@InBook{           gentil-nunes2024-teorias,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2024},
    title        = {Teorias estrangeiras no {Brasil}: migra{\c{c}}{\~{a}}o,
                   encultura{\c{c}}{\~{a}}o e acultura{\c{c}}{\~{a}}o},
    chapter      = {Teorias da textura no Brasil},
    editor       = {Nogueira, Ilza and Navia, Gabriel},
    pages        = {219--284},
    address      = {Salvador},
    publisher    = {{Associa{\c{c}}{\~{a}}o Brasileira de Teoria e
                   An{\'{a}}lise Musical}},
    keywords     = {music texture}
}

@MastersThesis{    oliveira2024-composicao,
    author       = {Oliveira, Sidnei Marques de},
    year         = {2024},
    title        = {Composi{\c{c}}{\~{a}}o musical a partir da modelagem
                   sist{\^{e}}mica do contorno da complexidade da textura},
    school       = {Universidade Federal da Bahia},
    address      = {Salvador},
    keywords     = {music contour},
    url          = {https://repositorio.ufba.br/handle/ri/41362}
}

@InBook{           sampaio2024-teorias,
    author       = {Sampaio, Marcos da Silva},
    year         = {2024},
    title        = {Teorias estrangeiras no {Brasil}: migra{\c{c}}{\~{a}}o,
                   encultura{\c{c}}{\~{a}}o e acultura{\c{c}}{\~{a}}o},
    chapter      = {A teoria dos contornos musicais},
    editor       = {Nogueira, Ilza and Navia, Gabriel},
    pages        = {194--218},
    address      = {Salvador},
    publisher    = {{Associa{\c{c}}{\~{a}}o Brasileira de Teoria e
                   An{\'{a}}lise Musical}},
    keywords     = {music contour}
}

@Manual{           sampaio2023-rp-scripts,
    author       = {Sampaio, Marcos da Silva},
    year         = 2023,
    title        = {{RP Scripts} --- Release 2.0},
    month        = {May},
    url          = {https://marcos.sampaio.me/files/sampaio2023-rp-2.0.pdf}
}

@Misc{             sampaio2023-rp-scripts-a,
    author       = {{Sampaio}, {Marcos da Silva}},
    year         = {2023},
    title        = {{RP Scripts}: {Rhythmic} {Partitioning} {Scripts},
                   Release 2.0},
    howpublished = "Available at \url{https://github.com/msampaio/rpScripts}.
                   Accessed on May. 13, 2023"
}

@Misc{             cancino-chacon.ea2022-partitura,
    author       = {Cancino-Chac{\'{o}}n, Carlos and Peter, Silvan David and
                   Karystinaios, Emmanouil and Foscarin, Francesco and
                   Grachten, Maarten and Widmer, Gerhard},
    year         = {2022},
    title        = {Partitura: {A} {Python} {Package} for {Symbolic} {Music}
                   {Processing}},
    shorttitle   = {Partitura},
    url          = {http://arxiv.org/abs/2206.01071},
    abstract     = {Partitura is a lightweight Python package for handling
                   symbolic musical information. It provides easy access to
                   features commonly used in music information retrieval
                   tasks, like note arrays (lists of timed pitched events)
                   and 2D piano roll matrices, as well as other score
                   elements such as time and key signatures, performance
                   directives, and repeat structures. Partitura can load
                   musical scores (in MEI, MusicXML, Humdrum **kern, and MIDI
                   formats), MIDI performances, and score-to-performance
                   alignments. The package includes some tools for music
                   analysis, such as automatic pitch spelling, key signature
                   identification, and voice separation. Partitura is an
                   open-source project and is available at
                   https://github.com/CPJKU/partitura/.},
    language     = {en},
    urldate      = {2022-07-31},
    publisher    = {arXiv},
    month        = jun,
    note         = {arXiv:2206.01071 [cs, eess]},
    tags         = {music and computer},
    keywords     = {Computer Science - Digital Libraries, Computer Science -
                   Sound, Electrical Engineering and Systems Science - Audio
                   and Speech Processing}
}

Partitura is a lightweight Python package for handling symbolic musical information. It provides easy access to features commonly used in music information retrieval tasks, like note arrays (lists of timed pitched events) and 2D piano roll matrices, as well as other score elements such as time and key signatures, performance directives, and repeat structures. Partitura can load musical scores (in MEI, MusicXML, Humdrum **kern, and MIDI formats), MIDI performances, and score-to-performance alignments. The package includes some tools for music analysis, such as automatic pitch spelling, key signature identification, and voice separation. Partitura is an open-source project and is available at https://github.com/CPJKU/partitura/.

@PhDThesis{        carmona2022-melodic,
    author       = {Carmona, Taylor},
    year         = {2022},
    title        = {Melodic Contour and Rhythm as Organizing Principles in
                   Schoenberg's Wind Quintet, Op. 26},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    school       = {Texas Tech University},
    type         = {Ph.D. Dissertation}
}

@InProceedings{    couturier.ea2022-annotating,
    author       = {Couturier, Louis and Bigo, Louis and Leve, Florence},
    year         = {2022},
    title        = {Annotating symbolic texture in {Piano} {Music}: a formal
                   syntax},
    address      = {Saint-Etienne, France},
    url          = {https://hal.archives-ouvertes.fr/hal-03631151/document},
    abstract     = {Symbolic texture describes how sounding components are
                   organized in a musical score. Along with other high-level
                   musical components such as melody, harmony or rhythm,
                   symbolic texture has a significant impact on the
                   structure and the style of a musical piece. In this
                   article, we present a syntax to describe compositional
                   texture in the specific case of Western classical piano
                   music. The syntax is expressive and flexible, unifying
                   into a single text label information about density,
                   diversity, musical function and note relationships in
                   distinct textural units. The formal definition of the
                   syntax enables its parsing and computational processing,
                   opening promising perspectives in computeraided music
                   analysis and composition. We provide an implementation to
                   parse and manipulate textural labels as well as a bestiary
                   of annotated examples of textural configurations.},
    language     = {en},
    keywords     = {Computational Musicology},
    pages        = {8}
}

Symbolic texture describes how sounding components are organized in a musical score. Along with other high-level musical components such as melody, harmony or rhythm, symbolic texture has a significant impact on the structure and the style of a musical piece. In this article, we present a syntax to describe compositional texture in the specific case of Western classical piano music. The syntax is expressive and flexible, unifying into a single text label information about density, diversity, musical function and note relationships in distinct textural units. The formal definition of the syntax enables its parsing and computational processing, opening promising perspectives in computeraided music analysis and composition. We provide an implementation to parse and manipulate textural labels as well as a bestiary of annotated examples of textural configurations.

@Article{          couturier.ea2022-dataset,
    author       = {Couturier, Louis and Bigo, Louis and Leve, Florence},
    year         = {2022},
    title        = {A {Dataset} of {Symbolic} {Texture} {Annotations} in
                   {Mozart} {Piano} {Sonatas}},
    copyright    = {Creative Commons Attribution 4.0 International, Open
                   Access},
    url          = {https://zenodo.org/record/7316712},
    doi          = {10.5281/ZENODO.7316712},
    abstract     = {Musical scores are generally analyzed under different
                   aspects, notably melody, harmony, rhythm, but also through
                   their texture, although this last concept is arguably more
                   delicate to formalize. Symbolic texture depicts how
                   sounding components are organized in the score. It
                   outlines the density of elements, their heterogeneity,
                   role and interactions. In this paper, we release a set of
                   manual annotations for each bar of 9 movements among early
                   piano sonatas by W. A. Mozart, totaling 1164 labels that
                   follow a syntax dedicated to piano score texture. A
                   quantitative analysis of the annotations highlights some
                   characteristic textural features in the corpus. In
                   addition, we present and release the implementation of
                   low-level descriptors of symbolic texture, that are
                   preliminary experimented for textural elements prediction.
                   The annotations and the descriptors offer promising
                   applications in computer-assisted music analysis and
                   composition.},
    language     = {en},
    urldate      = {2023-02-23},
    month        = dec,
    note         = {Publisher: Zenodo},
    keywords     = {ismir, ismir2022}
}

Musical scores are generally analyzed under different aspects, notably melody, harmony, rhythm, but also through their texture, although this last concept is arguably more delicate to formalize. Symbolic texture depicts how sounding components are organized in the score. It outlines the density of elements, their heterogeneity, role and interactions. In this paper, we release a set of manual annotations for each bar of 9 movements among early piano sonatas by W. A. Mozart, totaling 1164 labels that follow a syntax dedicated to piano score texture. A quantitative analysis of the annotations highlights some characteristic textural features in the corpus. In addition, we present and release the implementation of low-level descriptors of symbolic texture, that are preliminary experimented for textural elements prediction. The annotations and the descriptors offer promising applications in computer-assisted music analysis and composition.

@MastersThesis{    diogo2022-computational,
    author       = {Diogo, Daniel Ferreira},
    year         = {2022},
    title        = {Computational {Similarity} {Models} of {Portuguese}
                   {Folk} {Melodies} {Using} {Hierarchical} {Reduction}},
    language     = {en},
    tags         = {computational musicology},
    school       = {Universidade do Porto}
}

@Article{          faghih.ea2022-smart-median,
    author       = {Faghih, Behnam and Timoney, Joseph},
    year         = {2022},
    title        = {Smart-{Median}: {A} {New} {Real}-{Time} {Algorithm} for
                   {Smoothing} {Singing} {Pitch} {Contours}},
    volume       = {12},
    issn         = {2076-3417},
    shorttitle   = {Smart-{Median}},
    url          = {https://www.mdpi.com/2076-3417/12/14/7026},
    doi          = {10.3390/app12147026},
    abstract     = {Pitch detection is usually one of the fundamental steps
                   in audio signal processing. However, it is common for
                   pitch detectors to estimate a portion of the fundamental
                   frequencies incorrectly, especially in real-time
                   environments and when applied to singing. Therefore, the
                   estimated pitch contour usually has errors. To remove
                   these errors, a contour smoother algorithm should be
                   employed. However, because none of the current
                   contour-smoother algorithms has been explicitly designed
                   to be applied to contours generated from singing, they are
                   often unsuitable for this purpose. Therefore, this article
                   aims to introduce a new smoother algorithm that rectifies
                   this. The proposed smoother algorithm is compared with 15
                   other smoother algorithms over approximately 2700 pitch
                   contours. Four metrics were used for the comparison.
                   According to all the metrics, the proposed algorithm could
                   smooth the contours more accurately than other algorithms.
                   A distinct conclusion is that smoother algorithms should
                   be designed according to the contour type and the result's
                   final applications.},
    language     = {en},
    number       = {14},
    urldate      = {2022-07-13},
    journal      = {Applied Sciences},
    month        = jul,
    keywords     = {music contour},
    pages        = {7026}
}

Pitch detection is usually one of the fundamental steps in audio signal processing. However, it is common for pitch detectors to estimate a portion of the fundamental frequencies incorrectly, especially in real-time environments and when applied to singing. Therefore, the estimated pitch contour usually has errors. To remove these errors, a contour smoother algorithm should be employed. However, because none of the current contour-smoother algorithms has been explicitly designed to be applied to contours generated from singing, they are often unsuitable for this purpose. Therefore, this article aims to introduce a new smoother algorithm that rectifies this. The proposed smoother algorithm is compared with 15 other smoother algorithms over approximately 2700 pitch contours. Four metrics were used for the comparison. According to all the metrics, the proposed algorithm could smooth the contours more accurately than other algorithms. A distinct conclusion is that smoother algorithms should be designed according to the contour type and the result's final applications.

@Misc{             gentil-nunes2022-parsemat,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2022},
    title        = {{PARSEMAT}: Parseme Toolbox Software Package v. 0.9
                   Beta},
    howpublished = "Available at \url{https://pauxy.net/parsemat-3/}.
                   Accessed on Dec. 16, 2022"
}

@Article{          gomez.ea2022-rhetorical,
    author       = {G\'{o}mez, Francisco and Tiz\'{o}n, Manuel and Arronte,
                   Aitor and Padilla, V\'{i}ctor},
    year         = {2022},
    title        = {Rhetorical {Pattern} {Finding}},
    abstract     = {In this paper, we research rhetorical patterns from a
                   musicological and computational standpoint. First, a
                   theoretical examination of what constitutes a rhetorical
                   pattern is conducted. Out of that examination, which
                   includes primary sources and the study of the main
                   composers, a formal definition of rhetorical patterns is
                   proposed. Among the rhetorical figures, a set of imitative
                   rhetorical figures is selected for our study, namely,
                   epizeuxis, palilogy, synonymia, and polyptoton. Next, we
                   design a computational model of the selected rhetorical
                   patterns to automatically find those patterns in a corpus
                   consisting of masses by Renaissance composer Tom\'{a}s
                   Luis de Victoria. In order to have a ground truth with
                   which to test out our model, a group of experts manually
                   annotated the rhetorical patterns. To deal with the
                   problem of reaching a consensus on the annotations, a
                   four-round Delphi method was followed by the annotators.
                   The rhetorical patterns found by the annotators and by the
                   algorithm are compared and their differences discussed.
                   The algorithm reports almost all the patterns annotated by
                   the experts and some additional patterns. The algorithm
                   reports almost all the patterns annotated by the experts
                   (recall: 98.11\%) and some additional patterns (precision:
                   71.73\%). These patterns correspond to rhetorical patterns
                   within other rhetorical patterns, which were overlooked by
                   the annotators on the basis of their contextual knowledge.
                   These results pose issues as to how to integrate that
                   contextual knowledge into the computational model.},
    language     = {en},
    journal      = {International Journal of Interactive Multimedia and
                   Artificial Intelligence},
    pages        = {8}
}

In this paper, we research rhetorical patterns from a musicological and computational standpoint. First, a theoretical examination of what constitutes a rhetorical pattern is conducted. Out of that examination, which includes primary sources and the study of the main composers, a formal definition of rhetorical patterns is proposed. Among the rhetorical figures, a set of imitative rhetorical figures is selected for our study, namely, epizeuxis, palilogy, synonymia, and polyptoton. Next, we design a computational model of the selected rhetorical patterns to automatically find those patterns in a corpus consisting of masses by Renaissance composer Tomás Luis de Victoria. In order to have a ground truth with which to test out our model, a group of experts manually annotated the rhetorical patterns. To deal with the problem of reaching a consensus on the annotations, a four-round Delphi method was followed by the annotators. The rhetorical patterns found by the annotators and by the algorithm are compared and their differences discussed. The algorithm reports almost all the patterns annotated by the experts and some additional patterns. The algorithm reports almost all the patterns annotated by the experts (recall: 98.11%) and some additional patterns (precision: 71.73%). These patterns correspond to rhetorical patterns within other rhetorical patterns, which were overlooked by the annotators on the basis of their contextual knowledge. These results pose issues as to how to integrate that contextual knowledge into the computational model.

@Article{          hutchinson.ea2022-cadential,
    author       = {Hutchinson, Kyle and Poon, Matthew},
    year         = {2022},
    title        = {Cadential {Melodies}: {Form}-{Functional} {Taxonomy} and
                   the {Role} of the {Upper} {Voice}},
    journal      = {Music Theory Online},
    volume       = {28},
    number       = {2},
    month        = {May},
    issn         = {1067-3040},
    abstract     = {This article proposes that engaging with structural
                   melodic content can expand how we conceive of cadential
                   function and add nuance to the more harmonically driven
                   approaches of Caplinian form-functional theory. Drawing on
                   discussions by Schenker, Marx, and Schoenberg, we posit
                   parallels between structural melodic configurations and
                   the temporal formal functions of Caplinian theory. Through
                   several analytic examples we suggest that certain melodic
                   directions have default association with Caplin's temporal
                   functions: ascending lines are typically associated with
                   initiating functions, while the static prolongation of
                   structural tones typically serves as either initiating or
                   medial functions. Conversely, descending melodic lines,
                   especially terminating on 1^ (authentic cadences) or 2^
                   (half cadences) are endemic of concluding functions. We do
                   not suggest that melodic considerations replace harmonic
                   ones, but rather conclude that the two domains are
                   symbiotic in the sense that melodic consideration can
                   reinforce or undermine harmonic ones, and vice versa.
                   Ultimately, we use this rebalancing of analytic focus as a
                   means of reengaging with various problematic phrase types
                   and suggest further efficacy for this approach with
                   respect to nineteenth-century formal expansions.},
    doi          = {10.30535/mto.28.2.4},
    keywords     = {form-functional theory, cadences, melodic structure,
                   phrase structure, William Caplin},
    language     = {en},
    tags         = {music theory},
    url          = {https://www.mtosmt.org/issues/mto.22.28.2/mto.22.28.2.hutchinsonpoon.html}
}

This article proposes that engaging with structural melodic content can expand how we conceive of cadential function and add nuance to the more harmonically driven approaches of Caplinian form-functional theory. Drawing on discussions by Schenker, Marx, and Schoenberg, we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin's temporal functions: ascending lines are typically associated with initiating functions, while the static prolongation of structural tones typically serves as either initiating or medial functions. Conversely, descending melodic lines, especially terminating on 1^ (authentic cadences) or 2^ (half cadences) are endemic of concluding functions. We do not suggest that melodic considerations replace harmonic ones, but rather conclude that the two domains are symbiotic in the sense that melodic consideration can reinforce or undermine harmonic ones, and vice versa. Ultimately, we use this rebalancing of analytic focus as a means of reengaging with various problematic phrase types and suggest further efficacy for this approach with respect to nineteenth-century formal expansions.

@InProceedings{    lascabettes.ea2022-computational,
    author       = {Lascabettes, Paul and Agon, Carlos and Andreatta, Moreno
                   and Bloch, Isabelle},
    year         = {2022},
    title        = {Computational Analysis of Musical Structures based on
                   Morphological Filters},
    abstract     = {This paper deals with the computational analysis of musi-
                   cal structures by focusing on the use of morphological
                   filters. We first propose to generalize the notion of
                   melodic contour to a chord sequence with the chord
                   contour, representing some formal intervallic relations
                   between two given chords. By defining a semi-metric, we
                   compute the self-distance matrix of a chord contour
                   sequence. This method allows gen- erating a self-distance
                   matrix for symbolic music representations. Self- distance
                   matrices are used in the analysis of musical structures
                   because blocks around the diagonal provide structural
                   information on a musical piece. The main contribution of
                   this paper comes from the analysis of these matrices based
                   on mathematical morphology. Morphological filters are used
                   to homogenize and detect regions in the self-distance
                   matri- ces. Specifically, the opening operation has been
                   successfully applied to reveal the blocks around the
                   diagonal because it removes small details such as high
                   local values and reduces all blocks around the diagonal to
                   a zero value. Moreover, by varying the size of the
                   morphological filter, it is possible to detect musical
                   structures at different scales. A large opening filter
                   identifies the main global parts of the piece, while a
                   smaller one finds shorter musical sections. We discuss
                   some examples that demon- strate the usefulness of this
                   approach to detect the structures of a musical piece and
                   its novelty within the field of symbolic music information
                   re- search. Keywords:},
    address      = {Atlanta, USA},
    booktitle    = {MCM 2022 - 8th International Conference Mathematics and
                   Computation in Music},
    keywords     = {Chord contour,Mathematical morphology,Music
                   structure,Self-distance matrix,Symbolic Music information
                   research,music and mathematics},
    mendeley-tags= {music and mathematics},
    url          = {https://hal.archives-ouvertes.fr/hal-03641511/}
}

This paper deals with the computational analysis of musi- cal structures by focusing on the use of morphological filters. We first propose to generalize the notion of melodic contour to a chord sequence with the chord contour, representing some formal intervallic relations between two given chords. By defining a semi-metric, we compute the self-distance matrix of a chord contour sequence. This method allows gen- erating a self-distance matrix for symbolic music representations. Self- distance matrices are used in the analysis of musical structures because blocks around the diagonal provide structural information on a musical piece. The main contribution of this paper comes from the analysis of these matrices based on mathematical morphology. Morphological filters are used to homogenize and detect regions in the self-distance matri- ces. Specifically, the opening operation has been successfully applied to reveal the blocks around the diagonal because it removes small details such as high local values and reduces all blocks around the diagonal to a zero value. Moreover, by varying the size of the morphological filter, it is possible to detect musical structures at different scales. A large opening filter identifies the main global parts of the piece, while a smaller one finds shorter musical sections. We discuss some examples that demon- strate the usefulness of this approach to detect the structures of a musical piece and its novelty within the field of symbolic music information re- search. Keywords:

@InProceedings{    le.ea2022-corpus,
    author       = {Le, Dinh-Viet-Toan and Giraud, Mathieu and Levé,
                   Florence and Maccarini, Francesco},
    year         = {2022},
    title        = {A {Corpus} {Describing} {Orchestral} {Texture} in {First}
                   {Movements} of {Classical} and {Early}-{Romantic}
                   {Symphonies}},
    address      = {Prague Czech Republic},
    isbn         = {978-1-4503-9668-4},
    url          = {https://dl.acm.org/doi/10.1145/3543882.3543884},
    doi          = {10.1145/3543882.3543884},
    abstract     = {Orchestration is the art of writing music for a possibly
                   large ensemble of instruments, by blending or opposing
                   their sounds and grouping them into an orchestral texture.
                   We aim here at providing a deeper understanding of
                   orchestration in classical and earlyromantic symphonies by
                   analyzing, at the bar level, how the instruments of the
                   orchestra organize into melodic, rhythmic, harmonic, and
                   mixed layers. We formalize the description of such layers
                   and release an open corpus with more than 7900 annotations
                   in 24 first movements of Haydn, Mozart, and Beethoven
                   symphonies. Initial analyses of this corpus confirm
                   specific roles of the instruments and their families
                   (woodwinds, brass, and strings), some evolution between
                   composers, as well as the contribution of orchestral
                   texture to form. The model and the corpus offer
                   perspectives for empirical and computational studies on
                   orchestral music.},
    language     = {en},
    urldate      = {2022-08-01},
    booktitle    = {9th {International} {Conference} on {Digital} {Libraries}
                   for {Musicology}},
    publisher    = {ACM},
    month        = jul,
    keywords     = {Computational Musicology},
    pages        = {27--35}
}

Orchestration is the art of writing music for a possibly large ensemble of instruments, by blending or opposing their sounds and grouping them into an orchestral texture. We aim here at providing a deeper understanding of orchestration in classical and earlyromantic symphonies by analyzing, at the bar level, how the instruments of the orchestra organize into melodic, rhythmic, harmonic, and mixed layers. We formalize the description of such layers and release an open corpus with more than 7900 annotations in 24 first movements of Haydn, Mozart, and Beethoven symphonies. Initial analyses of this corpus confirm specific roles of the instruments and their families (woodwinds, brass, and strings), some evolution between composers, as well as the contribution of orchestral texture to form. The model and the corpus offer perspectives for empirical and computational studies on orchestral music.

