scant attention in the musical press. The reviews it did receive were mostly flattering but perfunctory. I can find only one full-scale attempt to evaluate its arguments and respond to them, Wallace Berry's critique in Perspectives of New Music, although it has been discussed at ...
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