Results 51 to 60 of about 23,011,697 (143)
A Framework For Automated Schenkerian Analysis.
, 2008 [TODO] Add abstract here.
Kirlin, Phillip B., Utgoff, Paul E.
openaire +1 more source
Testing Schenkerian theory: an experiment on the perception of key distances [PDF]
, 2012 The lack of attention given to Schenkerian theory by empirical research in music is striking when compared to its status in music theory as a standard account of tonality. In this paper I advocate a different way of thinking of Schenkerian theory that
Yust, Jason
core
Corpus Studies and ‘Close Listening’
Music Analysis, Volume 43, Issue 2, Page 191-246, July 2024.ABSTRACT This article provides a detailed response to Markus Neuwirth and Martin Rohrmeier's article ‘Wie wissenschaftlich muss Musiktheorie sein?’, published in the Zeitschrift der Gesellschaft für Musiktheorie in 2016. I undertake to nuance their call for the wholesale adoption of machine‐assisted corpus‐based methods in music theory through a ...
NATHAN JOHN MARTIN
wiley +1 more source
Generation of folk song melodies using Bayes transforms [PDF]
, 2011 The paper introduces the `Bayes transform', a mathematical procedure for putting data into a hierarchical representation. Applicable to any type of data, the procedure yields interesting results when applied to sequences. In this case, the representation
Bent I. +27 more
core +1 more source
Music Analysis, Volume 43, Issue 2, Page 247-301, July 2024.ABSTRACT In major‐minor tonality, V implies I, and rising fourths, falling thirds and rising seconds between successive chord roots are more common than falling fourths, rising thirds and falling seconds respectively. Possible explanations involve history (in two‐part medieval counterpoint, harmonic major sixths resolved to octaves – maintained in V–I);
RICHARD PARNCUTT
wiley +1 more source
Berlioz, Love, and Béatrice et Bénédict [PDF]
, 2015 Berlioz's final opera, Béatrice et Bénédict (1860–62) has generally been considered a light-hearted work, revelling in the simple joys of love. Yet his final development of the theme of love, which had preoccupied him at least since the Symphonie ...
Harper-Scott, J. P. E.
core +1 more source
Sonata Form as Temporal Process: the First Movement of Bruckner's Sixth symphony
Music Analysis, Volume 43, Issue 1, Page 36-76, March 2024.ABSTRACT The timeworn view that Bruckner's sonata form is a motionless architecture devoid of dynamic processes has long contributed his isolation from the mainstream post‐Beethovenian tradition. Taking inspiration from August Halm's (1914) and Ernst Kurth's (1925) approaches, which were aimed at overcoming this view, this article seeks to elucidate ...
SUNBIN KIM
wiley +1 more source
Symbolic Melodic Similarity: State of the Art and Future Challenges [PDF]
, 2016 Fostered by the introduction of the Music Information Retrieval Evaluation eXchange (MIREX) competition, the number of systems which calculate Symbolic Melodic Similarity has recently increased considerably.
Bohak C. +8 more
core +1 more source
, 2012 [1.1] Listeners familiar with tonal music find it possesses expressive meaning-that quality that allows music to suggest (for example) feelings, actions, or motion (or even stillness, which is a special kind of motion).(1) This book teaches Schenkerian ...
Steve Larson
semanticscholar +1 more source
Echoes in Plato's cave:ontology of sound objects in computer music and analysis [PDF]
, 2014 The sonic aspects of Plato's analogy of the cave is taken as a starting point for thought experiments to investigate the objective nature of sound, and the idea of quasi-Platonic forms in music.
Marsden, Alan
core +2 more sources