@Article{          malandrino.ea2022-adaptive,
    author       = {Malandrino, Delfina and {De Prisco}, Roberto and
                   Ianulardo, Mario and Zaccagnino, Rocco},
    year         = {2022},
    title        = {An adaptive meta-heuristic for music plagiarism detection
                   based on text similarity and clustering},
    abstract     = {Plagiarism is a controversial and debated topic in
                   different fields, especially in the Music one, where the
                   commercial market generates a huge amount of money. The
                   lack of objective metrics to decide whether a song is a
                   plagiarism, makes music plagiarism detection a very
                   complex task: often decisions have to be based on
                   subjective argumentations. Automated music analysis
                   methods that identify music similarities can be of help.
                   In this work, we first propose two novel such methods: a
                   text similarity-based method and a clustering-based
                   method. Then, we show how to combine them to get an
                   improved (hybrid) method. The result is a novel adaptive
                   meta-heuristic for music plagiarism detection. To assess
                   the effectiveness of the proposed methods, considered both
                   singularly and in the combined meta-heuristic, we
                   performed tests on a large dataset of ascertained
                   plagiarism and non-plagiarism cases. Results show that the
                   meta-heuristic outperforms existing methods. Finally, we
                   deployed the meta-heuristic into a tool , accessible as a
                   Web application, and assessed the effectiveness,
                   usefulness, and overall user acceptance of the tool by
                   means of a study involving 20 people, divided into two
                   groups, one of which with access to the tool. The study
                   consisted in having people decide which pair of songs, in
                   a predefined set of pairs, should be considered
                   plagiarisms and which not. The study shows that the group
                   supported by our tool successfully identified all
                   plagiarism cases, performing all tasks with no errors. The
                   whole sample agreed about the usefulness of an automatic
                   tool that provides a measure of similarity between two
                   songs.},
    doi          = {10.1007/s10618-022-00835-2},
    issn         = {1384-5810},
    journal      = {Data Mining and Knowledge Discovery},
    keywords     = {Clustering,Evaluation study,Multi-objective
                   optimization,Music plagiarism detection,Text
                   similarity,computational musicology},
    mendeley-tags= {computational musicology},
    month        = {may},
    publisher    = {Springer US},
    url          = {https://link.springer.com/10.1007/s10618-022-00835-2}
}

Plagiarism is a controversial and debated topic in different fields, especially in the Music one, where the commercial market generates a huge amount of money. The lack of objective metrics to decide whether a song is a plagiarism, makes music plagiarism detection a very complex task: often decisions have to be based on subjective argumentations. Automated music analysis methods that identify music similarities can be of help. In this work, we first propose two novel such methods: a text similarity-based method and a clustering-based method. Then, we show how to combine them to get an improved (hybrid) method. The result is a novel adaptive meta-heuristic for music plagiarism detection. To assess the effectiveness of the proposed methods, considered both singularly and in the combined meta-heuristic, we performed tests on a large dataset of ascertained plagiarism and non-plagiarism cases. Results show that the meta-heuristic outperforms existing methods. Finally, we deployed the meta-heuristic into a tool , accessible as a Web application, and assessed the effectiveness, usefulness, and overall user acceptance of the tool by means of a study involving 20 people, divided into two groups, one of which with access to the tool. The study consisted in having people decide which pair of songs, in a predefined set of pairs, should be considered plagiarisms and which not. The study shows that the group supported by our tool successfully identified all plagiarism cases, performing all tasks with no errors. The whole sample agreed about the usefulness of an automatic tool that provides a measure of similarity between two songs.

@Article{          mcadams.ea2022-taxonomy,
    author       = {McAdams, Stephen and Goodchild, Meghan and Soden, Kit},
    year         = {2022},
    title        = {A {Taxonomy} of {Orchestral} {Grouping} {Effects}
                   {Derived} from {Principles} of {Auditory} {Perception}},
    volume       = {28},
    abstract     = {The study of timbre and orchestration in symphonic music
                   research is underexplored, and few theories attempt to
                   explain strategies for combining and contrasting
                   instruments and the resulting perception of orchestral
                   structures and textures. An analysis of orchestration
                   treatises and musical scores reveals an implicit
                   understanding of auditory grouping principles by which
                   many orchestration techniques give rise to predictable
                   perceptual effects. We present a novel theory formalized
                   in a taxonomy of devices related to auditory grouping
                   principles that appear frequently in Western orchestration
                   practices from a range of historical epochs. We develop
                   three classes of orchestration analysis categories:
                   concurrent grouping cues result in blended combinations of
                   instruments; sequential grouping cues result in melodic
                   lines, the integration of surface textures, and the
                   segregation of melodies or stratified (foreground and
                   background) layers based on acoustic (dis)similarities;
                   segmental grouping cues contrast sequentially presented
                   blocks of materials and contribute to the creation of
                   perceptual boundaries. The theory predicts
                   orchestration-based perceptual structuring in music and
                   may be applied to music of any style, culture, or genre.},
    language     = {en},
    number       = {3},
    journal      = {Music Theory Online},
    pages        = {55}
}

The study of timbre and orchestration in symphonic music research is underexplored, and few theories attempt to explain strategies for combining and contrasting instruments and the resulting perception of orchestral structures and textures. An analysis of orchestration treatises and musical scores reveals an implicit understanding of auditory grouping principles by which many orchestration techniques give rise to predictable perceptual effects. We present a novel theory formalized in a taxonomy of devices related to auditory grouping principles that appear frequently in Western orchestration practices from a range of historical epochs. We develop three classes of orchestration analysis categories: concurrent grouping cues result in blended combinations of instruments; sequential grouping cues result in melodic lines, the integration of surface textures, and the segregation of melodies or stratified (foreground and background) layers based on acoustic (dis)similarities; segmental grouping cues contrast sequentially presented blocks of materials and contribute to the creation of perceptual boundaries. The theory predicts orchestration-based perceptual structuring in music and may be applied to music of any style, culture, or genre.

@InCollection{     mullensiefen.ea2022-statistical,
    author       = {M\"{u}llensiefen, Daniel and Frieler, Klaus},
    year         = {2022},
    title        = {Statistical {Methods} in {Music} {Corpus} {Studies}:
                   {Application}, {UseCases}, and {Best} {Practice}
                   {Examples}},
    edition      = {1},
    isbn         = {978-0-19-094544-2 978-0-19-094547-3},
    url          = {https://academic.oup.com/edited-volume/41992},
    abstract     = {In this chapter, the authors explain that there are two
                   common goals in musical corpus analysis. The rst is the
                   description and comparison of musical corpora, the second
                   is to establish relationships between musical structures
                   and extra-musical data, which can refer to metadata of a
                   particular musical piece (genre, style, and period labels,
                   composer and performer attributions, etc.) or to
                   listeners' perceptions and evaluations. The authors give a
                   brief overview of basic and advanced statistical methods
                   that have been employed in music corpus studies. The
                   chapter covers descriptive statistics and visualizations,
                   feature selection and aggregation using principal
                   component analysis. In addition, random forests and linear
                   regression methods for use in the context of corpus
                   studies are brie y explained, as well as supervised and
                   unsupervised classi cation techniques. Each topic and
                   method is introduced with a conceptual explanation,
                   suggestions for its application, and usage scenarios from
                   the research literature.},
    language     = {en},
    urldate      = {2022-12-22},
    booktitle    = {The {Oxford} {Handbook} of {Music} and {Corpus}
                   {Studies}},
    publisher    = {Oxford University Press},
    editor       = {Shanahan, Daniel and Burgoyne, John Ashley and Quinn,
                   Ian},
    month        = feb,
    doi          = {10.1093/oxfordhb/9780190945442.001.0001}
}

In this chapter, the authors explain that there are two common goals in musical corpus analysis. The rst is the description and comparison of musical corpora, the second is to establish relationships between musical structures and extra-musical data, which can refer to metadata of a particular musical piece (genre, style, and period labels, composer and performer attributions, etc.) or to listeners' perceptions and evaluations. The authors give a brief overview of basic and advanced statistical methods that have been employed in music corpus studies. The chapter covers descriptive statistics and visualizations, feature selection and aggregation using principal component analysis. In addition, random forests and linear regression methods for use in the context of corpus studies are brie y explained, as well as supervised and unsupervised classi cation techniques. Each topic and method is introduced with a conceptual explanation, suggestions for its application, and usage scenarios from the research literature.

@Article{          paiva-santana.ea2022-role,
    author       = {Paiva Santana, Charles de and Guigue, Didier},
    year         = {2022},
    title        = {The {Role} of {Orchestration} in {Shaping} {Musical}
                   {Form}: {Theory} and {Practice} of a {Methodological}
                   {Proposal} and {Its} {Computational} {Implementation}},
    volume       = {58},
    issn         = {2350-4242, 0580-373X},
    shorttitle   = {The {Role} of {Orchestration} in {Shaping} {Musical}
                   {Form}},
    url          = {https://journals.uni-lj.si/MuzikoloskiZbornik/article/view/12408},
    doi          = {10.4312/mz.58.2.121-153},
    abstract     = {We introduce a method for computer-assisted analysis of
                   orchestration. We also look into the role that texture and
                   orchestration have in structuring musical form.The method
                   comprises a numerical representation, a hierarchy of
                   'textural situations' and measures for heterogeneity,
                   diversity and complexity of orchestral-textural
                   configurations.},
    language     = {en},
    number       = {2},
    urldate      = {2023-02-23},
    journal      = {Musicological Annual},
    month        = dec,
    keywords     = {Computational Musicology},
    pages        = {121--153}
}

We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form.The method comprises a numerical representation, a hierarchy of 'textural situations' and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.

@Article{          pareyon.ea2022-music,
    author       = {Pareyon, Gabriel and Almada, Carlos and Mathias, Carlos
                   and Saraiva, Cecília and Moreira, Daniel and Carvalho,
                   Hugo and Pitombeira, Liduino and Gentil-Nunes, Pauxy and
                   Mesz, Bruno and Amster, Pablo and Riera, Pablo},
    year         = {2022},
    title        = {Music and {Mathematics} in {Latin} {America}: {Major}
                   {Developments} in the {Last} 25 {Years}},
    volume       = {6},
    issn         = {25263757},
    shorttitle   = {Music and {Mathematics} in {Latin} {America}},
    url          = {https://musmat.org/wp-content/uploads/2022/06/02-Pareyon-et-al-V6N1_2022.pdf},
    doi          = {10.46926/musmat.2022v6n1.12-47},
    abstract     = {This text is an overview for Latin America across the
                   field of music and musicology intersecting mathematics,
                   including the advances from perspectives of
                   experimentation, creation, analysis and pedagogy
                   throughout interdisciplinary developments, particularly in
                   the field of computational science and philosophy of
                   science. Our main goal is to spread worldwide the richness
                   and variety of research on music and mathematics in Latin
                   America as well as stimulate further investigation in this
                   fascinating intersection.},
    language     = {en},
    number       = {1},
    urldate      = {2022-07-08},
    journal      = {MusMat: Brazilian Journal of Music and Mathematics},
    month        = jun,
    pages        = {12--47}
}

This text is an overview for Latin America across the field of music and musicology intersecting mathematics, including the advances from perspectives of experimentation, creation, analysis and pedagogy throughout interdisciplinary developments, particularly in the field of computational science and philosophy of science. Our main goal is to spread worldwide the richness and variety of research on music and mathematics in Latin America as well as stimulate further investigation in this fascinating intersection.

@Article{          sampaio.ea2022-new,
    author       = {{Sampaio}, {Marcos da Silva} and Gentil-Nunes, Pauxy and
                   Oliveira, Vicente Sanches de and Oliveira, Sidnei Marques
                   de and Oliveira, Jaderson Cardona},
    year         = {2022},
    title        = {New Visual Tools for Rhythmic Partitioning Analysis of
                   Musical Texture},
    abstract     = {The Partitional Theory of Texture provides a graphical
                   tool, the partitiogram, to show relations between textural
                   partitions. Despite its great utility, the partitiogram
                   does not identify the occurrence frequency of each
                   partition in a piece. In this paper, we propose two new
                   partitiograms to represent partitions' occurrence
                   frequency and to show partitions' differences among the
                   sections of a given piece. The proposed tools made it
                   possible to identify relevant aspects of the texture in
                   nine works analyzed.},
    doi          = {10.52930/mt.v7i2.240},
    journal      = {Revista Musica Theorica},
    keywords     = {Rhythmic Partitioning Analysis, Textural Analysis, Music
                   Analysis, Python scripts, Music21},
    number       = {2},
    pages        = {215--246},
    url          = {https://revistamusicatheorica.tema.mus.br/index.php/musica-theorica/article/view/240},
    volume       = {7}
}

The Partitional Theory of Texture provides a graphical tool, the partitiogram, to show relations between textural partitions. Despite its great utility, the partitiogram does not identify the occurrence frequency of each partition in a piece. In this paper, we propose two new partitiograms to represent partitions' occurrence frequency and to show partitions' differences among the sections of a given piece. The proposed tools made it possible to identify relevant aspects of the texture in nine works analyzed.

@Article{          sampaio.ea2022-python,
    author       = {{Sampaio}, {Marcos da Silva} and Gentil-Nunes, Pauxy},
    year         = {2022},
    title        = {Python Scripts for Rhythmic Partitioning Analysis},
    abstract     = {The Rhythmic Partitioning Analysis demands laborious
                   tasks on segmentation and agglomeration/dispersion
                   calculus. Parsemat software runs these tasks and renders
                   indexogram and partitiogram charts. In the present paper,
                   we introduce the Rhythmic Partitioning Scripts (RP
                   Scripts) as an application of Rhythmic Partitioning in the
                   Python environment. It adds some features absent in
                   Parsemat, such as the access to measure indications of
                   each partition, introduction of rest handling, annotation
                   of texture info into digital scores, and other
                   improvements. The RP Scripts collect musical events'
                   locations and output locations and partitions' data into
                   CSV files, render indexogram/partitiogram charts, and
                   generate annotated MusicXML score files. RP Scripts have
                   three components: calculator (RPC), plotter (RPP), and
                   annotator (RPA) scripts.},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {Rhythmic Partitioning Analysis, Textural Analysis, Music
                   Analysis, Python scripts, Music21},
    month        = {12},
    number       = {2},
    pages        = {17--55},
    url          = {https://musmat.org/wp-content/uploads/2022/12/02-Sampaio-Gentil-Nunes-V6N2_2022.pdf},
    volume       = {6}
}

The Rhythmic Partitioning Analysis demands laborious tasks on segmentation and agglomeration/dispersion calculus. Parsemat software runs these tasks and renders indexogram and partitiogram charts. In the present paper, we introduce the Rhythmic Partitioning Scripts (RP Scripts) as an application of Rhythmic Partitioning in the Python environment. It adds some features absent in Parsemat, such as the access to measure indications of each partition, introduction of rest handling, annotation of texture info into digital scores, and other improvements. The RP Scripts collect musical events' locations and output locations and partitions' data into CSV files, render indexogram/partitiogram charts, and generate annotated MusicXML score files. RP Scripts have three components: calculator (RPC), plotter (RPP), and annotator (RPA) scripts.

@Misc{             sampaio.ea2022-rp-scripts,
    author       = {{Sampaio}, {Marcos da Silva} and Gentil-Nunes, Pauxy},
    year         = {2022},
    title        = {{RP Scripts}: {Rhythmic} {Partitioning} {Scripts},
                   Release 1.0},
    howpublished = "Available at \url{https://github.com/msampaio/rpScripts}.
                   Accessed on Dec. 16, 2022"
}

@Misc{             sampaio2022-music,
    author       = {{Sampaio}, {Marcos da Silva}},
    year         = {2022},
    title        = {Music Tools},
    url          = {https://tools.sampaio.me}
}

@Article{          wallentinsen2022-fuzzy,
    author       = {Wallentinsen, Kristen},
    year         = {2022},
    title        = {Fuzzy {Family} {Ties}: {New} {Methods} for {Measuring}
                   {Familial} {Similarity} between {Contours} of {Variable}
                   {Cardinality}},
    volume       = {66},
    issn         = {0022-2909, 1941-7497},
    url          = {https://read.dukeupress.edu/journal-of-music-theory/article/66/1/93/313635/Fuzzy-Family-TiesNew-Methods-for-Measuring},
    doi          = {10.1215/00222909-9534151},
    abstract     = {Melodic contour is one of a melody's defining
                   characteristics. Music theorists such as Michael
                   Friedmann, Robert Morris, Elizabeth West Marvin and Paul
                   Laprade, and Ian Quinn have developed mod els for
                   evaluating similarities between contours, but only a few
                   comp are similarities between pairs of contours with
                   different lengths, and fewer still can measure shared
                   characteristics among an entire family of contours. This
                   article introduces a new method for evaluating familial
                   similarities between related con tours, even if the
                   contours have different cardinalities. The model extends
                   theories of contour transforma tion by using fuzzy set
                   theory and probability, measuring a contour's degree of
                   familial membership by examining the contour's
                   transformational pathway and calculating the probability
                   that each move in the pathway is shared by other family
                   members. Through the potential of differing alignments
                   along these pathways, the model allows for the possibility
                   that pathways may be omitted or inserted within a contour
                   that exhibits familial resemblance, despite its different
                   cardinality. The analytical utility of the model is then
                   demonstrated through an analysis of melodic possibility in
                   phased portions of Steve Reich's The Desert Music.
                   Integrating variable cardinality into contour similarity
                   relations in this way more adequately accounts for
                   familial relationships between contours and can provide
                   new and valuable insights into one of music's most
                   fundamental elements.},
    language     = {en},
    number       = {1},
    urldate      = {2022-08-21},
    journal      = {Journal of Music Theory},
    month        = apr,
    tags         = {music contour},
    pages        = {93--128}
}

Melodic contour is one of a melody's defining characteristics. Music theorists such as Michael Friedmann, Robert Morris, Elizabeth West Marvin and Paul Laprade, and Ian Quinn have developed mod els for evaluating similarities between contours, but only a few comp are similarities between pairs of contours with different lengths, and fewer still can measure shared characteristics among an entire family of contours. This article introduces a new method for evaluating familial similarities between related con tours, even if the contours have different cardinalities. The model extends theories of contour transforma tion by using fuzzy set theory and probability, measuring a contour's degree of familial membership by examining the contour's transformational pathway and calculating the probability that each move in the pathway is shared by other family members. Through the potential of differing alignments along these pathways, the model allows for the possibility that pathways may be omitted or inserted within a contour that exhibits familial resemblance, despite its different cardinality. The analytical utility of the model is then demonstrated through an analysis of melodic possibility in phased portions of Steve Reich's The Desert Music. Integrating variable cardinality into contour similarity relations in this way more adequately accounts for familial relationships between contours and can provide new and valuable insights into one of music's most fundamental elements.

