@InProceedings{    cambouropoulos.ea2014-idiom-independent,
    author       = {Cambouropoulos, Emilios and Kaliakatsos-Papakostas,
                   Maximos and Tsougras, Costas},
    year         = {2014},
    title        = {An Idiom-independent Representation of Chords for
                   Computational Music Analysis and Generation},
    abstract     = {In this paper we focus on issues of harmonic representa-
                   tion and computational analysis. A new idiom- independent
                   representation is proposed of chord types that is
                   appropriate for encoding tone simultaneities in any
                   harmonic context (such as tonal, modal, jazz, octatonic,
                   atonal). The General Chord Type (GCT) representation,
                   allows the re-arrangement of the notes of a harmonic
                   simultaneity such that abstract idiom-specific types of
                   chords may be derived; this encoding is inspired by the
                   standard roman numeral chord type labeling, but is more
                   general and flexible. Given a consonance-dissonance
                   classification of intervals (that reflects culturally-
                   dependent notions of consonance/dissonance), and a scale,
                   the GCT algorithm finds the maximal subset of notes of a
                   given note simultaneity that contains only con- sonant
                   intervals; this maximal subset forms the base upon which
                   the chord type is built. The proposed representa- tion is
                   ideal for hierarchic harmonic systems such as the tonal
                   system and its many variations, but adjusts to any other
                   harmonic system such as post-tonal, atonal music, or
                   traditional polyphonic systems. The GCT representa- tion
                   is applied to a small set of examples from diverse musical
                   idioms, and its output is illustrated and analysed showing
                   its potential, especially, for computational music
                   analysis \& music information retrieval.},
    address      = {Athens, Greece},
    booktitle    = {Proc. Joint 40th International Computer Music Conference
                   (ICMC) and 11th Sound and Music Computing (SMC) Conference
                   (ICMC- SMC2014)},
    doi          = {10.13140/2.1.4128.1281},
    isbn         = {9789604661374},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    number       = {September},
    pages        = {1002--1009},
    url          = {https://www.researchgate.net/profile/Emilios_Cambouropoulos/publication/266614715_An_Idiom-independent_Representation_of_Chords_for_Computational_Music_Analysis_and_Generation/links/54354b240cf2bf1f1f286e3e.pdf}
}

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A new idiom- independent representation is proposed of chord types that is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). The General Chord Type (GCT) representation, allows the re-arrangement of the notes of a harmonic simultaneity such that abstract idiom-specific types of chords may be derived; this encoding is inspired by the standard roman numeral chord type labeling, but is more general and flexible. Given a consonance-dissonance classification of intervals (that reflects culturally- dependent notions of consonance/dissonance), and a scale, the GCT algorithm finds the maximal subset of notes of a given note simultaneity that contains only con- sonant intervals; this maximal subset forms the base upon which the chord type is built. The proposed representa- tion is ideal for hierarchic harmonic systems such as the tonal system and its many variations, but adjusts to any other harmonic system such as post-tonal, atonal music, or traditional polyphonic systems. The GCT representa- tion is applied to a small set of examples from diverse musical idioms, and its output is illustrated and analysed showing its potential, especially, for computational music analysis & music information retrieval.","address":"Athens, Greece","booktitle":"Proc. 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A new idiom- independent\n representation is proposed of chord types that is\n appropriate for encoding tone simultaneities in any\n harmonic context (such as tonal, modal, jazz, octatonic,\n atonal). The General Chord Type (GCT) representation,\n allows the re-arrangement of the notes of a harmonic\n simultaneity such that abstract idiom-specific types of\n chords may be derived; this encoding is inspired by the\n standard roman numeral chord type labeling, but is more\n general and flexible. Given a consonance-dissonance\n classification of intervals (that reflects culturally-\n dependent notions of consonance/dissonance), and a scale,\n the GCT algorithm finds the maximal subset of notes of a\n given note simultaneity that contains only con- sonant\n intervals; this maximal subset forms the base upon which\n the chord type is built. The proposed representa- tion is\n ideal for hierarchic harmonic systems such as the tonal\n system and its many variations, but adjusts to any other\n harmonic system such as post-tonal, atonal music, or\n traditional polyphonic systems. The GCT representa- tion\n is applied to a small set of examples from diverse musical\n idioms, and its output is illustrated and analysed showing\n its potential, especially, for computational music\n analysis \\& music information retrieval.},\n address = {Athens, Greece},\n booktitle = {Proc. 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