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Expressive coupling and textural dissociation in classical piano performance: evidence from the ASAP dataset. [PDF]
Front PsycholYan M.
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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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Journal of the American Musicological Society, 1948
QUESTIONS RAISED in the paper were: Musical form, requiring as it does, a lapse of time for its realization, can be the subject of discussion only if it can be described by some means at one instant of time. Such a medium could be numbers, e.g., the numbers we use in referring to types of chords, or some system such as Birkhoff attempted in his ...
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QUESTIONS RAISED in the paper were: Musical form, requiring as it does, a lapse of time for its realization, can be the subject of discussion only if it can be described by some means at one instant of time. Such a medium could be numbers, e.g., the numbers we use in referring to types of chords, or some system such as Birkhoff attempted in his ...
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Contemporary Music Review, 1989
(1989). Music and literary form. Contemporary Music Review: Vol. 5, Music and Text, pp. 65-75.
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(1989). Music and literary form. Contemporary Music Review: Vol. 5, Music and Text, pp. 65-75.
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Musical Form and Musical Performance
Perspectives of New Music, 1971Wallace Berry, Edward T. Cone
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