@InProceedings{    carnovalini.ea2021-studying,
    author       = {Carnovalini, Filippo and Harley, Nicholas and Homer,
                   Steve and Rod, Antonio},
    year         = {2021},
    title        = {Studying Structural Regularities through Abstraction
                   Trees},
    booktitle    = {Proceedings of the 15th International Symposium on CMMR,
                   Online, Nov. 15-19},
    keywords     = {computational musicology,music
                   representations,schenkerian analysis,structure},
    mendeley-tags= {computational musicology},
    pages        = {165--174}
}

@Article{          conklin2021-mining,
    author       = {Conklin, Darrell},
    year         = {2021},
    title        = {Mining contour sequences for significant closed
                   patterns},
    abstract     = {Sequential pattern mining in music is a central part of
                   automated music analysis and music generation. This paper
                   evaluates sequential pattern mining on a corpus of
                   Mozarabic chant neume sequences that have been annotated
                   by a musicologist with intra-opus patterns. Significant
                   patterns are discovered in three settings: all closed
                   patterns, maximal closed patterns, and minimal closed
                   patterns. Each setting is evaluated against the annotated
                   patterns using the measures of recall and precision. The
                   results indicate that it is possible to retrieve all known
                   patterns with an acceptable precision using significant
                   closed pattern discovery.},
    doi          = {10.1080/17459737.2021.1903591},
    journal      = {Journal of Mathematics and Music},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    number       = {0},
    pages        = {1--13},
    publisher    = {Taylor \& Francis},
    url          = {https://doi.org/10.1080/17459737.2021.1903591},
    volume       = {0}
}

Sequential pattern mining in music is a central part of automated music analysis and music generation. This paper evaluates sequential pattern mining on a corpus of Mozarabic chant neume sequences that have been annotated by a musicologist with intra-opus patterns. Significant patterns are discovered in three settings: all closed patterns, maximal closed patterns, and minimal closed patterns. Each setting is evaluated against the annotated patterns using the measures of recall and precision. The results indicate that it is possible to retrieve all known patterns with an acceptable precision using significant closed pattern discovery.

@InProceedings{    cornelissen.ea2021-cosine,
    author       = {Cornelissen, Bas and Zuidema, Willem and Burgoyne, John
                   Ashley},
    year         = {2021},
    title        = {Cosine contours: a multipurpose representation for
                   melodies},
    booktitle    = {Proceedings of 22nd International Society for Music
                   Information Retrieval Conference},
    keywords     = {music contour},
    mendeley-tags= {music contour}
}

@Article{          gao.ea2021-statistical,
    author       = {Gao, Linlin and Shen, He and Liu, Chang},
    year         = {2021},
    title        = {Statistical analysis of songs by composers of the
                   Romantic era : A comparison of F . Schubert and his
                   contemporaries},
    doi          = {10.5216/mh.v21.69875},
    journal      = {Musica Hodie},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    volume       = {1}
}

@Article{          harasim.ea2021-exploring,
    author       = {Harasim, Daniel and Moss, Fabian C. and Ramirez, Matthias
                   and Rohrmeier, Martin},
    year         = {2021},
    title        = {Exploring the foundations of tonality: statistical
                   cognitive modeling of modes in the history of Western
                   classical music},
    abstract     = {Tonality is one of the most central theoretical concepts
                   for the analysis of Western classical music. This study
                   presents a novel approach for the study of its historical
                   development, exploring in particular the concept of mode.
                   Based on a large dataset of approximately 13,000 musical
                   pieces in MIDI format, we present two models to infer both
                   the number and characteristics of modes of different
                   historical periods from first principles: a geometric
                   model of modes as clusters of musical pieces in a
                   non-Euclidean space, and a cognitively plausible Bayesian
                   model of modes as Dirichlet distributions. We use the
                   geometric model to determine the optimal number of modes
                   for five historical epochs via unsupervised learning and
                   apply the probabilistic model to infer the characteristics
                   of the modes. Our results show that the inference of four
                   modes is most plausible in the Renaissance, that two
                   modes–corresponding to major and minor–are most
                   appropriate in the Baroque and Classical eras, whereas no
                   clear separation into distinct modes is found for the 19th
                   century.},
    doi          = {10.1057/s41599-020-00678-6},
    issn         = {26629992},
    journal      = {Humanities and Social Sciences Communications},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    number       = {1},
    publisher    = {Springer US},
    url          = {http://dx.doi.org/10.1057/s41599-020-00678-6},
    volume       = {8}
}

Tonality is one of the most central theoretical concepts for the analysis of Western classical music. This study presents a novel approach for the study of its historical development, exploring in particular the concept of mode. Based on a large dataset of approximately 13,000 musical pieces in MIDI format, we present two models to infer both the number and characteristics of modes of different historical periods from first principles: a geometric model of modes as clusters of musical pieces in a non-Euclidean space, and a cognitively plausible Bayesian model of modes as Dirichlet distributions. We use the geometric model to determine the optimal number of modes for five historical epochs via unsupervised learning and apply the probabilistic model to infer the characteristics of the modes. Our results show that the inference of four modes is most plausible in the Renaissance, that two modes–corresponding to major and minor–are most appropriate in the Baroque and Classical eras, whereas no clear separation into distinct modes is found for the 19th century.

@Article{          hentschel.ea2021-annotated,
    author       = {Hentschel, Johannes and Neuwirth, Markus and Rohrmeier,
                   Martin},
    year         = {2021},
    title        = {The Annotated Mozart Sonatas: Score, Harmony, and
                   Cadence},
    abstract     = {This article describes a new expert-labelled dataset
                   featuring harmonic, phrase, and cadence analyses of all
                   piano sonatas by W.A. Mozart. The dataset draws on the
                   DCML standard for harmonic annotation and is being
                   published adopting the FAIR principles of Open Science.
                   The annotations have been verified using a data
                   triangulation procedure which is presented as an
                   alternative approach to handling annotator subjectivity.
                   This procedure is suited for ensuring consistency, within
                   the dataset and beyond, despite the high level of
                   analytical detail afforded by the employed harmonic
                   annotation syntax. The harmony labels also encode
                   contextual information and are therefore suited for
                   investigating music theoretical questions related to tonal
                   harmony and the harmonic makeup of cadences in the
                   classical style. Apart from providing basic statistical
                   analyses characterizing the dataset, its music theoretical
                   potential is illustrated by two preliminary experiments,
                   one on the terminal harmonies of cadences and the other on
                   the relation between performance durations and harmonic
                   density. Furthermore, particular features can be selected
                   to produce more coarse-grained training data, for example
                   for chord detection algorithms that require less
                   analytical detail. Facilitating the dataset's reusability,
                   it comes with a Python script that allows researchers to
                   easily access various representations of the data tailored
                   to their particular needs.},
    doi          = {10.5334/tismir.63},
    issn         = {2514-3298},
    journal      = {Transactions of the International Society for Music
                   Information Retrieval},
    keywords     = {cadence,classical style,computational
                   musicology,expert-annotated dataset,piano music,tonal
                   harmony},
    mendeley-tags= {computational musicology},
    month        = {may},
    number       = {1},
    pages        = {67--80},
    url          = {http://transactions.ismir.net/articles/10.5334/tismir.63/},
    volume       = {4}
}

This article describes a new expert-labelled dataset featuring harmonic, phrase, and cadence analyses of all piano sonatas by W.A. Mozart. The dataset draws on the DCML standard for harmonic annotation and is being published adopting the FAIR principles of Open Science. The annotations have been verified using a data triangulation procedure which is presented as an alternative approach to handling annotator subjectivity. This procedure is suited for ensuring consistency, within the dataset and beyond, despite the high level of analytical detail afforded by the employed harmonic annotation syntax. The harmony labels also encode contextual information and are therefore suited for investigating music theoretical questions related to tonal harmony and the harmonic makeup of cadences in the classical style. Apart from providing basic statistical analyses characterizing the dataset, its music theoretical potential is illustrated by two preliminary experiments, one on the terminal harmonies of cadences and the other on the relation between performance durations and harmonic density. Furthermore, particular features can be selected to produce more coarse-grained training data, for example for chord detection algorithms that require less analytical detail. Facilitating the dataset's reusability, it comes with a Python script that allows researchers to easily access various representations of the data tailored to their particular needs.

@InProceedings{    hu.ea2021-statistical,
    author       = {Hu, Tianxue and Arthur, Claire},
    year         = {2021},
    title        = {A Statistical Model for Melody Reduction},
    booktitle    = {Proceedings of the Future Directions of Music Cognition
                   International Conference},
    keywords     = {music and mathematics},
    mendeley-tags= {music and mathematics},
    pages        = {1--5}
}

@Article{          moss.ea2021-discovering,
    author       = {Moss, Fabian Claude and Rohrmeier, Martin},
    year         = {2021},
    title        = {Discovering Tonal Profiles with Latent Dirichlet
                   Allocation},
    abstract     = {Music analysis, in particular harmonic analysis, is
                   concerned with the way pitches are organized in pieces of
                   music, and a range of empirical applications have been
                   developed, for example, for chord recognition or key
                   finding. Naturally, these approaches rely on some
                   operationalization of the concepts they aim to
                   investigate. In this study, we take a complementary
                   approach and discover latent tonal structures in an
                   unsupervised manner. We use the topic model Latent
                   Dirichlet Allocation and apply it to a large historical
                   corpus of musical pieces from the Western classical
                   tradition. This method conceives topics as distributions
                   of pitch classes without assuming a priori that they
                   correspond to either chords, keys, or other harmonic
                   phenomena. To illustrate the generative process assumed by
                   the model, we create an artificial corpus with arbitrary
                   parameter settings and compare the sampled pieces to real
                   compositions. The results we obtain by applying the topic
                   model to the musical corpus show that the inferred topics
                   have music-theoretically meaningful interpretations. In
                   particular, topics cover contiguous segments on the line
                   of fifths and mostly correspond to diatonic sets.
                   Moreover, tracing the prominence of topics over the course
                   of music history over [Formula: see text]600 years
                   reflects changes in the ways pitch classes are employed in
                   musical compositions and reveals particularly strong
                   changes at the transition from common-practice to extended
                   tonality in the 19th century.},
    doi          = {10.1177/20592043211048827},
    isbn         = {2059204321},
    issn         = {2059-2043},
    journal      = {Music & Science},
    keywords     = {computational musicology,corpus studies,latent dirichlet
                   allocation,tonal pitch classes,tonality,topic modelling},
    mendeley-tags= {computational musicology},
    month        = {jan},
    url          = {http://journals.sagepub.com/doi/10.1177/20592043211048827},
    volume       = {4}
}

Music analysis, in particular harmonic analysis, is concerned with the way pitches are organized in pieces of music, and a range of empirical applications have been developed, for example, for chord recognition or key finding. Naturally, these approaches rely on some operationalization of the concepts they aim to investigate. In this study, we take a complementary approach and discover latent tonal structures in an unsupervised manner. We use the topic model Latent Dirichlet Allocation and apply it to a large historical corpus of musical pieces from the Western classical tradition. This method conceives topics as distributions of pitch classes without assuming a priori that they correspond to either chords, keys, or other harmonic phenomena. To illustrate the generative process assumed by the model, we create an artificial corpus with arbitrary parameter settings and compare the sampled pieces to real compositions. The results we obtain by applying the topic model to the musical corpus show that the inferred topics have music-theoretically meaningful interpretations. In particular, topics cover contiguous segments on the line of fifths and mostly correspond to diatonic sets. Moreover, tracing the prominence of topics over the course of music history over [Formula: see text]600 years reflects changes in the ways pitch classes are employed in musical compositions and reveals particularly strong changes at the transition from common-practice to extended tonality in the 19th century.

@Article{          ng2021-end-accented,
    author       = {Ng, Samuel},
    year         = {2021},
    title        = {End-Accented Sentences: Towards a Theory of
                   Phrase-Rhythmic Progression},
    abstract     = {For centuries, theorists have debated whether musical
                   phrases are normatively beginning-accented or
                   end-accented. The last two decades of the twentieth
                   century gave beginning-accented rhythm the upper hand;
                   yet, recent work on end-accented phrases has reinvigorated
                   the debate. I contribute to this discussion in two ways.
                   First, I aim to rehabilitate a central position of
                   end-accented rhythm by drawing attention to
                   phrase-rhythmic tendencies in classical sentence
                   structure. My analyses show that end-accented sentential
                   schemas are well-established compositional options in
                   various action spaces—including Primary and Secondary
                   Themes—in late eighteenth- and early nineteenth-century
                   instrumental music. Moreover, integral roles of
                   end-accented sentential themes are substantiated by their
                   production—in tandem with their beginning-accented
                   counterparts—of large-scale progressions analogous to
                   tonal and formal ones. Awareness of these sentential
                   themes re-energizes the century-old debate and deepens our
                   understanding of phrase rhythm as a source of musical
                   meaning. Second, in order to achieve the first goal, I
                   develop a theory of phrase-rhythmic progression for
                   categorizing phrase-rhythmic types and mapping their
                   trajectories. This theory fills a gap in current spatial
                   representations of rhythm and meter, which focus on metric
                   dissonances and hierarchies without considerations of
                   phrase–meter interaction.},
    doi          = {10.1093/mts/mtaa018},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    keywords     = {beginning-accented phrases,end-accented
                   phrases,narrative,phrase
                   rhythm,representation,schema,sentence,spatial},
    month        = {jan},
    url          = {https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtaa018/6131575}
}

For centuries, theorists have debated whether musical phrases are normatively beginning-accented or end-accented. The last two decades of the twentieth century gave beginning-accented rhythm the upper hand; yet, recent work on end-accented phrases has reinvigorated the debate. I contribute to this discussion in two ways. First, I aim to rehabilitate a central position of end-accented rhythm by drawing attention to phrase-rhythmic tendencies in classical sentence structure. My analyses show that end-accented sentential schemas are well-established compositional options in various action spaces—including Primary and Secondary Themes—in late eighteenth- and early nineteenth-century instrumental music. Moreover, integral roles of end-accented sentential themes are substantiated by their production—in tandem with their beginning-accented counterparts—of large-scale progressions analogous to tonal and formal ones. Awareness of these sentential themes re-energizes the century-old debate and deepens our understanding of phrase rhythm as a source of musical meaning. Second, in order to achieve the first goal, I develop a theory of phrase-rhythmic progression for categorizing phrase-rhythmic types and mapping their trajectories. This theory fills a gap in current spatial representations of rhythm and meter, which focus on metric dissonances and hierarchies without considerations of phrase–meter interaction.

@InProceedings{    parada-cabaleiro.ea2021-automatic,
    author       = {Parada-cabaleiro, Emilia and Schmitt, Maximilian and
                   Batliner, Anton and Schuller, Bj{\"{o}}rn and Schedl,
                   Markus},
    year         = {2021},
    title        = {Automatic recognition of texture in Renaissance Music},
    abstract     = {Renaissance music constitutes a resource of immense rich-
                   ness for Western culture, as shown by its central role in
                   digital humanities. Yet, despite the advance of computa-
                   tional musicology in analysing other Western repertoires,
                   the use of computer-based methods to automatically re-
                   trieve relevant information from Renaissance music, e. g.,
                   identifying word-painting strategies such as madrigalisms,
                   is still underdeveloped. To this end, we propose a score-
                   based machine learning approach for the classification of
                   texture in Italian madrigals of the 16th century. Our out-
                   comes indicate that Low Level Descriptors, such as inter-
                   vals, can successfully convey differences in High Level
                   features, such as texture. Furthermore, our baseline re-
                   sults, particularly the ones from a Convolutional Neural
                   Network, show that machine learning can be successfully
                   used to automatically identify sections in madrigals asso-
                   ciated with specific textures from symbolic sources. 1.},
    booktitle    = {Proceedings of 22nd International Society for Music
                   Information Retrieval Conference},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {509--516}
}

Renaissance music constitutes a resource of immense rich- ness for Western culture, as shown by its central role in digital humanities. Yet, despite the advance of computa- tional musicology in analysing other Western repertoires, the use of computer-based methods to automatically re- trieve relevant information from Renaissance music, e. g., identifying word-painting strategies such as madrigalisms, is still underdeveloped. To this end, we propose a score- based machine learning approach for the classification of texture in Italian madrigals of the 16th century. Our out- comes indicate that Low Level Descriptors, such as inter- vals, can successfully convey differences in High Level features, such as texture. Furthermore, our baseline re- sults, particularly the ones from a Convolutional Neural Network, show that machine learning can be successfully used to automatically identify sections in madrigals asso- ciated with specific textures from symbolic sources. 1.

@Article{          raz.ea2021-mozart,
    author       = {Raz, Omer and Chawin, Dror and Rom, Uri B.},
    year         = {2021},
    title        = {The Mozart Expositional Punctuation Corpus: A Dataset of
                   Interthematic Cadences in Mozart's Sonata-Allegro
                   Exposition},
    abstract     = {This report documents a dataset consisting of expert
                   annotations (symbolic data) of interthematic
                   (higher-level) cadences in the exposition sections of all
                   of Mozart's instrumental sonata-allegro movements.},
    doi          = {10.18061/emr.v16i1.7648},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {cadence,classical style,computational musicology,digital
                   musicology,expert-,musical form},
    mendeley-tags= {computational musicology},
    month        = {dec},
    number       = {1},
    pages        = {134--144},
    url          = {https://emusicology.org/article/view/7648},
    volume       = {16}
}

This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro movements.

@InProceedings{    schmuckler.ea2021-rhythm,
    author       = {Schmuckler, Mark A. and Moranis, Rebecca},
    year         = {2021},
    title        = {Rhythm contour drives musical memory},
    url          = {https://kb.osu.edu/handle/1811/93166},
    doi          = {10.18061/FDMC.2021.0045},
    abstract     = {Two experiments examined listeners' use of contour
                   information to drive memory for rhythmic patterns; these
                   experiments were distinguished by the use of metric
                   rhythms (Experiment 1) and ametric rhythms (Experiment 2).
                   Both experiments employed a typical short-term memory task
                   in which listeners heard a standard rhythm followed by a
                   comparison rhythm. Comparison rhythms could be one of
                   three types: an exact repetition of the standard rhythm, a
                   same contour rhythm in which the relative durations of
                   successive notes were comparable to the standard, and a
                   different contour rhythm in which the relative durations
                   of successive notes were modified relative to the
                   standard. Analyses of d primes for same/different
                   detection revealed that, for both studies, listeners
                   performed better when the comparisons had different rhythm
                   contours, relative to comparisons with the same rhythm
                   contours. These findings converge with results
                   investigating melodic contour, and suggest that listeners
                   both form and use contours of novel rhythmic patterns.},
    language     = {en},
    urldate      = {2022-08-21},
    booktitle    = {Future {Directions} of {Music} {Cognition}},
    publisher    = {The Ohio State University Libraries},
    tags         = {music contour},
    month        = dec
}

Two experiments examined listeners' use of contour information to drive memory for rhythmic patterns; these experiments were distinguished by the use of metric rhythms (Experiment 1) and ametric rhythms (Experiment 2). Both experiments employed a typical short-term memory task in which listeners heard a standard rhythm followed by a comparison rhythm. Comparison rhythms could be one of three types: an exact repetition of the standard rhythm, a same contour rhythm in which the relative durations of successive notes were comparable to the standard, and a different contour rhythm in which the relative durations of successive notes were modified relative to the standard. Analyses of d primes for same/different detection revealed that, for both studies, listeners performed better when the comparisons had different rhythm contours, relative to comparisons with the same rhythm contours. These findings converge with results investigating melodic contour, and suggest that listeners both form and use contours of novel rhythmic patterns.

@InProceedings{    soum-fontez.ea2021-symbolic,
    author       = {Soum-fontez, Louis and Giraud, Mathieu},
    year         = {2021},
    title        = {Symbolic Textural Features and Melody / Accompaniment
                   Detection in String Quartets},
    booktitle    = {Proceedings of the 15th International Symposium on CMMR,
                   Online, Nov. 15-19},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology}
}

@Article{          sousa2021-measuring,
    author       = {de Sousa, Daniel Moreira},
    year         = {2021},
    title        = {Measuring the Amount of Freedom for Compositional Choices
                   in a Textural Perspective Daniel Moreira de Sousa},
    abstract     = {In this paper I discuss the relation between the number
                   of available compositional choices and the complexity in
                   dealing with them in the scope of musical texture. First,
                   I discuss the paradigm of compositional choice in light of
                   the number of variables for a given situation. Then, I
                   introduce the concept of compositional entropy-–a
                   proposal for measuring the amount of freedom that is
                   implied in each compositional choice when selecting a
                   given musical object. This computation depends on the
                   number of available variables provided by the chosen
                   musical object so that the higher the compositional
                   entropy, the more complex is the choosing process as it
                   provides a high number of possibilities to be chosen. This
                   formulation enables the discussion of compositional
                   choices in a view of probability and combinatorial
                   permutations. In the second part of the article, I apply
                   this concept in the textural domain. To do so, I introduce
                   a series of concepts and formulations regarding musical
                   texture to enable such a discussion. Finally, I
                   demonstrate how to measure the compositional entropy of
                   textures, considering both the number of possible textural
                   configurations a composer may manage for a given number of
                   sound- ing components (exhaustive taxonomy of textures)
                   and how many different ways a given configuration can be
                   realized as music in the score, considering only textural
                   terms (exhaustive taxonomy of realizations).},
    doi          = {10.46926/musmat.2021v5n1.126-156},
    journal      = {MusMat: Brazilian Journal of Music and Mathematics},
    keywords     = {Compositional entropy. Musical texture. Textural l,music
                   texture},
    mendeley-tags= {music texture},
    number       = {1},
    pages        = {126--156},
    volume       = {V}
}

In this paper I discuss the relation between the number of available compositional choices and the complexity in dealing with them in the scope of musical texture. First, I discuss the paradigm of compositional choice in light of the number of variables for a given situation. Then, I introduce the concept of compositional entropy-–a proposal for measuring the amount of freedom that is implied in each compositional choice when selecting a given musical object. This computation depends on the number of available variables provided by the chosen musical object so that the higher the compositional entropy, the more complex is the choosing process as it provides a high number of possibilities to be chosen. This formulation enables the discussion of compositional choices in a view of probability and combinatorial permutations. In the second part of the article, I apply this concept in the textural domain. To do so, I introduce a series of concepts and formulations regarding musical texture to enable such a discussion. Finally, I demonstrate how to measure the compositional entropy of textures, considering both the number of possible textural configurations a composer may manage for a given number of sound- ing components (exhaustive taxonomy of textures) and how many different ways a given configuration can be realized as music in the score, considering only textural terms (exhaustive taxonomy of realizations).

@PhDThesis{        wargelin2021-evaluation,
    author       = {Wargelin, Matias},
    year         = {2021},
    title        = {An evaluation of musical pattern discovery algorithms
                   using a visualisation application},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    school       = {University of Helsinki},
    type         = {Master's Thesis}
}

@Article{          braga.ea2020-implementacao,
    author       = {Braga, Vinicius and Penchel, Jo{\~{a}}o and Chagas, Igor
                   and Furman, Rodrigo and Proen{\c{c}}a, Pedro and
                   Pitombeira, Liduino},
    year         = {2020},
    title        = {Implementa{\c{c}}{\~{a}}o de um sistema composicional
                   semiaberto a partir da similaridade entre conjuntos de
                   classes de notas},
    abstract     = {Este trabalho descreve a formaliza{\c{c}}{\~{a}}o e
                   aplica{\c{c}}{\~{a}}o de um sistema composicional,
                   denominado Similare, que articula micro e macroestrutura
                   tomando como base as rela{\c{c}}{\~{o}}es de similaridade
                   entre conjuntos de classes de notas. Ap{\'{o}}s o exame
                   detalhado dos dois referenciais que d{\~{a}}o
                   sustenta{\c{c}}{\~{a}}o te{\'{o}}rica ao trabalho
                   (sistemas composicionais e similaridade), o sistema foi
                   definido e, a partir dele, duas obras foram planejadas:
                   uma para quarteto de cordas e outra para piano solo.
                   Durante o processo de pesquisa, aplicativos em Python
                   foram elaborados para auxiliar os compositores na
                   manipula{\c{c}}{\~{a}}o dos conjuntos.},
    doi          = {10.20504/opus2020b2611},
    issn         = {15177017},
    journal      = {OPUS},
    keywords     = {Implementation,Sistemas Composicionais. Planejamento
                   Composiciona,music similarity},
    mendeley-tags= {music similarity},
    month        = {oct},
    number       = {2},
    pages        = {1},
    url          = {https://www.anppom.com.br/revista/index.php/opus/article/view/opus2020b2611},
    volume       = {26}
}

Este trabalho descreve a formalização e aplicação de um sistema composicional, denominado Similare, que articula micro e macroestrutura tomando como base as relações de similaridade entre conjuntos de classes de notas. Após o exame detalhado dos dois referenciais que dão sustentação teórica ao trabalho (sistemas composicionais e similaridade), o sistema foi definido e, a partir dele, duas obras foram planejadas: uma para quarteto de cordas e outra para piano solo. Durante o processo de pesquisa, aplicativos em Python foram elaborados para auxiliar os compositores na manipulação dos conjuntos.

@PhDThesis{        chapman2020-digital,
    author       = {Chapman, Katie Elizabeth},
    year         = {2020},
    title        = {Digital Approaches to Troubadour Song},
    abstract     = {The troubadours were poet-composers who flourished in
                   Occitania (today southern France) and surrounding areas
                   during the twelfth and thirteenth centuries. Their lyric
                   poems survive in chansonniers (songbooks) which usually
                   contain only the texts. A fraction of the melodies that
                   accompanied these poems were written down; fewer than 350
                   melodies survive for a lyric corpus of over 2,600 songs
                   which appear over 13,000 times in all extant sources. This
                   dissertation is part of a larger project whose aim is
                   twofold: to create an openaccess, electronic, searchable
                   archive of these melodies and to apply computational
                   methods of analysis to identify the musical
                   characteristics of the melodies, find patterns and
                   relationships, and track trends in style both over time
                   and within the works of individual authors. In this study,
                   I first illustrate the methodology I followed to assess
                   and encode the corpus of troubadour melodies and give an
                   overview of the types of tools used to analyze the encoded
                   melodies. In the subsequent chapters, I present five case
                   studies which investigate musical features of the
                   repertory through computational and statistical
                   approaches, where I confirm, revise, or expand on existing
                   knowledge of the repertory. The first case study
                   identifies the extent and features of Guiraut Riquier's
                   melismatic writing by applying analytical techniques
                   typically used to analyze textual corpora. The second case
                   study applies a different technique borrowed from
                   computational linguistics, Latent Semantic Analysis (LSA),
                   to track the similarity of melodies with versions extant
                   in multiple sources and to compare the phrases of melodies
                   in one manuscript which have notation for more than one
                   stanza. The three case studies in Chapter III adopt other
                   analytical approaches to investigate and compare the pitch
                   and interval content of the melodies. These studies help
                   identify patterns in pitch organization in the entire
                   repertory, point out stylistic trends of specific
                   troubadours, and compare selected musical features by
                   source. Overall, this study demonstrates the possibilities
                   of computational approaches to contribute to existing
                   scholarship on this repertory. Furthermore, the digital
                   archive created for this project aims to empower
                   additional research on the music of the troubadours,
                   including the study of corpus-wide characteristics, the
                   analysis of stylistic traits in specific authors or
                   sources, and changes in style over the course of the
                   tradition.},
    keywords     = {computational musicology,digital
                   musicology,musicology,troubadours},
    mendeley-tags= {musicology},
    school       = {Indiana University},
    type         = {Ph.D. Dissertation},
    url          = {https://scholarworks.iu.edu/dspace/handle/2022/25114}
}

The troubadours were poet-composers who flourished in Occitania (today southern France) and surrounding areas during the twelfth and thirteenth centuries. Their lyric poems survive in chansonniers (songbooks) which usually contain only the texts. A fraction of the melodies that accompanied these poems were written down; fewer than 350 melodies survive for a lyric corpus of over 2,600 songs which appear over 13,000 times in all extant sources. This dissertation is part of a larger project whose aim is twofold: to create an openaccess, electronic, searchable archive of these melodies and to apply computational methods of analysis to identify the musical characteristics of the melodies, find patterns and relationships, and track trends in style both over time and within the works of individual authors. In this study, I first illustrate the methodology I followed to assess and encode the corpus of troubadour melodies and give an overview of the types of tools used to analyze the encoded melodies. In the subsequent chapters, I present five case studies which investigate musical features of the repertory through computational and statistical approaches, where I confirm, revise, or expand on existing knowledge of the repertory. The first case study identifies the extent and features of Guiraut Riquier's melismatic writing by applying analytical techniques typically used to analyze textual corpora. The second case study applies a different technique borrowed from computational linguistics, Latent Semantic Analysis (LSA), to track the similarity of melodies with versions extant in multiple sources and to compare the phrases of melodies in one manuscript which have notation for more than one stanza. The three case studies in Chapter III adopt other analytical approaches to investigate and compare the pitch and interval content of the melodies. These studies help identify patterns in pitch organization in the entire repertory, point out stylistic trends of specific troubadours, and compare selected musical features by source. Overall, this study demonstrates the possibilities of computational approaches to contribute to existing scholarship on this repertory. Furthermore, the digital archive created for this project aims to empower additional research on the music of the troubadours, including the study of corpus-wide characteristics, the analysis of stylistic traits in specific authors or sources, and changes in style over the course of the tradition.

@InProceedings{    cornelissen.ea2020-mode,
    author       = {Cornelissen, Bas and Zuidema, Willen and Burgoyne, John
                   Ashley},
    year         = {2020},
    title        = {Mode classification and natural units in plainchant},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 21th International Society for Music
                   Information Retrieval Conference},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    url          = {https://program.ismir2020.org/poster_232.html}
}

@InProceedings{    cornelissen.ea2020-studying,
    author       = {Cornelissen, Bas and Zuidema, Willem and Burgoyne, John
                   Ashley},
    year         = {2020},
    title        = {Studying Large Plainchant Corpora Using chant21},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 7th International Conference on Digital
                   Libraries for Musicology},
    keywords     = {2020,acm reference format,and john ashley burgoyne,bas
                   cornelissen,computational
                   musicology,datasets,differentia,gabc,melodic
                   arch,plainchant,study-,volpiano,willem zuidema},
    mendeley-tags= {computational musicology},
    url          = {https://dlfm.web.ox.ac.uk/}
}

@Article{          couprie2020-quelques,
    author       = {Couprie, Pierre},
    year         = {2020},
    title        = {Quelques propos sur les outils et les méthodes
                   audionumériques en musicologie. {L}'interdisciplinarité
                   comme rupture épistémologique},
    volume       = {6},
    issn         = {2368-7061},
    url          = {http://id.erudit.org/iderudit/ 1068384ar},
    doi          = {10.7202/1068384ar},
    abstract     = {From the first uses of databases in the 1970s to recent
                   research on the analysis of audio files, musicologists
                   have progressively integrated digital technologies into
                   their working methods. However, while some software such
                   as iAnalyse offers interfaces adapted to the human
                   sciences, it has been observed that these technologies are
                   still difficult to manipulate without a solid knowledge of
                   computer science or acoustics. In this article, the author
                   presents an interdisciplinary practice of research at the
                   heart of digital musicology that covers a very wide field
                   of activities ranging from the use of software to improve
                   existing methods to the development of new methods that
                   are necessary to study specific corpus. In this case, the
                   deep transformation of the nature of musicological
                   practice itself, the move towards a hybrid discipline and
                   the change of perspective on a complex musical object
                   highlight a real epistemological rupture.},
    language     = {fr},
    number       = {2},
    urldate      = {2023-04-12},
    journal      = {Revue musicale OICRM},
    month        = mar,
    pages        = {25--44}
}

From the first uses of databases in the 1970s to recent research on the analysis of audio files, musicologists have progressively integrated digital technologies into their working methods. However, while some software such as iAnalyse offers interfaces adapted to the human sciences, it has been observed that these technologies are still difficult to manipulate without a solid knowledge of computer science or acoustics. In this article, the author presents an interdisciplinary practice of research at the heart of digital musicology that covers a very wide field of activities ranging from the use of software to improve existing methods to the development of new methods that are necessary to study specific corpus. In this case, the deep transformation of the nature of musicological practice itself, the move towards a hybrid discipline and the change of perspective on a complex musical object highlight a real epistemological rupture.

@Article{          devaney2020-using,
    author       = {Devaney, Johanna},
    year         = {2020},
    title        = {Using Note-Level Music Encodings to Facilitate
                   Interdisciplinary Research on Human Engagement with
                   Music},
    abstract     = {Music encoding can link disparate types of musical data
                   for the purposes of archiving and search. The encoding of
                   human response data explicitly in relation to musical
                   notes facilitates the study of the ways humans engage with
                   music as performers and listeners. This paper reflects on
                   the developments and trends in formal music encoding
                   systems as well as the types of data representations used
                   in corpora released by researchers working on expert music
                   analyses, musical performances, and listener responses. It
                   argues that while the specificity (and often simplicity)
                   afforded by project-specific encoding formats may be
                   useful for individual research projects, larger-scale
                   interdisciplinary research would be better served by
                   explicit, formalized linking of data to specific musical
                   elements. The paper concludes by offering some concrete
                   suggestions for how to achieve this goal.},
    doi          = {10.5334/tismir.56},
    issn         = {2514-3298},
    journal      = {Transactions of the International Society for Music
                   Information Retrieval},
    keywords     = {computational musicology,listener,music analysis,music
                   encoding,music performance,musical elements,musical
                   notes},
    mendeley-tags= {computational musicology},
    month        = {oct},
    number       = {1},
    pages        = {205--217},
    url          = {http://transactions.ismir.net/articles/10.5334/tismir.56/},
    volume       = {3}
}

Music encoding can link disparate types of musical data for the purposes of archiving and search. The encoding of human response data explicitly in relation to musical notes facilitates the study of the ways humans engage with music as performers and listeners. This paper reflects on the developments and trends in formal music encoding systems as well as the types of data representations used in corpora released by researchers working on expert music analyses, musical performances, and listener responses. It argues that while the specificity (and often simplicity) afforded by project-specific encoding formats may be useful for individual research projects, larger-scale interdisciplinary research would be better served by explicit, formalized linking of data to specific musical elements. The paper concludes by offering some concrete suggestions for how to achieve this goal.

@InProceedings{    finkensiep.ea2020-voice-leading,
    author       = {Finkensiep, Christoph and D{\'{e}}guernel, Ken and
                   Neuwirth, Markus and Rohrmeier, Martin},
    year         = {2020},
    title        = {Voice-Leading Schema Recognition Using Rhythm and Pitch
                   Features},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 21st International Conference on Music
                   Information Retrieval},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    pages        = {520--526}
}

@Article{          frieler2020-miles,
    author       = {Frieler, Klaus},
    year         = {2020},
    title        = {Miles Vs. Trane: Computational and Statistical Comparison
                   of the Improvisatory Styles of Miles Davis and John
                   Coltrane},
    abstract     = {Much has been written about John Coltrane and Miles
                   Davis, from autobiographical works to detailed
                   musicological analyses and cultural/sociological accounts
                   of their lives, work, and legacy. Fewer publications are
                   concerned with a direct comparison of both artists'
                   approach to improvisation. I introduce a new analytical
                   perspective, developed in the context of the Jazzomat
                   Research Project, by using computational and statistical
                   methods. Based on a large set of solo transcriptions taken
                   from the Weimar Jazz Database spanning different stylistic
                   phases for both artists (20 solos by Coltrane and 19 solos
                   by Davis), I identify common and differing stylistic
                   traits. This approach utilizes a set of 143 musical
                   features extracted from the solos. Results indicate that
                   both players differ in quite many aspects. Clich{\'{e}}s
                   of the “extroverted” style of Coltrane and the
                   “introverted” style of Davis are evidenced by vastly
                   different note densities and overall spacing of phrases.
                   Some surprising and subtle differences also showed up. For
                   instance, Davis has a tendency to avoid the third of the
                   underlying chord and also major and minor third intervals,
                   whereas Coltrane has a preference for playing out chords.
                   Furthermore, both players seem to have no large overlap in
                   their respective pattern vocabularies.},
    doi          = {10.1080/17494060.2020.1734053},
    issn         = {1749-4060},
    journal      = {Jazz Perspectives},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    month        = {jan},
    number       = {1},
    pages        = {123--145},
    publisher    = {Taylor \& Francis},
    url          = {https://www.tandfonline.com/doi/full/10.1080/17494060.2020.1734053},
    volume       = {12}
}

Much has been written about John Coltrane and Miles Davis, from autobiographical works to detailed musicological analyses and cultural/sociological accounts of their lives, work, and legacy. Fewer publications are concerned with a direct comparison of both artists' approach to improvisation. I introduce a new analytical perspective, developed in the context of the Jazzomat Research Project, by using computational and statistical methods. Based on a large set of solo transcriptions taken from the Weimar Jazz Database spanning different stylistic phases for both artists (20 solos by Coltrane and 19 solos by Davis), I identify common and differing stylistic traits. This approach utilizes a set of 143 musical features extracted from the solos. Results indicate that both players differ in quite many aspects. Clichés of the “extroverted” style of Coltrane and the “introverted” style of Davis are evidenced by vastly different note densities and overall spacing of phrases. Some surprising and subtle differences also showed up. For instance, Davis has a tendency to avoid the third of the underlying chord and also major and minor third intervals, whereas Coltrane has a preference for playing out chords. Furthermore, both players seem to have no large overlap in their respective pattern vocabularies.

@Book{             gerling.ea2020-glossario,
    author       = {Gerling, Cristina Capparelli and de Barros, Guilherme
                   Sauerbronn},
    year         = {2020},
    title        = {Gloss{\'{a}}rio de termos schenkerianos},
    address      = {Salvador, BA},
    isbn         = {9786599193903},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {TeMA}
}

@Article{          inman2020-reprise,
    author       = {Inman, Samantha M.},
    year         = {2020},
    title        = {Reprise Structures in Haydn's Op. 50 Minuets},
    issn         = {02718022, 24747777},
    journal      = {Indiana Theory Review},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1-2},
    pages        = {23--55},
    publisher    = {Department of Music Theory, Jacobs School of Music,
                   Indiana University, Indiana University Press, Trustees of
                   Indiana University},
    url          = {https://www.jstor.org/stable/10.2979/inditheorevi.36.1-2.02},
    volume       = {36}
}

@Article{          karystinaios.ea2020-music,
    author       = {Karystinaios, Emmanouil and Guichaoua, Corentin and
                   Andreatta, Moreno and Bigo, Louis and Bloch, Isabelle},
    year         = {2020},
    title        = {Music genre descriptor for classification based on
                   tonnetz trajectories},
    journal      = {Journ{\'{e}}es d'Informatique Musicale},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval}
}

@Article{          khulusi.ea2020-survey,
    author       = {Khulusi, R. and Kusnick, J. and Meinecke, C. and
                   Gillmann, C. and Focht, J. and J{\"{a}}nicke, S.},
    year         = {2020},
    title        = {A Survey on Visualizations for Musical Data},
    abstract     = {Digital methods are increasingly applied to store,
                   structure and analyse vast amounts of musical data. In
                   this context, visualization plays a crucial role, as it
                   assists musicologists and non-expert users in data
                   analysis and in gaining new knowledge. This survey focuses
                   on this unique link between musicology and visualization.
                   We classify 129 related works according to the visualized
                   data types, and we analyse which visualization techniques
                   were applied for certain research inquiries and to fulfill
                   specific tasks. Next to scientific references, we take
                   commercial music software and public websites into
                   account, that contribute novel concepts of visualizing
                   musicological data. We encounter different aspects of
                   uncertainty as major problems when dealing with
                   musicological data and show how occurring inconsistencies
                   are processed and visually communicated. Drawing from our
                   overview in the field, we identify open challenges for
                   research on the interface of musicology and visualization
                   to be tackled in the future.},
    doi          = {10.1111/cgf.13905},
    issn         = {14678659},
    journal      = {Computer Graphics Forum},
    keywords     = {computational musicology,information
                   visualization,visualization},
    mendeley-tags= {computational musicology},
    number       = {00},
    pages        = {1--28},
    volume       = {00}
}

Digital methods are increasingly applied to store, structure and analyse vast amounts of musical data. In this context, visualization plays a crucial role, as it assists musicologists and non-expert users in data analysis and in gaining new knowledge. This survey focuses on this unique link between musicology and visualization. We classify 129 related works according to the visualized data types, and we analyse which visualization techniques were applied for certain research inquiries and to fulfill specific tasks. Next to scientific references, we take commercial music software and public websites into account, that contribute novel concepts of visualizing musicological data. We encounter different aspects of uncertainty as major problems when dealing with musicological data and show how occurring inconsistencies are processed and visually communicated. Drawing from our overview in the field, we identify open challenges for research on the interface of musicology and visualization to be tackled in the future.

@InProceedings{    kirlin2020-corpus-based,
    author       = {Kirlin, Phillip B},
    year         = {2020},
    title        = {A corpus-based analysis of syncopated patterns in
                   Ragtime},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 21th International Society for Music
                   Information Retrieval Conference},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval}
}

@InProceedings{    kranenburg2020-rule,
    author       = {van Kranenburg, Peter},
    year         = {2020},
    title        = {Rule mining for local boundary detection in melodies},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 21st International Conference on Music
                   Information Retrieval},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {271--278}
}

@InProceedings{    kutschke.ea2020-historiography,
    author       = {Kutschke, Beate Ruth and Bachmann, Tobias},
    year         = {2020},
    title        = {Historiography of the form of symbolic music through a
                   computer-assisted analysis},
    address      = {Torino},
    booktitle    = {Proceedings of the 17th Sound and Music Computing
                   Conference},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {386--393}
}

@Article{          laskowska.ea2020-grouping,
    author       = {Laskowska, Barbara and Kamola, Mariusz},
    year         = {2020},
    title        = {Grouping compositions based on similarity of music
                   themes},
    doi          = {10.1371/journal.pone.0240443},
    editor       = {Amancio, Diego Raphael},
    isbn         = {1111111111},
    issn         = {1932-6203},
    journal      = {PLoS ONE},
    keywords     = {music similarity},
    mendeley-tags= {music similarity},
    month        = {oct},
    number       = {10},
    url          = {http://dx.doi.org/10.1371/journal.pone.0240443
                   https://dx.plos.org/10.1371/journal.pone.0240443},
    volume       = {15}
}

@Article{          lieck.ea2020-tonal,
    author       = {Lieck, Robert and Moss, Fabian Claude and Rohrmeier,
                   Martin},
    year         = {2020},
    title        = {The Tonal Diffusion Model},
    keywords     = {bayesian generative model,cognitive modeling,music
                   theory,pitch-class distributions,tonality,tonnetz},
    mendeley-tags= {music theory},
    pages        = {153--164},
    url          = {https://transactions.ismir.net/articles/10.5334/tismir.46/},
    volume       = {3}
}

@Article{          mackay2020-joseph,
    author       = {MacKay, James S.},
    year         = {2020},
    title        = {Joseph {Haydn} and the {New} {Formenlehre}: {Teaching}
                   {Sonata} {Form} with {His} {Solo} {Keyboard} {Works}},
    volume       = {10},
    url          = {https://remix.berklee.edu/haydn-journal/vol10/iss2/4},
    number       = {2},
    tags         = {music analysis},
    journal      = {HAYDN: Online Journal of the Haydn Society of North
                   America}
}

@Article{          micchi.ea2020-not,
    author       = {Micchi, Gianluca and Gotham, Mark and Giraud, Mathieu},
    year         = {2020},
    title        = {Not All Roads Lead to Rome: Pitch Representation and
                   Model Architecture for Automatic Harmonic Analysis},
    abstract     = {Automatic harmonic analysis has been an enduring focus of
                   the MIR community, and has enjoyed a particularly vigorous
                   revival of interest in the machine-learning age. We focus
                   here on the specific case of Roman numeral analysis which,
                   by virtue of requiring key/functional information in
                   addition to chords, may be viewed as an acutely
                   challenging use case. We report on three main
                   developments. First, we provide a new meta-corpus bringing
                   together all existing Roman numeral analysis datasets;
                   this offers greater scale and diversity, not only of the
                   music represented, but also of human analytical
                   viewpoints. Second, we examine best practices in the
                   encoding of pitch, time, and harmony for machine learning
                   tasks. The main contribution here is the introduction of
                   full pitch spelling to such a system, an absolute must for
                   the comprehensive study of musical harmony. Third, we
                   devised and tested several neural network architectures
                   and compared their relative accuracy. In the
                   best-performing of these models, convolutional layers
                   gather the local information needed to analyse the chord
                   at a given moment while a recurrent part learns
                   longer-range harmonic progressions. Altogether, our best
                   representation and architecture produce a small but
                   significant improvement on overall accuracy while
                   simultaneously integrating full pitch spelling. This
                   enables the system to retain important information from
                   the musical sources and provide more meaningful
                   predictions for any new input.},
    doi          = {10.5334/tismir.45},
    journal      = {Transactions of the International Society for Music
                   Information Retrieval},
    keywords     = {1,1 key,chords and functional harmony,computational
                   musicology,corpus,functional harmony,introduction,is
                   common to a,machine learning,motivation,pitch
                   encoding,previous work,roman numeral analysis,some sense
                   of,tonal harmony,very wide},
    mendeley-tags= {computational musicology},
    number       = {1},
    pages        = {42--54},
    volume       = {3}
}

Automatic harmonic analysis has been an enduring focus of the MIR community, and has enjoyed a particularly vigorous revival of interest in the machine-learning age. We focus here on the specific case of Roman numeral analysis which, by virtue of requiring key/functional information in addition to chords, may be viewed as an acutely challenging use case. We report on three main developments. First, we provide a new meta-corpus bringing together all existing Roman numeral analysis datasets; this offers greater scale and diversity, not only of the music represented, but also of human analytical viewpoints. Second, we examine best practices in the encoding of pitch, time, and harmony for machine learning tasks. The main contribution here is the introduction of full pitch spelling to such a system, an absolute must for the comprehensive study of musical harmony. Third, we devised and tested several neural network architectures and compared their relative accuracy. In the best-performing of these models, convolutional layers gather the local information needed to analyse the chord at a given moment while a recurrent part learns longer-range harmonic progressions. Altogether, our best representation and architecture produce a small but significant improvement on overall accuracy while simultaneously integrating full pitch spelling. This enables the system to retain important information from the musical sources and provide more meaningful predictions for any new input.

@Article{          mor.ea2020-systematic,
    author       = {Mor, Bhavya and Garhwal, Sunita and Kumar, Ajay},
    year         = {2020},
    title        = {A Systematic Literature Review on Computational
                   Musicology},
    abstract     = {Heartbeat retains a musical rhythm and music speaks
                   whenever words fail. This paper provides a systematic
                   review of the papers related to computational musicology.
                   This surveys 136 papers in more than 40 Journals and
                   various Conference proceedings. The paper discusses the
                   computational aspects of various music operations such as
                   composition, analysis, retrieval, classification and
                   implicit learning. The authors evaluate the literature
                   based on multiple computational fields like formal
                   grammar, hidden Markov model, n-gram, finite-state
                   machine, finite-state transducer and artificial grammar
                   learning. The paper aims to generate a comprehensive
                   description of research on computational musicology.
                   Throughout the paper, the significant trends in research
                   on computational fields in music are summarized.},
    doi          = {10.1007/s11831-019-09337-9},
    isbn         = {0123456789},
    issn         = {18861784},
    journal      = {Archives of Computational Methods in Engineering},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    number       = {3},
    pages        = {923--937},
    publisher    = {Springer Netherlands},
    url          = {https://doi.org/10.1007/s11831-019-09337-9},
    volume       = {27}
}

Heartbeat retains a musical rhythm and music speaks whenever words fail. This paper provides a systematic review of the papers related to computational musicology. This surveys 136 papers in more than 40 Journals and various Conference proceedings. The paper discusses the computational aspects of various music operations such as composition, analysis, retrieval, classification and implicit learning. The authors evaluate the literature based on multiple computational fields like formal grammar, hidden Markov model, n-gram, finite-state machine, finite-state transducer and artificial grammar learning. The paper aims to generate a comprehensive description of research on computational musicology. Throughout the paper, the significant trends in research on computational fields in music are summarized.

@Article{          moss.ea2020-harmony,
    author       = {Moss, Fabian Claude and de Souza, Willian Fernandes and
                   Rohrmeier, Martin},
    year         = {2020},
    title        = {Harmony and Form in Brazilian Choro: A Corpus-Driven
                   Approach to Musical Style Analysis},
    doi          = {10.1080/09298215.2020.1797109},
    issn         = {xxxx-xxxx},
    journal      = {Journal of New Music Research},
    keywords     = {Choro,choro,computational musicology,corpus
                   study,form,harmony,musical style analysis},
    mendeley-tags= {computational musicology},
    number       = {0},
    pages        = {1--22},
    publisher    = {Taylor \& Francis},
    url          = {https://doi.org/09298215.2020.1797109},
    volume       = {0}
}

@InProceedings{    munoz-lago.ea2020-symplot,
    author       = {Mu{\~{n}}oz-Lago, Paula and Llorens, Ana and
                   Parada-Cabaleiro, Emilia and Torrente, {\'{A}}lvaro},
    year         = {2020},
    title        = {SymPlot : A Web-Tool to Visualise Symbolic Musical Data},
    address      = {Melbourne, Australia},
    booktitle    = {Proc. 24th International Converence Information
                   Visualisation (IV)},
    doi          = {10.1109/IV51561.2020.00092},
    isbn         = {9781728191348},
    keywords     = {music visualization},
    mendeley-tags= {music visualization},
    pages        = {515--521},
    url          = {https://conferences.computer.org/iv/pdfs/IV2020-5aDDWiHiJcr3O59ex2Ftp6/913400a515/913400a515.pdf}
}

@Article{          neubarth.ea2020-mining,
    author       = {Neubarth, Kerstin and Conklin, Darrell},
    year         = {2020},
    title        = {Mining Characteristic Patterns for Comparative Music
                   Corpus Analysis},
    doi          = {10.3390/app10061991},
    journal      = {Applied Sciences},
    keywords     = {characteristic pattern,computational
                   ethnomusicology,discriminant pattern,music analysis with
                   computers,music corpus analysis,native american
                   music,pattern discovery},
    mendeley-tags= {music analysis with computers},
    number       = {6},
    volume       = {10}
}

@Article{          pitombeira2020-compositional,
    author       = {Pitombeira, Liduino},
    year         = {2020},
    title        = {Compositional Systems: Overview and Applications},
    abstract     = {In this paper the theory of compositional systems is
                   described in detail, taking as a starting point the
                   theoretical framework inherent to systems science. The
                   origins of this science and the definitions of its
                   fundamental concepts are provided in the first part of the
                   article, illustrated with musical examples. The central
                   part of the article contains the definition of the concept
                   of compositional system, its typology, and a series of
                   tools that are useful for implementations. Finally, the
                   design of three types of systems (open, semi-open and
                   feedback) are carried out in order to produce small
                   illustrative musical fragments.},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {compositional systems,music theory,probability,systemic
                   modeling,systems science},
    tags         = {music theory},
    number       = {1},
    pages        = {39--62},
    url          = {https://musmat.org/wp-content/uploads/2020/06/07-Pitombeira.pdf},
    volume       = {IV}
}

In this paper the theory of compositional systems is described in detail, taking as a starting point the theoretical framework inherent to systems science. The origins of this science and the definitions of its fundamental concepts are provided in the first part of the article, illustrated with musical examples. The central part of the article contains the definition of the concept of compositional system, its typology, and a series of tools that are useful for implementations. Finally, the design of three types of systems (open, semi-open and feedback) are carried out in order to produce small illustrative musical fragments.

@InProceedings{    proutskova.ea2020-from,
    author       = {Proutskova, Polina and Volk, Anja and Fazekas,
                   Gy{\"{o}}rgy and Heidarian, Peyman},
    year         = {2020},
    title        = {From Music Ontology towards Ethno-Music-Ontology},
    address      = {Montr{\'{e}}al, Canada},
    booktitle    = {Proceedings of 21st International Conference on Music
                   Information Retrieval},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {923--931}
}

@Article{          sampaio.ea2020-quantitative,
    author       = {{Sampaio}, {Marcos da Silva} and de Oliveira, Vicente
                   Sanches and Travassos, Matheus and Castro, Carla},
    year         = {2020},
    title        = {A quantitative study of pitch registers in string
                   quartets opus 17, by Joseph Haydn},
    abstract     = {In this paper, we present an exploratory study of the
                   pitch registers on the string quartets Opus 17, by Joseph
                   Haydn, according to a quantitative approach. This subject
                   is relevant because the pitch registers studies have
                   revealed noteworthy issues in the Musical Analysis area,
                   the statistical techniques help to detect musical
                   subtleties with a small potential for bias, and because on
                   this corpus, Haydn has established standards for the
                   string quartet genre. The pitch registers study allowed us
                   to identify relevant musical aspects in the repertoire,
                   understand the role of extreme registers in the form
                   segmentation, and observe the prominence of the
                   development and second theme sections, and the feasibility
                   of the quantitative methods. We present a brief
                   theoretical foundation, the methodological framework, the
                   results of the investigation on the quartets' instrument
                   pitches, a discussion about these results, and the
                   conclusions.},
    journal      = {Musica Theorica},
    keywords     = {Digital Musicology,Joseph Haydn,Pitch
                   register,Quantitative analysis,String
                   quartet,computational musicology},
    mendeley-tags= {computational musicology},
    number       = {1},
    pages        = {119--177},
    url          = {http://revistamusicatheorica.tema.mus.br/index.php/musica-theorica/article/view/128},
    volume       = {5}
}

In this paper, we present an exploratory study of the pitch registers on the string quartets Opus 17, by Joseph Haydn, according to a quantitative approach. This subject is relevant because the pitch registers studies have revealed noteworthy issues in the Musical Analysis area, the statistical techniques help to detect musical subtleties with a small potential for bias, and because on this corpus, Haydn has established standards for the string quartet genre. The pitch registers study allowed us to identify relevant musical aspects in the repertoire, understand the role of extreme registers in the form segmentation, and observe the prominence of the development and second theme sections, and the feasibility of the quantitative methods. We present a brief theoretical foundation, the methodological framework, the results of the investigation on the quartets' instrument pitches, a discussion about these results, and the conclusions.

@Article{          shaffer.ea2020-cluster,
    author       = {Shaffer, Kris and Vasiete, Esther and Jacquez, Brandon
                   and Davis, Aaron and Escalante, Diego and Hicks, Calvin
                   and McCann, Joshua and Noufi, Camille and Salminen, Paul},
    year         = {2020},
    title        = {A cluster analysis of harmony in the McGill Billboard
                   dataset},
    abstract     = {We set out to perform a cluster analysis of harmonic
                   structures (specifically, chord-to-chord transitions) in
                   the McGill Billboard dataset, to determine whether there
                   is evidence of multiple harmonic grammars and practices in
                   the corpus, and if so, what the optimal division of songs,
                   according to those harmonic grammars, is. We define
                   optimal as providing meaningful, specific information
                   about the harmonic practices of songs in the cluster, but
                   being general enough to be used as a guide to songwriting
                   and predictive listening. We test two hypotheses in our
                   cluster analysis — first that 5–9 clusters would be
                   optimal, based on the work of Walter Everett (2004), and
                   second that 15 clusters would be optimal, based on a set
                   of user-generated genre tags reported by Hendrik Schreiber
                   (2015). We subjected the harmonic structures for each song
                   in the corpus to a K-means cluster analysis. We conclude
                   that the optimal clustering solution is likely to be
                   within the 5--8 cluster range. We also propose that a map
                   of cluster types emerging as the number of clusters
                   increases from one to eight constitutes a greater aid to
                   our understanding of how various harmonic practices,
                   styles, and sub-styles comprise the McGill Billboard
                   dataset.},
    doi          = {10.18061/emr.v14i3-4.5576},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {McGill Billboard dataset,cluster analysis,harmonic
                   syntax,machine learning,music analysis with
                   computers,pop/rock,rock,transitional
                   probability,visualization},
    mendeley-tags= {music analysis with computers},
    month        = {jul},
    number       = {3-4},
    pages        = {146},
    url          = {https://emusicology.org/article/view/5576},
    volume       = {14}
}

We set out to perform a cluster analysis of harmonic structures (specifically, chord-to-chord transitions) in the McGill Billboard dataset, to determine whether there is evidence of multiple harmonic grammars and practices in the corpus, and if so, what the optimal division of songs, according to those harmonic grammars, is. We define optimal as providing meaningful, specific information about the harmonic practices of songs in the cluster, but being general enough to be used as a guide to songwriting and predictive listening. We test two hypotheses in our cluster analysis — first that 5–9 clusters would be optimal, based on the work of Walter Everett (2004), and second that 15 clusters would be optimal, based on a set of user-generated genre tags reported by Hendrik Schreiber (2015). We subjected the harmonic structures for each song in the corpus to a K-means cluster analysis. We conclude that the optimal clustering solution is likely to be within the 5–8 cluster range. We also propose that a map of cluster types emerging as the number of clusters increases from one to eight constitutes a greater aid to our understanding of how various harmonic practices, styles, and sub-styles comprise the McGill Billboard dataset.

@Article{          virtanen.ea2020-scipy,
    author       = {Virtanen, Pauli and Gommers, Ralf and Oliphant, Travis E.
                   and Haberland, Matt and Reddy, Tyler and Cournapeau, David
                   and Burovski, Evgeni and Peterson, Pearu and Weckesser,
                   Warren and Bright, Jonathan and {van der Walt}, St{\'e}fan
                   J. and Brett, Matthew and Wilson, Joshua and Millman, K.
                   Jarrod and Mayorov, Nikolay and Nelson, Andrew R. J. and
                   Jones, Eric and Kern, Robert and Larson, Eric and Carey, C
                   J and Polat, {\.I}lhan and Feng, Yu and Moore, Eric W. and
                   {VanderPlas}, Jake and Laxalde, Denis and Perktold, Josef
                   and Cimrman, Robert and Henriksen, Ian and Quintero, E. A.
                   and Harris, Charles R. and Archibald, Anne M. and Ribeiro,
                   Ant{\^o}nio H. and Pedregosa, Fabian and {van Mulbregt},
                   Paul and {SciPy 1.0 Contributors}},
    year         = {2020},
    title        = {{SciPy} 1.0: Fundamental Algorithms for Scientific
                   Computing in Python},
    journal      = {Nature Methods},
    volume       = {17},
    pages        = {261--272},
    adsurl       = {https://rdcu.be/b08Wh},
    doi          = {10.1038/s41592-019-0686-2}
}

@Article{          allegraud.ea2019-learning,
    author       = {Allegraud, Pierre and Bigo, Louis and Feisthauer, Laurent
                   and Giraud, Mathieu and Groult, Richard and Leguy,
                   Emmanuel and Lev{\'{e}}, Florence},
    year         = {2019},
    title        = {Learning Sonata Form Structure on Mozart's String
                   Quartets},
    doi          = {10.5334/tismir.27},
    issn         = {2514-3298},
    journal      = {Transactions of the International Society for Music
                   Information Retrieval},
    keywords     = {computational music analysis,music analysis with
                   computers,music structure,musical form,sonata form},
    mendeley-tags= {music analysis with computers},
    number       = {1},
    pages        = {82--96},
    url          = {http://transactions.ismir.net/articles/10.5334/tismir.27/},
    volume       = {2}
}

@Book{             assis.ea2019-glossario,
    author       = {Assis, Janilson Pinheiro de and Sousa, Roberto Pequeno de
                   and Dias, Carlos Tadeu dos Santos},
    year         = {2019},
    title        = {Gloss\'{a}rio de {Estat\'{i}stica}},
    address      = {Mossor\'{o}, RN},
    isbn         = {978-85-5757-104-4},
    language     = {pt},
    publisher    = {EDUFERSA}
}

@Article{          bisesi.ea2019-computational,
    author       = {Bisesi, Erica and Friberg, Anders and Parncutt, Richard},
    year         = {2019},
    title        = {A Computational Model of Immanent Accent Salience in
                   Tonal Music},
    abstract     = {We describe the first stage of a two-stage semi-
                   algorithmic approach to music performance rendering. In
                   the first stage, we estimate the perceptual salience of
                   immanent accents (phrasing, metrical, melodic, harmon- ic)
                   in the musical score. In the second, we manipulate timing,
                   dynamics and other performance parameters in the vicinity
                   of immanent accents (e. g., getting slower and/or louder
                   near an accent). Phrasing and metrical accents emerge from
                   the hierarchical structure of phras- ing and meter; their
                   salience depends on the hierarchical levels that they
                   demarcate, and their salience. Melodic accents follow
                   melodic leaps; they are strongest at con- tour peaks and
                   (to a lesser extent) valleys; and their sali- ence depends
                   on the leap interval and the distance of the target tone
                   from the local mean pitch. Harmonic accents depend on
                   local dissonance (roughness, non-harmonicity,
                   non-diatonicity) and chord/key changes. The algorithm is
                   under development and is being tested by comparing its
                   predictions with music analyses, recorded performances and
                   listener evaluations. 1.},
    address      = {Stockolm, Sweden},
    doi          = {10.3389/fpsyg.2019.00317},
    issn         = {1664-1078},
    journal      = {Frontiers in Psychology},
    keywords     = {Computational modeling,Immanent accents,Music
                   analysis,Music expression,Salience,computational
                   musicology,music analysis with computers},
    mendeley-tags= {computational musicology,music analysis with computers},
    month        = {mar},
    pages        = {1--19},
    url          = {https://www.frontiersin.org/article/10.3389/fpsyg.2019.00317/full},
    volume       = {10}
}

We describe the first stage of a two-stage semi- algorithmic approach to music performance rendering. In the first stage, we estimate the perceptual salience of immanent accents (phrasing, metrical, melodic, harmon- ic) in the musical score. In the second, we manipulate timing, dynamics and other performance parameters in the vicinity of immanent accents (e. g., getting slower and/or louder near an accent). Phrasing and metrical accents emerge from the hierarchical structure of phras- ing and meter; their salience depends on the hierarchical levels that they demarcate, and their salience. Melodic accents follow melodic leaps; they are strongest at con- tour peaks and (to a lesser extent) valleys; and their sali- ence depends on the leap interval and the distance of the target tone from the local mean pitch. Harmonic accents depend on local dissonance (roughness, non-harmonicity, non-diatonicity) and chord/key changes. The algorithm is under development and is being tested by comparing its predictions with music analyses, recorded performances and listener evaluations. 1.

@Book{             bruce2019-estatistica,
    author       = {Bruce, Peter},
    year         = {2019},
    title        = {Estat{\'{i}}stica Pr{\'{a}}tica para Cientista de Dados},
    address      = {Rio de Janeiro},
    isbn         = {9788490225370},
    keywords     = {statistics},
    mendeley-tags= {statistics},
    publisher    = {Alta Books}
}

@InProceedings{    clark.ea2019-alternative,
    author       = {Clark, Beach and Arthur, Claire},
    year         = {2019},
    title        = {Alternative measures: A musicologist workbench for
                   popular music},
    abstract     = {The objective of this project is to create a digital
                   “workbench” for quantitative analysis of popular
                   music. The workbench is a collection of tools and data
                   that allow for efficient and effective analysis of popular
                   music. This project integrates software from pre-existing
                   analytical tools including music21 but adds methods for
                   collecting data about popular music. The workbench
                   includes tools that allow analysts to compare data from
                   multiple sources. Our working prototype of the workbench
                   contains several novel analytical tools which have the
                   potential to generate new musicological insights through
                   the combination of various datasets. This paper
                   demonstrates some of the currently available tools as well
                   as several sample analyses and features computed from this
                   data that support trend analysis. A future release of the
                   workbench will include a user-friendly UI for
                   non-programmers.},
    booktitle    = {Proceedings of the Sound and Music Computing
                   Conferences},
    isbn         = {9788409085187},
    issn         = {25183672},
    pages        = {407--414}
}

The objective of this project is to create a digital “workbench” for quantitative analysis of popular music. The workbench is a collection of tools and data that allow for efficient and effective analysis of popular music. This project integrates software from pre-existing analytical tools including music21 but adds methods for collecting data about popular music. The workbench includes tools that allow analysts to compare data from multiple sources. Our working prototype of the workbench contains several novel analytical tools which have the potential to generate new musicological insights through the combination of various datasets. This paper demonstrates some of the currently available tools as well as several sample analyses and features computed from this data that support trend analysis. A future release of the workbench will include a user-friendly UI for non-programmers.

@InProceedings{    condit-schultz.ea2019-humdrumr,
    author       = {Condit-Schultz, Nathaniel and Arthur, Claire},
    year         = {2019},
    title        = {HUMDRUMR : a new take on an old approach to Computational
                   Musicology},
    address      = {Delft, Netherlands},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {715--722}
}

@Article{          crayencour.ea2019-learning,
    author       = {Crayencour, Helene-Camille and Cella, Carmine-Emanuele},
    year         = {2019},
    title        = {Learning, Probability and Logic: Toward a Unified
                   Approach for Content-Based Music Information Retrieval},
    abstract     = {Within the last fifteen years, the field of Music
                   Information Retrieval (MIR) has made tremendous progress
                   in the development of algorithms for organizing and
                   analyzing the ever-increasing large and varied amount of
                   music and music-related data available digitally. However,
                   the development of content-based methods to enable or
                   improve multimedia retrieval still remains a central
                   challenge. In this perspective paper, we critically look
                   at the problem of automatic chord estimation from audio
                   recordings as a case study of content-based algorithms,
                   and point out several bottlenecks in current approaches:
                   expressiveness and flexibility are obtained to the expense
                   of robustness and vice-versa; available multimodal sources
                   of information are little exploited; modeling
                   multi-faceted and strongly interrelated musical
                   information is limited with current architectures; models
                   are typically restricted to short-term analysis that does
                   not account for the hierarchical temporal structure of
                   musical signals. Dealing with music data requires the
                   ability to handle both uncertainty and complex relational
                   structure at multiple levels of representation.
                   Traditional approaches have generally treated these two
                   aspects separately, probability and learning being the
                   standard way to represent uncertainty in knowledge, while
                   logical representation being the standard way to represent
                   knowledge and complex relational information. We advocate
                   that the identified hurdles of current approaches could be
                   overcome by recent developments in the area of Statistical
                   Relational Artificial Intelligence (StarAI) that unifies
                   probability, logic and (deep) learning. We show that
                   existing approaches used in MIR find powerful extensions
                   and unifications in StarAI, and we explain why we think it
                   is time to consider the new perspectives offered by this
                   promising research field.},
    doi          = {10.3389/fdigh.2019.00006},
    issn         = {2297-2668},
    journal      = {Frontiers in Digital Humanities},
    keywords     = {audio,chord recognition,content-based,mir,music
                   information retrieval,music information retrieval
                   (MIR),statistical relational artificial,statistical
                   relational artificial intelligence},
    mendeley-tags= {music information retrieval},
    number       = {April},
    pages        = {1--25},
    volume       = {6}
}

Within the last fifteen years, the field of Music Information Retrieval (MIR) has made tremendous progress in the development of algorithms for organizing and analyzing the ever-increasing large and varied amount of music and music-related data available digitally. However, the development of content-based methods to enable or improve multimedia retrieval still remains a central challenge. In this perspective paper, we critically look at the problem of automatic chord estimation from audio recordings as a case study of content-based algorithms, and point out several bottlenecks in current approaches: expressiveness and flexibility are obtained to the expense of robustness and vice-versa; available multimodal sources of information are little exploited; modeling multi-faceted and strongly interrelated musical information is limited with current architectures; models are typically restricted to short-term analysis that does not account for the hierarchical temporal structure of musical signals. Dealing with music data requires the ability to handle both uncertainty and complex relational structure at multiple levels of representation. Traditional approaches have generally treated these two aspects separately, probability and learning being the standard way to represent uncertainty in knowledge, while logical representation being the standard way to represent knowledge and complex relational information. We advocate that the identified hurdles of current approaches could be overcome by recent developments in the area of Statistical Relational Artificial Intelligence (StarAI) that unifies probability, logic and (deep) learning. We show that existing approaches used in MIR find powerful extensions and unifications in StarAI, and we explain why we think it is time to consider the new perspectives offered by this promising research field.

@InProceedings{    feisthauer.ea2019-modeling,
    author       = {Feisthauer, Laurent and Bigo, Louis and Giraud, Mathieu},
    year         = {2019},
    title        = {Modeling and learning structural breaks in sonata forms},
    abstract     = {Expositions of Sonata Forms are structured towards two
                   cadential goals, one being the Medial Caesura (MC). The MC
                   is a gap in the musical texture between the Transition
                   zone (TR) and the Secondary thematic zone (S). It appears
                   as a climax of energy accumulation initiated by the TR,
                   dividing the Exposition in two parts. We introduce
                   high-level features relevant to formalize this energy gain
                   and to identify MCs. These features concern rhythmic,
                   harmonic and textural aspects of the music and
                   characterize either the MC, its preparation or the texture
                   contrast between TR and S. They are used to train a LSTM
                   neural network on a corpus of 27 movements of string
                   quartets written by Mozart. The model correctly locates
                   the MCs on 14 movements within a leave-one-piece-out
                   validation strategy. We discuss these results and how the
                   network manages to model such structural breaks.},
    address      = {Utrecht, Netherlands},
    booktitle    = {Proc. International Society for Music Information
                   Retrieval Conference 2019},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    url          = {https://hal.archives-ouvertes.fr/hal-02162936}
}

Expositions of Sonata Forms are structured towards two cadential goals, one being the Medial Caesura (MC). The MC is a gap in the musical texture between the Transition zone (TR) and the Secondary thematic zone (S). It appears as a climax of energy accumulation initiated by the TR, dividing the Exposition in two parts. We introduce high-level features relevant to formalize this energy gain and to identify MCs. These features concern rhythmic, harmonic and textural aspects of the music and characterize either the MC, its preparation or the texture contrast between TR and S. They are used to train a LSTM neural network on a corpus of 27 movements of string quartets written by Mozart. The model correctly locates the MCs on 14 movements within a leave-one-piece-out validation strategy. We discuss these results and how the network manages to model such structural breaks.

@Article{          georges.ea2019-visualizing,
    author       = {Georges, Patrick and Nguyen, Ngoc},
    year         = {2019},
    title        = {Visualizing music similarity: clustering and mapping 500
                   classical music composers},
    doi          = {10.1007/s11192-019-03166-0},
    isbn         = {0123456789},
    issn         = {0138-9130},
    journal      = {Scientometrics},
    keywords     = {Canonical correlation,Dendrograms,Hierarchical
                   clustering,Mapping classical music
                   composers,Multidimensional scaling,Music information
                   retrieval,Similarity measures,canonical
                   correlation,dendrograms,hierarchical
                   clustering,information retrieval,mapping classical music
                   composers,multidimensional scaling,music,music
                   similarity,similarity measures},
    mendeley-tags= {music similarity},
    number       = {0123456789},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/s11192-019-03166-0}
}

@Book{             geron2019-maos,
    author       = {G{\'{e}}ron, Aur{\'{e}}lion},
    year         = {2019},
    title        = {M{\~{a}}os {\`{a}} Obra Aprendizado de M{\'{a}}quina com
                   Scikit-Learn & TensorFlow: Conceitos, Ferramentas e
                   T{\'{e}}cnicas para a Constru{\c{c}}{\~{a}}o de Sistemas
                   Inteligentes},
    address      = {Rio de Janeiro},
    isbn         = {978-85-508-03814},
    keywords     = {Aprendizado de M{\'{a}}quina,Ci{\^{e}}ncia da
                   computa{\c{c}}{\~{a}}o},
    pages        = {576},
    publisher    = {Alta Books}
}

@InProceedings{    gotham.ea2019-taking,
    author       = {Gotham, Mark and Ireland, Matthew T},
    year         = {2019},
    title        = {Taking Form: a representation standard, conversion code,
                   and example corpus for recording, visualizing, and
                   studying analysis of musical form},
    address      = {Delft, Netherlands},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology}
}

@Article{          hall2019-minor-mode,
    author       = {Hall, Matthew J.},
    year         = {2019},
    title        = {Minor-Mode Sonata-Form Dynamics in Haydn's String
                   Quartets},
    abstract     = {The predominance of major-mode works in the repertoire
                   corresponds with the view that minor-mode works are
                   exceptions to a major-mode norm. For example, Charles
                   Rosen's Sonata Forms, James Hepokoski and Warren Darcy's
                   Sonata Theory, and William Caplin's Classical Form all
                   theorize from the perspective of a major-mode default.
                   Although certain canonical minor-mode works have received
                   sustained scholarly attention, minor-mode sonata style in
                   general is less often studied. Despite their relatively
                   fewer numbers, minor-mode works comprise a substantial
                   corpus. Among the string quartets of Joseph Haydn, the
                   minor mode is represented in every opus beginning with Op.
                   9; even Haydn's last unfinished quartet, “Op. 103,”
                   was to be in the minor. The},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    url          = {https://www.rit.edu/affiliate/haydn/sites/rit.edu.affiliate.haydn/files/article_pdfs/Hall.MinorModeQuartet
                   for PDF.pdf},
    volume       = {9}
}

The predominance of major-mode works in the repertoire corresponds with the view that minor-mode works are exceptions to a major-mode norm. For example, Charles Rosen's Sonata Forms, James Hepokoski and Warren Darcy's Sonata Theory, and William Caplin's Classical Form all theorize from the perspective of a major-mode default. Although certain canonical minor-mode works have received sustained scholarly attention, minor-mode sonata style in general is less often studied. Despite their relatively fewer numbers, minor-mode works comprise a substantial corpus. Among the string quartets of Joseph Haydn, the minor mode is represented in every opus beginning with Op. 9; even Haydn's last unfinished quartet, “Op. 103,” was to be in the minor. The

@InProceedings{    janssen.ea2019-algorithmic,
    author       = {Janssen, Berit and Collins, Tom and Ren, Iris Yuping},
    year         = {2019},
    title        = {Algorithmic Ability to Predict the Musical Future:
                   Datasets and Evaluation},
    address      = {Delft, Netherlands},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    doi          = {10.5281/zenodo.3527780},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {208--215}
}

@Article{          kant.ea2019-structure,
    author       = {Kant, David and Polansky, Larry},
    year         = {2019},
    title        = {The {Structure} of {Morphological} {Space}},
    volume       = {57},
    issn         = {2325-7180},
    url          = {https://muse.jhu.edu/article/778501},
    doi          = {10.1353/pnm.2019.0022},
    language     = {en},
    number       = {1},
    urldate      = {2023-02-23},
    journal      = {Perspectives of New Music},
    tags         = {musical contour},
    pages        = {441--498}
}

@Article{          koops.ea2019-annotator,
    author       = {Koops, Hendrik Vincent and de Haas, W. Bas and Burgoyne,
                   John Ashley and Bransen, Jeroen and Kent-Muller, Anna and
                   Volk, Anja},
    year         = {2019},
    title        = {Annotator subjectivity in harmony annotations of popular
                   music},
    doi          = {10.1080/09298215.2019.1613436},
    issn         = {xxxx-xxxx},
    journal      = {Journal of New Music Research},
    keywords     = {Annotator subjectivity,annotator
                   subjectivity,harmony,inter-rater,inter-rater
                   agreement,music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {0},
    pages        = {1--21},
    publisher    = {Taylor \& Francis},
    url          = {https://doi.org/09298215.2019.1613436},
    volume       = {0}
}

@PhDThesis{        lago2019-deep,
    author       = {Lago, Paula Mu{\~{n}}oz},
    year         = {2019},
    title        = {A Deep Learning Approach to generate Beethoven's 10th
                   Symphony},
    keywords     = {machine learning},
    mendeley-tags= {machine learning},
    school       = {Universidad Complutense de Madrid},
    type         = {Trabajo de Fin de Grado}
}

@InProceedings{    melkonian.ea2019-what,
    author       = {Melkonian, Orestis and Ren, Iris Yuping and Swierstra,
                   Wouster and Volk, Anja},
    year         = {2019},
    title        = {What Constitutes a Musical Pattern ?},
    address      = {Berlin},
    booktitle    = {Proceedings of the 7th ACM SIGPLAN International Workshop
                   on Functional Art, Music, Modeling, and Design (FARM
                   '19)},
    keywords     = {19,2019,2019 association for computing,august
                   23,berlin,clustering,contravariance,edit
                   distance,evaluation,farm,germany,machinery,music analysis
                   with computers,musical patterns,transformation},
    mendeley-tags= {music analysis with computers}
}

@Book{             mills2019-applied,
    author       = {Mills, Terence C.},
    year         = {2019},
    title        = {Applied Time Series Analysis: A Practical Guide to
                   Modeling and Forecasting Terence},
    address      = {London, UK},
    isbn         = {9789048187676},
    issn         = {18761100},
    keywords     = {Autoregression,Basic characteristics,Estimation of
                   correlation,Mathematical models,Time series
                   analysis,statistics},
    mendeley-tags= {statistics},
    publisher    = {Academic Press}
}

@Article{          moss.ea2019-statistical,
    author       = {Moss, Fabian Claude and Neuwirth, Markus and Harasim,
                   Daniel and Rohrmeier, Martin},
    year         = {2019},
    title        = {Statistical characteristics of tonal harmony: a corpus
                   study of Beethoven's string quartets},
    doi          = {10.1371/journal.pone.0217242},
    isbn         = {1111111111},
    journal      = {PLoS ONE},
    pages        = {1--16},
    url          = {https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0217242}
}

@PhDThesis{        moss2019-transitions,
    author       = {Moss, Fabian Claude},
    year         = {2019},
    title        = {Transitions of Tonality: A Model-Based Corpus Study},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    school       = {{\'{E}}cole Polytehcnique F{\'{e}}d{\'{e}}rale de Lausanne},
    type         = {Ph.D. Thesis}
}

@InProceedings{    nuttall.ea2019-contributing,
    author       = {Nuttall, Thomas and Garc{\'{i}}a-Casado, Miguel and
                   N{\'{u}}{\~{n}}ez-Tarifa, V{\'{i}}ctor and Repetto, Rafael
                   Caro and Serra, Xavier},
    year         = {2019},
    title        = {Contributing to New Musicological Theories with
                   Computational Methods: The Case of Centonization in
                   Arab-Andalusian Music},
    abstract     = {Arab-Andalusian music was formed in the medieval Islamic
                   territories of Iberian Peninsula, drawing on local
                   traditions and assuming Arabic influences. The expert
                   performer and researcher of the Moroccan tradition of this
                   music, Amin Chaachoo, is developing a theory, whose last
                   formulation was recently published in La Mu-sique
                   Hispano-Arabe, al-Ala (2016), which argues that
                   centonization, a melodic composition technique used in
                   Gregorian chant, was also utilized for the creation of
                   this repertoire. In this paper we aim to contribute to
                   Chaachoo's theory by means of tf-idf analysis. A highorder
                   n-gram model is applied to a corpus of 149 prescriptive
                   transcriptions of heterophonic recordings, representing
                   each as an unordered multiset of patterns. Computing the
                   tf-idf statistic of each pattern in this corpus provides a
                   means by which we can rank and compare motivic content
                   across nawabāt, distinct musical forms of the tradition.
                   For each nawba, an empirical comparison is made between
                   patterns identified as significant via our approach and
                   those proposed by Chaachoo. Ultimately we observe
                   considerable agreement between the two pattern sets and go
                   further in proposing new, unique and as yet undocumented
                   patterns that occur at least as frequently and with at
                   least as much importance as those in Chaachoo's
                   proposals.},
    address      = {Delft, Netherlands},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    doi          = {10.5281/zenodo.3527784},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {223--228}
}

Arab-Andalusian music was formed in the medieval Islamic territories of Iberian Peninsula, drawing on local traditions and assuming Arabic influences. The expert performer and researcher of the Moroccan tradition of this music, Amin Chaachoo, is developing a theory, whose last formulation was recently published in La Mu-sique Hispano-Arabe, al-Ala (2016), which argues that centonization, a melodic composition technique used in Gregorian chant, was also utilized for the creation of this repertoire. In this paper we aim to contribute to Chaachoo's theory by means of tf-idf analysis. A highorder n-gram model is applied to a corpus of 149 prescriptive transcriptions of heterophonic recordings, representing each as an unordered multiset of patterns. Computing the tf-idf statistic of each pattern in this corpus provides a means by which we can rank and compare motivic content across nawabāt, distinct musical forms of the tradition. For each nawba, an empirical comparison is made between patterns identified as significant via our approach and those proposed by Chaachoo. Ultimately we observe considerable agreement between the two pattern sets and go further in proposing new, unique and as yet undocumented patterns that occur at least as frequently and with at least as much importance as those in Chaachoo's proposals.

@InProceedings{    ortloff.ea2019-towards,
    author       = {Ortloff, Anna-marie and G{\"{u}}ntner, Lydia and Schmidt,
                   Thomas},
    year         = {2019},
    title        = {Towards a Graphical User Interface for Quantitative
                   Analysis in Digital Musicology},
    abstract     = {computational musicology},
    address      = {Hamburg, Germany},
    booktitle    = {Proc. Mensch und Computer 2019 - Workshopband},
    doi          = {10.18420/muc2019-ws-568},
    keywords     = {Digital Musicology,Digital Musicology Statistical
                   Musicology User Cen,Distant Hearing,Statistical
                   Musicology,User Centered Design,Visualization},
    mendeley-tags= {Digital Musicology Statistical Musicology User Cen},
    pages        = {535--538},
    publisher    = {Gesellschaft f{\"{u}}r Informatik e.V.},
    url          = {https://dl.gi.de/handle/20.500.12116/25202}
}

computational musicology

@InProceedings{    parmer.ea2019-evolution,
    author       = {Parmer, Thomas and Ahn, Yong-Yeol},
    year         = {2019},
    title        = {Evolution of the Informational Complexity of Contemporary
                   Western Music},
    abstract     = {We measure the complexity of songs in the Million Song
                   Dataset (MSD) in terms of pitch, timbre, loudness, and
                   rhythm to investigate their evolution from 1960 to 2010.
                   By comparing the Billboard Hot 100 with random samples, we
                   find that the complexity of popular songs tends to be more
                   narrowly distributed around the mean, supporting the idea
                   of an inverted U-shaped relationship between complexity
                   and hedonistic value. We then examine the temporal
                   evolution of complexity, reporting consistent changes
                   across decades, such as a decrease in average loudness
                   complexity since the 1960s, and an increase in timbre
                   complexity overall but not for popular songs. We also
                   show, in contrast to claims that popular songs sound more
                   alike over time, that they are not more similar than they
                   were 50 years ago in terms of pitch or rhythm, although
                   similarity in timbre shows distinctive patterns across
                   eras and similarity in loudness has been increasing.
                   Finally, we show that musical genres can be differentiated
                   by their distinctive complexity profiles.},
    address      = {Delft, The Netherlands},
    archiveprefix= {arXiv},
    arxivid      = {1907.04292},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    doi          = {10.5281/zenodo.3527772},
    eprint       = {1907.04292},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {175--182},
    url          = {http://arxiv.org/abs/1907.04292}
}

We measure the complexity of songs in the Million Song Dataset (MSD) in terms of pitch, timbre, loudness, and rhythm to investigate their evolution from 1960 to 2010. By comparing the Billboard Hot 100 with random samples, we find that the complexity of popular songs tends to be more narrowly distributed around the mean, supporting the idea of an inverted U-shaped relationship between complexity and hedonistic value. We then examine the temporal evolution of complexity, reporting consistent changes across decades, such as a decrease in average loudness complexity since the 1960s, and an increase in timbre complexity overall but not for popular songs. We also show, in contrast to claims that popular songs sound more alike over time, that they are not more similar than they were 50 years ago in terms of pitch or rhythm, although similarity in timbre shows distinctive patterns across eras and similarity in loudness has been increasing. Finally, we show that musical genres can be differentiated by their distinctive complexity profiles.

@Article{          simonetta.ea2019-convolutional,
    author       = {Simonetta, Federico and Cancino-chac{\'{o}}n, Carlos and
                   Widmer, Gerhard and Ntalampiras, Stavros},
    year         = {2019},
    title        = {A convolutional approach to melody line identification in
                   symbolic scores},
    archiveprefix= {arXiv},
    arxivid      = {arXiv:1906.10547v1},
    eprint       = {arXiv:1906.10547v1},
    journal      = {Computing Research Repository},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    url          = {https://arxiv.org/pdf/1906.10547.pdf},
    volume       = {abs/1906.1}
}

@Article{          sousa2019-composing,
    author       = {de Sousa, Daniel Moreira},
    year         = {2019},
    title        = {Composing with Textures : A Proposal for Formalization of
                   Textural Spaces},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {music analysis,music composition,music theory,musical
                   texture,textural spaces,theory of integer},
    tags         = {music theory},
    number       = {1},
    pages        = {19--48},
    volume       = {3}
}

@PhDThesis{        sousa2019-textural,
    author       = {de Sousa, Daniel Moreira},
    year         = {2019},
    title        = {Textural design: A Compositional Theory for the
                   Organization of Musical Texture},
    keywords     = {Arrays,Compositional Designs,Musical Composition,Musical
                   Texture,Pre compositional Strategy,music theory},
    mendeley-tags= {music theory},
    school       = {Universidade Federal do Rio de Janeiro},
    type         = {Ph.D. Thesis}
}

@Article{          sturm.ea2019-machine,
    author       = {Sturm, Bob L. and Ben-Tal, Oded and Monaghan, {\'{U}}na
                   and Collins, Nick and Herremans, Dorien and Chew, Elaine
                   and Hadjeres, Ga{\"{e}}tan and Deruty, Emmanuel and
                   Pachet, Fran{\c{c}}ois},
    year         = {2019},
    title        = {Machine learning research that matters for music
                   creation: A case study},
    abstract     = {Research applying machine learning to music modelling and
                   generation typically proposes model architectures,
                   training methods and datasets, and gauges system
                   performance using quantitative measures like sequence
                   likelihoods and/or qualitative listening tests. Rarely
                   does such work explicitly question and analyse its
                   usefulness for and impact on real-world practitioners, and
                   then build on those outcomes to inform the development and
                   application of machine learning. This article attempts to
                   do these things for machine learning applied to music
                   creation. Together with practitioners, we develop and use
                   several applications of machine learning for music
                   creation, and present a public concert of the results. We
                   reflect on the entire experience to arrive at several ways
                   of advancing these and similar applications of machine
                   learning to music creation.},
    doi          = {10.1080/09298215.2018.1515233},
    issn         = {0929-8215},
    journal      = {Journal of New Music Research},
    keywords     = {Applied machine learning,computational creativity,folk
                   music,music generation,music information retrieval},
    mendeley-tags= {music information retrieval},
    month        = {jan},
    number       = {1},
    pages        = {36--55},
    url          = {https://www.tandfonline.com/doi/full/10.1080/09298215.2018.1515233},
    volume       = {48}
}

Research applying machine learning to music modelling and generation typically proposes model architectures, training methods and datasets, and gauges system performance using quantitative measures like sequence likelihoods and/or qualitative listening tests. Rarely does such work explicitly question and analyse its usefulness for and impact on real-world practitioners, and then build on those outcomes to inform the development and application of machine learning. This article attempts to do these things for machine learning applied to music creation. Together with practitioners, we develop and use several applications of machine learning for music creation, and present a public concert of the results. We reflect on the entire experience to arrive at several ways of advancing these and similar applications of machine learning to music creation.

@Article{          temperley2019-second-position,
    author       = {Temperley, David},
    year         = {2019},
    title        = {Second-Position Syncopation in European and American
                   Vocal Music},
    abstract     = {I define a second-position syncopation as one involving a
                   long note or accent on the second quarter of a half-note
                   or quarter-note unit. I present a corpus analysis of
                   second-position syncopation in 19th-century European and
                   American vocal music. I argue that the analysis of
                   syncopation requires consideration of other musical
                   features besides note-onset patterns, including pitch
                   contour, duration, and text-setting. The corpus analysis
                   reveals that second-position syncopation was common in
                   English, Scottish, Euro-American, and African-American
                   vocal music, but rare in French, German, and Italian vocal
                   music. This suggests that the prevalence of such
                   syncopations in ragtime and later popular music was at
                   least partly due to British influence.},
    doi          = {10.18061/emr.v14i1-2.6986},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {19th-century scottish song,8th-note beat,a phrase from
                   a,a short note on,a strong quarter-note beat,distinctive
                   rhythmic,f igure 1a shows,first of all,followed by a
                   longer,gesture,inside the box,it connects,music
                   analysis,note on the following,of historical interest
                   in,rhythm,scotch snap,several respects,syncopation,the
                   phrase features a,this rhythmic pattern is,vocal
                   music,with},
    mendeley-tags= {music analysis},
    month        = {nov},
    number       = {1-2},
    pages        = {66},
    url          = {http://emusicology.org/article/view/6986},
    volume       = {14}
}

I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.

@InProceedings{    tymoczko.ea2019-romantext,
    author       = {Tymoczko, Dmitri and Gotham, Mark and Cuthbert, Michael
                   and Ariza, Christopher},
    year         = {2019},
    title        = {The RomanText Format: A Flexible and Standard Method for
                   Representing Roman Numerial Analyses},
    address      = {Delft, The Netherlands},
    booktitle    = {Proceedings of the 20th International Society for Music
                   Information Retrieval Conference},
    doi          = {10.5281/zenodo.3527756},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    pages        = {123--129},
    url          = {https://zenodo.org/record/3527756#.XteB7Z7Yq9Z}
}

@Article{          warrenburg.ea2019-tests,
    author       = {Warrenburg, Lindsay A and Huron, David},
    year         = {2019},
    title        = {Tests of contrasting expressive content between first and
                   second musical themes},
    abstract     = {Since the eighteenth century, music theorists have noted
                   the tendency for Western art-music works to contain themes
                   exhibiting contrasting expressive content. In music
                   exhibiting two main themes, the first theme is commonly
                   characterised as ‘stronger' or ‘fiery', whereas the
                   second theme tends to be ‘gentler' or ‘cantabile'. An
                   examination of 1063 musical works indicates that second
                   themes are less likely to be in the minor mode, but are
                   more likely to be legato, slower in tempo, and involve a
                   quieter dynamic level. Some observations are made
                   regarding changes in the treatment of first and second
                   themes over different stylistic periods.},
    doi          = {10.1080/09298215.2018.1486435},
    journal      = {Journal of New Music Research},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {1},
    pages        = {21--35},
    publisher    = {Routledge},
    url          = {https://doi.org/10.1080/09298215.2018.1486435},
    volume       = {48}
}

Since the eighteenth century, music theorists have noted the tendency for Western art-music works to contain themes exhibiting contrasting expressive content. In music exhibiting two main themes, the first theme is commonly characterised as ‘stronger' or ‘fiery', whereas the second theme tends to be ‘gentler' or ‘cantabile'. An examination of 1063 musical works indicates that second themes are less likely to be in the minor mode, but are more likely to be legato, slower in tempo, and involve a quieter dynamic level. Some observations are made regarding changes in the treatment of first and second themes over different stylistic periods.

@InProceedings{    wu.ea2019-distinguishing,
    author       = {Wu, Yusong and Li, Shengchen},
    year         = {2019},
    title        = {Distinguishing Chinese Guqin and Western Baroque pieces
                   based on statistical model},
    booktitle    = {Proceedings of Computer Music Multidisciplinary Research
                   2019},
    keywords     = {computational musicology,machine learning,music
                   similarity,statistics},
    mendeley-tags= {music similarity},
    pages        = {1--12},
    url          = {https://lukewys.github.io/publications/CMMR2019}
}

@InProceedings{    bigo.ea2018-relevance,
    author       = {Bigo, Louis and Feisthauer, Laurent and Giraud, Mathieu
                   and Lev{\'{e}}, Florence},
    year         = {2018},
    title        = {Relevance of musical features for cadence detection},
    abstract     = {Cadences, as breaths in music, are felt by the listener
                   or studied by the theorist by combining harmony, melody,
                   texture and possibly other musical aspects. We formalize
                   and discuss the significance of 44 cadential features,
                   correlated with the occurrence of cadences in scores.
                   These features describe properties at the arrival beat of
                   a cadence and its surroundings, but also at other onsets
                   heuristically identified to pinpoint chords preparing the
                   cadence. The representation of each beat of the score as a
                   vector of cadential features makes it possible to
                   reformulate cadence detection as a classification task. An
                   SVM classifier was run on two corpora from Bach and Haydn
                   totaling 162 perfect authentic cadences and 70 half
                   cadences. In these corpora, the classifier correctly
                   identified more than 75pct of perfect authentic cadences
                   and 50pct of half cadences, with low false positive rates.
                   The experiment results are consistent with common
                   knowledge that classification is more complex for half
                   cadences than for authentic cadences.},
    address      = {Paris},
    booktitle    = {Proceedings of 19th International Conference on Music
                   Information Retrieval},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    url          = {https://hal.archives-ouvertes.fr/hal-01801060/}
}

Cadences, as breaths in music, are felt by the listener or studied by the theorist by combining harmony, melody, texture and possibly other musical aspects. We formalize and discuss the significance of 44 cadential features, correlated with the occurrence of cadences in scores. These features describe properties at the arrival beat of a cadence and its surroundings, but also at other onsets heuristically identified to pinpoint chords preparing the cadence. The representation of each beat of the score as a vector of cadential features makes it possible to reformulate cadence detection as a classification task. An SVM classifier was run on two corpora from Bach and Haydn totaling 162 perfect authentic cadences and 70 half cadences. In these corpora, the classifier correctly identified more than 75pct of perfect authentic cadences and 50pct of half cadences, with low false positive rates. The experiment results are consistent with common knowledge that classification is more complex for half cadences than for authentic cadences.

@Article{          chon.ea2018-exploratory,
    author       = {Chon, Song Hui and Huron, David and DeVlieger, Dana},
    year         = {2018},
    title        = {An Exploratory Study of Western Orchestration: Patterns
                   through History},
    abstract     = {Changes in instrument combination patterns in Western
                   classical orchestral music are traced over a three hundred
                   year period from 1701 to 2000. Using a stratified sample
                   of sonorities from 180 orchestral works by 147 composers,
                   various empirical analyses are reported. These include
                   analyses of instrumentation presence, instrument usage,
                   ensemble size, common instrument combinations, instrument
                   clusterings, and their changes over time. In addition, the
                   study reports associations of different instruments with
                   various dynamic levels, different tempos, pitch class
                   doublings, affinities between instruments and chord
                   factors, as well as interactions between pitch, dynamics,
                   and tempo. Results affirm many common intuitions and
                   historical observations regarding orchestration, but also
                   reveal a number of previously unrecognized patterns of
                   instrument use.},
    doi          = {10.18061/emr.v12i3-4.5773},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {1855,1885,1906,1914,1952,1964,berlioz,century,composers
                   have written a,defined as the
                   art,e,forsyth,g,gevaert,instrument
                   combinations,instrumentation,kennan,music analysis with
                   computers,music history,number of treatises on,o
                   rchestration might be,of combining musical
                   instruments,orchestration,rimsky-korsakov,since the mid-19
                   th,sonorous effect,to produce a distinctive,widor},
    mendeley-tags= {music analysis with computers},
    month        = {jun},
    number       = {3-4},
    pages        = {116},
    url          = {http://emusicology.org/article/view/5773},
    volume       = {12}
}

Changes in instrument combination patterns in Western classical orchestral music are traced over a three hundred year period from 1701 to 2000. Using a stratified sample of sonorities from 180 orchestral works by 147 composers, various empirical analyses are reported. These include analyses of instrumentation presence, instrument usage, ensemble size, common instrument combinations, instrument clusterings, and their changes over time. In addition, the study reports associations of different instruments with various dynamic levels, different tempos, pitch class doublings, affinities between instruments and chord factors, as well as interactions between pitch, dynamics, and tempo. Results affirm many common intuitions and historical observations regarding orchestration, but also reveal a number of previously unrecognized patterns of instrument use.

@Article{          garcia-vico.ea2018-overview,
    author       = {Garc{\'{i}}a-Vico, A. M. and Carmona, C. J. and
                   Mart{\'{i}}n, D. and Garc{\'{i}}a-Borroto, M. and del
                   Jesus, M. J.},
    year         = {2018},
    title        = {An overview of emerging pattern mining in supervised
                   descriptive rule discovery: taxonomy, empirical study,
                   trends, and prospects},
    abstract     = {Emerging pattern mining is a data mining task that aims
                   to discover discriminative patterns, which can describe
                   emerging behavior with respect to a property of interest.
                   In recent years, the description of datasets has become an
                   interesting field due to the easy acquisition of knowledge
                   by the experts. In this review, we will focus on the
                   descriptive point of view of the task. We collect the
                   existing approaches that have been proposed in the
                   literature and group them together in a taxonomy in order
                   to obtain a general vision of the task. A complete
                   empirical study demonstrates the suitability of the
                   approaches presented. This review also presents future
                   trends and emerging prospects within pattern mining and
                   the benefits of knowledge extracted from emerging
                   patterns. WIREs Data Mining Knowl Discov 2018, 8:e1231.
                   doi: 10.1002/widm.1231. This article is categorized under:
                   Fundamental Concepts of Data and Knowledge > Knowledge
                   Representation Fundamental Concepts of Data and Knowledge
                   > Motivation and Emergence of Data Mining.},
    doi          = {10.1002/widm.1231},
    issn         = {19424795},
    journal      = {Wiley Interdisciplinary Reviews: Data Mining and
                   Knowledge Discovery},
    keywords     = {computer},
    mendeley-tags= {computer},
    number       = {1},
    pages        = {1--22},
    volume       = {8}
}

Emerging pattern mining is a data mining task that aims to discover discriminative patterns, which can describe emerging behavior with respect to a property of interest. In recent years, the description of datasets has become an interesting field due to the easy acquisition of knowledge by the experts. In this review, we will focus on the descriptive point of view of the task. We collect the existing approaches that have been proposed in the literature and group them together in a taxonomy in order to obtain a general vision of the task. A complete empirical study demonstrates the suitability of the approaches presented. This review also presents future trends and emerging prospects within pattern mining and the benefits of knowledge extracted from emerging patterns. WIREs Data Mining Knowl Discov 2018, 8:e1231. doi: 10.1002/widm.1231. This article is categorized under: Fundamental Concepts of Data and Knowledge > Knowledge Representation Fundamental Concepts of Data and Knowledge > Motivation and Emergence of Data Mining.

@Misc{             kempfert.ea2018-where,
    author       = {Kempfert, Katherine C. and Wong, Samuel W. K.},
    year         = {2018},
    title        = {Where Does Haydn End and Mozart Begin? Composer
                   Classification of String Quartets},
    abstract     = {For humans and machines, perceiving differences between
                   string quartets by Joseph Haydn and Wolfgang Amadeus
                   Mozart has been a challenging task, because of stylistic
                   and compositional similarities between the composers.
                   Based on the content of music scores, this study
                   identifies and quantifies distinctions between these
                   string quartets using statistical and machine learning
                   techniques. Our approach develops new musically meaningful
                   summary features based on the sonata form structure. Many
                   of these proposed summary features are found to be
                   important for distinguishing between Haydn and Mozart
                   string quartets. Leave-one-out classification accuracy
                   rates exceed 91\%, significantly higher than has been
                   attained for this task in prior work. These results
                   indicate there are identifiable, musically insightful
                   differences between string quartets by Haydn versus
                   Mozart, such as in their low accompanying voices, Cello
                   and Viola. Our quantitative approaches can expand the
                   longstanding dialogue surrounding Haydn and Mozart,
                   offering empirical evidence of claims made by
                   musicologists. Our proposed framework, which interweaves
                   musical scholarship with learning algorithms, can be
                   applied to other composer classification tasks and
                   quantitative studies of classical music in general.},
    archiveprefix= {arXiv},
    arxivid      = {1809.05075},
    booktitle    = {arXiv},
    eprint       = {1809.05075},
    keywords     = {music analysis,music history},
    mendeley-tags= {music analysis,music history},
    month        = {sep},
    pages        = {1--21},
    url          = {http://arxiv.org/abs/1809.05075},
    urldate      = {2018-09-13}
}

For humans and machines, perceiving differences between string quartets by Joseph Haydn and Wolfgang Amadeus Mozart has been a challenging task, because of stylistic and compositional similarities between the composers. Based on the content of music scores, this study identifies and quantifies distinctions between these string quartets using statistical and machine learning techniques. Our approach develops new musically meaningful summary features based on the sonata form structure. Many of these proposed summary features are found to be important for distinguishing between Haydn and Mozart string quartets. Leave-one-out classification accuracy rates exceed 91%, significantly higher than has been attained for this task in prior work. These results indicate there are identifiable, musically insightful differences between string quartets by Haydn versus Mozart, such as in their low accompanying voices, Cello and Viola. Our quantitative approaches can expand the longstanding dialogue surrounding Haydn and Mozart, offering empirical evidence of claims made by musicologists. Our proposed framework, which interweaves musical scholarship with learning algorithms, can be applied to other composer classification tasks and quantitative studies of classical music in general.

@PhDThesis{        libin2018-x,
    author       = {Libin, Daniel M},
    year         = {2018},
    title        = {X Section and Ethos in Sonata Forms by Haydn, Mozart, and
                   early Beethoven},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    school       = {The State University of New Jersey},
    type         = {Ph.D. Thesis}
}

@Article{          mackay2018-another,
    author       = {MacKay, James S.},
    year         = {2018},
    title        = {Another Look at Chromatic Third-Related Key Relationships
                   in Late Haydn: Parallel Keys and Remote Modulation in
                   Selected String Quartet Minuets},
    abstract     = {As asserted by Ethan Haimo in a 1990 article, Joseph
                   Haydn's Piano Trio in A-flat major, Hob. XV: 14 (1789-90),
                   comprises his first use of a chromatic third relationship
                   between movements of an instrumental work, with a I-flat
                   VI-I tonal plan. This harmonic strategy, immediately taken
                   up by Beethoven in his Piano Trio in G major, Op. 1 no. 2
                   (slow movement in E, VI) and his Piano Sonata in C major,
                   Op. 2 no. 3 (slow movement in E, III), quickly became a
                   conventional feature of early 19 th-century tonality. Such
                   third-related shifts in Haydn's instrumental music occur
                   earlier than 1790, especially in his string quartet
                   Minuet-Trio movements, often built around a parallel
                   major-parallel minor pairing of keys and their relatives.
                   For instance, in Haydn's String Quartet in F major, Op. 50
                   no. 5 (Der Traum), third movement, Haydn effects a
                   chromatic third modulation in two stages: touching briefly
                   upon the parallel key (f minor) in the trio, then moving
                   immediately to its relative major, A-flat (i.e. flat III
                   of F major). As for works written after 1790, the Minuet
                   and Trio of the Emperor Quartet in C major, Op. 76 no. 3,
                   demonstrates the opposite strategy: after beginning the
                   trio in the relative minor, Haydn shifts modally to its
                   parallel key, A major, as the passage develops (VI of C
                   major). As demonstrated by the above-mentioned quartet
                   movements and others drawn from Opp. 74, 76, and 77, such
                   two-stage chromatic third shifts at the formal level and
                   this procedure's affinity with modal mixture, provides a
                   new paradigm for understanding remote modulations, both in
                   the late Classical period and beyond.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    number       = {3},
    pages        = {1--27},
    url          = {https://www.academia.edu/42811788/Another_Look_at_Chromatic_Third_Related_Key_Relationships_in_Late_Haydn_Parallel_Keys_and_Remote_Modulation_in_Selected_String_Quartet_Minuets?email_work_card=view-paper},
    volume       = {2}
}

As asserted by Ethan Haimo in a 1990 article, Joseph Haydn's Piano Trio in A-flat major, Hob. XV: 14 (1789-90), comprises his first use of a chromatic third relationship between movements of an instrumental work, with a I-flat VI-I tonal plan. This harmonic strategy, immediately taken up by Beethoven in his Piano Trio in G major, Op. 1 no. 2 (slow movement in E, VI) and his Piano Sonata in C major, Op. 2 no. 3 (slow movement in E, III), quickly became a conventional feature of early 19 th-century tonality. Such third-related shifts in Haydn's instrumental music occur earlier than 1790, especially in his string quartet Minuet-Trio movements, often built around a parallel major-parallel minor pairing of keys and their relatives. For instance, in Haydn's String Quartet in F major, Op. 50 no. 5 (Der Traum), third movement, Haydn effects a chromatic third modulation in two stages: touching briefly upon the parallel key (f minor) in the trio, then moving immediately to its relative major, A-flat (i.e. flat III of F major). As for works written after 1790, the Minuet and Trio of the Emperor Quartet in C major, Op. 76 no. 3, demonstrates the opposite strategy: after beginning the trio in the relative minor, Haydn shifts modally to its parallel key, A major, as the passage develops (VI of C major). As demonstrated by the above-mentioned quartet movements and others drawn from Opp. 74, 76, and 77, such two-stage chromatic third shifts at the formal level and this procedure's affinity with modal mixture, provides a new paradigm for understanding remote modulations, both in the late Classical period and beyond.

@Article{          mathew2018-interesting,
    author       = {Mathew, Nicholas},
    year         = {2018},
    title        = {Interesting Haydn: On Attention's Materials},
    doi          = {10.1525/jams.2018.71.3.655},
    issn         = {0003-0139},
    journal      = {Journal of the American Musicological Society},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    number       = {3},
    pages        = {655--701},
    volume       = {71}
}

@Article{          neuwirth.ea2018-annotated,
    author       = {Neuwirth, Markus and Harasim, Daniel and Moss, Fabian
                   Claude and Rohrmeier, Martin},
    year         = {2018},
    title        = {The Annotated Beethoven Corpus (ABC): A Dataset of
                   Harmonic Analyses of All Beethoven String Quartets},
    doi          = {10.3389/fdigh.2018.00016},
    issn         = {2297-2668},
    journal      = {Frontiers in Digital Humanities},
    keywords     = {beethoven,corpus research,digital
                   musicology,ground,ground truth,harmony,music,symbolic
                   music data},
    number       = {July},
    pages        = {1--5},
    url          = {https://www.frontiersin.org/article/10.3389/fdigh.2018.00016/full},
    volume       = {5}
}

@Article{          sampaio2018-contour,
    author       = {{Sampaio}, {Marcos da Silva}},
    year         = {2018},
    title        = {Contour Similarity Algorithms},
    abstract     = {The Musical Contour literature provides multiple
                   algorithms for melodic contour similarity. However, most
                   of them are limited in use by the melody length of input
                   data. In this paper I review these algorithms, propose two
                   new algorithms, compare them in three experiments with
                   contours from the Bach Chorales, from a Schumann song and
                   automated generated, and present a brief review of the
                   contour and similarity literature.},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {Algorithms,Computational Musicology,Melodic
                   Similarity,Music Analysis,Music Contour Theory,music
                   contour},
    mendeley-tags= {music contour},
    number       = {2},
    pages        = {58--78},
    url          = {https://musmat.org/wp-content/uploads/2018/12/08-contour-similarity-algorithm.pdf},
    volume       = {2}
}

The Musical Contour literature provides multiple algorithms for melodic contour similarity. However, most of them are limited in use by the melody length of input data. In this paper I review these algorithms, propose two new algorithms, compare them in three experiments with contours from the Bach Chorales, from a Schumann song and automated generated, and present a brief review of the contour and similarity literature.

@Article{          sears.ea2018-simulating,
    author       = {Sears, David R.W. and Pearce, Marcus Thomas and Caplin,
                   William Earl and McAdams, Stephen},
    year         = {2018},
    title        = {Simulating melodic and harmonic expectations for tonal
                   cadences using probabilistic models},
    abstract     = {This study examines how the mind's predictive mechanisms
                   contribute to the perception of cadential closure during
                   music listening. Using the Information Dynamics of Music
                   model (or IDyOM) to simulate the formation of schematic
                   expectations—a finite-context (or n-gram) model that
                   predicts the next event in a musical stimulus by acquiring
                   knowledge through unsupervised statistical learning of
                   sequential structure—we predict the terminal melodic and
                   harmonic events from 245 exemplars of the five most common
                   cadence categories from the classical style. Our findings
                   demonstrate that (1) terminal events from cadential
                   contexts are more predictable than those from
                   non-cadential contexts; (2) models of cadential strength
                   advanced in contemporary cadence typologies reflect the
                   formation of schematic expectations; and (3) a significant
                   decrease in predictability follows the terminal note and
                   chord events of the cadential formula.},
    doi          = {10.1080/09298215.2017.1367010},
    issn         = {17445027},
    journal      = {Journal of New Music Research},
    keywords     = {Cadence,expectation,music analysis with computers,n-gram
                   models,segmental grouping,statistical learning},
    mendeley-tags= {music analysis with computers},
    number       = {1},
    pages        = {29--52},
    publisher    = {Routledge},
    url          = {https://doi.org/10.1080/09298215.2017.1367010},
    volume       = {47}
}

This study examines how the mind's predictive mechanisms contribute to the perception of cadential closure during music listening. Using the Information Dynamics of Music model (or IDyOM) to simulate the formation of schematic expectations—a finite-context (or n-gram) model that predicts the next event in a musical stimulus by acquiring knowledge through unsupervised statistical learning of sequential structure—we predict the terminal melodic and harmonic events from 245 exemplars of the five most common cadence categories from the classical style. Our findings demonstrate that (1) terminal events from cadential contexts are more predictable than those from non-cadential contexts; (2) models of cadential strength advanced in contemporary cadence typologies reflect the formation of schematic expectations; and (3) a significant decrease in predictability follows the terminal note and chord events of the cadential formula.

@Article{          selfridge-field2018-substantial,
    author       = {Selfridge-Field, Eleanor},
    year         = {2018},
    title        = {Substantial musical similarity in sound and notation:
                   Perspectives from digital musicology},
    journal      = {Colorado Technology Law Journal},
    keywords     = {music similarity},
    mendeley-tags= {music similarity},
    number       = {2},
    pages        = {249--284},
    url          = {https://heinonline.org/HOL/P?h=hein.journals/jtelhtel16&i=277},
    volume       = {16}
}

@InProceedings{    shaw2018-differentiae,
    author       = {Shaw, Rebecca},
    year         = {2018},
    title        = {Differentiae in the cantus manuscript database},
    abstract     = {When approaching the study of medieval plainchant, one is
                   inevitably confronted with its immensity, spanning several
                   centuries and a wide geographic area. Even at a specific
                   time and place, its notation and liturgy varies depending
                   on the type of institution: local churches were influenced
                   by the cathedral tradition, whilst monastic houses were
                   influenced by local dioceses and their order, each of
                   which regulated the liturgy to varying degrees. As such,
                   each extant manuscript contains elements that could be
                   regionally and/or globally standardized and/or not
                   standardized, making large-scale data collection and
                   analysis a daunting task. One method of tracing the
                   relationships between manuscripts of different provenances
                   is to examine a shared, stable feature, like differentiae
                   in antiphoners. Differentiae, melodic formulas that set
                   the final two words of the doxology, are always included
                   at the end of psalm recitations in antiphonal psalmody and
                   appear in conjunction with every antiphon in an
                   antiphoner, regardless of the manuscript's provenance.
                   This paper describes an ongoing project to standardize the
                   differentiae field of the Cantus Manuscript Database so as
                   to enable cross-manuscript comparisons. With over 1,400
                   unique differentiae across 144 manuscripts (900s-1500s)
                   processed to date, this project will enable scholars to
                   explore hitherto unanswerable questions about not only the
                   function of differentiae, but also, more broadly, chant
                   transmission. To demonstrate the musicological potential
                   of the differentiae standardization project, this paper
                   includes a case study that interrogates the most commonly
                   used definition of these melodic formulas: that they
                   provided melodic transitions from psalm recitations to
                   antiphon openings. The existence of this melodic
                   connection is contested amongst scholars and its exact
                   nature has never been clearly defined, due to the lack of
                   available and standardized data. This paper demonstrates
                   and defines the melodic relationship between differentiae
                   and antiphon openings for the first of eight modes, whilst
                   considering the ramifications of this relationship on the
                   use of differentiae as mnemonic devices for the
                   recollection of antiphon melodies.},
    address      = {New York, New York, USA},
    booktitle    = {Proceedings of the 5th International Conference on
                   Digital Libraries for Musicology - DLfM '18},
    doi          = {10.1145/3273024.3273028},
    isbn         = {9781450365222},
    keywords     = {Antiphonal psalmody,Antiphons,Differentia,Manuscript
                   indices,Mnemonic
                   devices,Mode,Plainchant,Standardization,computational
                   musicology},
    mendeley-tags= {computational musicology},
    pages        = {38--46},
    publisher    = {ACM Press},
    url          = {http://dl.acm.org/citation.cfm?doid=3273024.3273028}
}

When approaching the study of medieval plainchant, one is inevitably confronted with its immensity, spanning several centuries and a wide geographic area. Even at a specific time and place, its notation and liturgy varies depending on the type of institution: local churches were influenced by the cathedral tradition, whilst monastic houses were influenced by local dioceses and their order, each of which regulated the liturgy to varying degrees. As such, each extant manuscript contains elements that could be regionally and/or globally standardized and/or not standardized, making large-scale data collection and analysis a daunting task. One method of tracing the relationships between manuscripts of different provenances is to examine a shared, stable feature, like differentiae in antiphoners. Differentiae, melodic formulas that set the final two words of the doxology, are always included at the end of psalm recitations in antiphonal psalmody and appear in conjunction with every antiphon in an antiphoner, regardless of the manuscript's provenance. This paper describes an ongoing project to standardize the differentiae field of the Cantus Manuscript Database so as to enable cross-manuscript comparisons. With over 1,400 unique differentiae across 144 manuscripts (900s-1500s) processed to date, this project will enable scholars to explore hitherto unanswerable questions about not only the function of differentiae, but also, more broadly, chant transmission. To demonstrate the musicological potential of the differentiae standardization project, this paper includes a case study that interrogates the most commonly used definition of these melodic formulas: that they provided melodic transitions from psalm recitations to antiphon openings. The existence of this melodic connection is contested amongst scholars and its exact nature has never been clearly defined, due to the lack of available and standardized data. This paper demonstrates and defines the melodic relationship between differentiae and antiphon openings for the first of eight modes, whilst considering the ramifications of this relationship on the use of differentiae as mnemonic devices for the recollection of antiphon melodies.

@Article{          waltham-smith2018-haydns,
    author       = {Waltham-Smith, Naomi},
    year         = {2018},
    title        = {Haydn's impropriety},
    abstract     = {Haydn is known for his playful (mis)use of cadential
                   formulas. Examining examples of this predilection and
                   processes of cadential liquidation, this article develops
                   a theory of the use of musical material. This entails a
                   deconstruction of the Adornian dialectic between generic
                   convention and particular expression and-following Jacques
                   Derrida's notion of exappropriation-between proper and
                   improper, and propriety and impropriety.},
    doi          = {10.1215/00222909-4450660},
    issn         = {00222909},
    journal      = {Journal of Music Theory},
    keywords     = {Cadence,Deconstruction,Exappropriation,Haydn,Liquidation,music
                   analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {119--144},
    volume       = {62}
}

Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic convention and particular expression and-following Jacques Derrida's notion of exappropriation-between proper and improper, and propriety and impropriety.

@InProceedings{    wei.ea2018-computational,
    author       = {Wei{\ss}, Christof and Balke, Stefan and Abe{\ss}er,
                   Jakob and M{\"{u}}ller, Meinard},
    year         = {2018},
    title        = {Computational Corpus Analysis: a Case Study on Jazz
                   Solos},
    abstract     = {For musicological studies on large corpora, the
                   compilation of suitable data constitutes a time-consuming
                   step. In particular, this is true for high-quality
                   symbolic representations that are generated manually in a
                   tedious process. A recent study on Western classical music
                   has shown that musical phenomena such as the evolution of
                   tonal complexity over history can also be analyzed on the
                   basis of audio recordings. As our first contribution, we
                   transfer this corpus analysis method to jazz music using
                   the Weimar Jazz Database, which contains high-level
                   symbolic transcriptions of jazz solos along with the audio
                   recordings. Second, we investigate the influence of the
                   input representation type on the corpus-level
                   observations. In our experiments , all representation
                   types led to qualitatively similar results. We conclude
                   that audio recordings can build a reasonable basis for
                   conducting such type of corpus analysis.},
    address      = {Paris},
    booktitle    = {Proceedings of the 19th International Society for Music
                   Information Retrieval},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {October},
    url          = {http://ismir2018.ircam.fr/doc/pdfs/23_Paper.pdf}
}

For musicological studies on large corpora, the compilation of suitable data constitutes a time-consuming step. In particular, this is true for high-quality symbolic representations that are generated manually in a tedious process. A recent study on Western classical music has shown that musical phenomena such as the evolution of tonal complexity over history can also be analyzed on the basis of audio recordings. As our first contribution, we transfer this corpus analysis method to jazz music using the Weimar Jazz Database, which contains high-level symbolic transcriptions of jazz solos along with the audio recordings. Second, we investigate the influence of the input representation type on the corpus-level observations. In our experiments , all representation types led to qualitatively similar results. We conclude that audio recordings can build a reasonable basis for conducting such type of corpus analysis.

@Article{          wei.ea2018-investigating,
    author       = {Wei{\ss}, Christof and Mauch, Matthias and Dixon, Simon
                   and M{\"{u}}ller, Meinard},
    year         = {2018},
    title        = {Investigating style evolution of Western classical music:
                   A computational approach},
    abstract     = {In musicology, there has been a long debate about a
                   meaningful partitioning and description of music history
                   regarding composition styles. Particularly, concepts of
                   historical periods have been criticized since they cannot
                   account for the continuous and interwoven evolution of
                   style. To systematically study this evolution, large
                   corpora are necessary suggesting the use of computational
                   strategies. This article presents such strategies and
                   experiments relying on a dataset of 2000 audio recordings,
                   which cover more than 300 years of music history. From the
                   recordings, we extract different tonal features. We
                   propose a method to visualize these features over the
                   course of history using evolution curves. With the curves,
                   we re-trace hypotheses concerning the evolution of chord
                   transitions, intervals, and tonal complexity. Furthermore,
                   we perform unsupervised clustering of recordings across
                   composition years, individual pieces, and composers. In
                   these studies, we found independent evidence of historical
                   periods...},
    doi          = {10.1177/1029864918757595},
    isbn         = {1029864918},
    issn         = {10298649},
    journal      = {Musicae Scientiae},
    keywords     = {composer style,computational musicology,corpus
                   analysis,music analysis with computers,music information
                   retrieval,style analysis,tonal audio features},
    mendeley-tags= {music analysis with computers},
    number       = {March},
    url          = {https://www.researchgate.net/publication/323619682_Investigating_style_evolution_of_Western_classical_music_A_computational_approach}
}

In musicology, there has been a long debate about a meaningful partitioning and description of music history regarding composition styles. Particularly, concepts of historical periods have been criticized since they cannot account for the continuous and interwoven evolution of style. To systematically study this evolution, large corpora are necessary suggesting the use of computational strategies. This article presents such strategies and experiments relying on a dataset of 2000 audio recordings, which cover more than 300 years of music history. From the recordings, we extract different tonal features. We propose a method to visualize these features over the course of history using evolution curves. With the curves, we re-trace hypotheses concerning the evolution of chord transitions, intervals, and tonal complexity. Furthermore, we perform unsupervised clustering of recordings across composition years, individual pieces, and composers. In these studies, we found independent evidence of historical periods...

@Article{          abdallah.ea2017-digital,
    author       = {Abdallah, Samer and Benetos, Emmanouil and Gold, Nicolas
                   and Hargreaves, Steven and Weyde, Tillman and Wolff,
                   Daniel},
    year         = {2017},
    title        = {The digital music lab: A big data infrastructure for
                   digital musicology},
    abstract     = {In musicology and music research generally, the
                   increasing availability of digital music, storage
                   capacities, and computing power enable and require new and
                   intelligent systems. In the transition from traditional to
                   digital musicology, many techniques and tools have been
                   developed for the analysis of individual pieces of music,
                   but large-scale music data that are increasingly becoming
                   available require research methods and systems that work
                   on the collection-level and at scale. Although many
                   relevant algorithms have been developed during the past 15
                   years of research in Music Information Retrieval, an
                   integrated system that supports large-scale digital
                   musicology research has so far been lacking. In the
                   Digital Music Lab (DML) project, a collaboration among
                   music librarians, musicologists, computer scientists, and
                   human-computer interface specialists, the DML software
                   system has been developed that fills this gap by providing
                   intelligent large-scale music analysis with a
                   user-friendly interactive interface supporting
                   musicologists in their exploration and enquiry. The DML
                   system empowers musicologists by addressing several
                   challenges: distributed processing of audio and other
                   music data, management of the data analysis process and
                   results, remote analysis of data under copyright, logical
                   inference on the extracted information and metadata, and
                   visual web-based interfaces for exploring and querying the
                   music collections. The DML system is scalable and based on
                   SemanticWeb technology and integrates into Linked Data
                   with the vision of a distributed system that enables music
                   research across archives, libraries, and other providers
                   of music data. A first DML system prototype has been set
                   up in collaboration with the British Library and I Like
                   Music Ltd. This system has been used to analyse a diverse
                   corpus of currently 250,000 music tracks. In this article,
                   we describe the DML system requirements, design,
                   architecture, components, and available data sources,
                   explaining their interaction. We report use cases and
                   applications with initial evaluations of the proposed
                   system.},
    doi          = {10.1145/2983918},
    issn         = {15564711},
    journal      = {Journal on Computing and Cultural Heritage},
    keywords     = {Big data,Digital musicology,Music information
                   retrieval,Semantic web,computational musicology},
    mendeley-tags= {computational musicology},
    number       = {1},
    pages        = {1--21},
    volume       = {10}
}

In musicology and music research generally, the increasing availability of digital music, storage capacities, and computing power enable and require new and intelligent systems. In the transition from traditional to digital musicology, many techniques and tools have been developed for the analysis of individual pieces of music, but large-scale music data that are increasingly becoming available require research methods and systems that work on the collection-level and at scale. Although many relevant algorithms have been developed during the past 15 years of research in Music Information Retrieval, an integrated system that supports large-scale digital musicology research has so far been lacking. In the Digital Music Lab (DML) project, a collaboration among music librarians, musicologists, computer scientists, and human-computer interface specialists, the DML software system has been developed that fills this gap by providing intelligent large-scale music analysis with a user-friendly interactive interface supporting musicologists in their exploration and enquiry. The DML system empowers musicologists by addressing several challenges: distributed processing of audio and other music data, management of the data analysis process and results, remote analysis of data under copyright, logical inference on the extracted information and metadata, and visual web-based interfaces for exploring and querying the music collections. The DML system is scalable and based on SemanticWeb technology and integrates into Linked Data with the vision of a distributed system that enables music research across archives, libraries, and other providers of music data. A first DML system prototype has been set up in collaboration with the British Library and I Like Music Ltd. This system has been used to analyse a diverse corpus of currently 250,000 music tracks. In this article, we describe the DML system requirements, design, architecture, components, and available data sources, explaining their interaction. We report use cases and applications with initial evaluations of the proposed system.

@InProceedings{    bigo.ea2017-sketching,
    author       = {Bigo, Louis and Giraud, Mathieu and Groult, Richard and
                   Guiomard-Kagan, Nicolas and Lev{\'{e}}, Florence},
    year         = {2017},
    title        = {Sketching Sonata Form Structure in Selected Classical
                   String Quartets},
    abstract     = {Many classical works from 18th and 19th centuries are
                   sonata forms, exhibiting a piece-level tonal path through
                   an exposition, a development and a recapitulation and
                   in-volving two thematic zones as well as other elements.
                   The computational music analysis of scores with such a
                   large-scale structure is a challenge for the MIR community
                   and should gather different analysis techniques. We
                   propose first steps in that direction, combining analysis
                   features on symbolic scores on patterns, harmony, and
                   other elements into a structure estimated by a Viterbi
                   algorithm on a Hid-den Markov Model. We test this strategy
                   on a set of first movements of Haydn and Mozart string
                   quartets. The pro-posed computational analysis strategy
                   finds some pertinent features and sketches the sonata form
                   structure in some pieces that have a simple sonata form.},
    address      = {Suzhou, China},
    booktitle    = {Proceedings of the 18th International Society for Music
                   Information Retrieval Conference (ISMIR)},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {752--759},
    url          = {https://ismir2017.smcnus.org/wp-content/uploads/2017/10/228_Paper.pdf}
}

Many classical works from 18th and 19th centuries are sonata forms, exhibiting a piece-level tonal path through an exposition, a development and a recapitulation and in-volving two thematic zones as well as other elements. The computational music analysis of scores with such a large-scale structure is a challenge for the MIR community and should gather different analysis techniques. We propose first steps in that direction, combining analysis features on symbolic scores on patterns, harmony, and other elements into a structure estimated by a Viterbi algorithm on a Hid-den Markov Model. We test this strategy on a set of first movements of Haydn and Mozart string quartets. The pro-posed computational analysis strategy finds some pertinent features and sketches the sonata form structure in some pieces that have a simple sonata form.

@Book{             bruce.ea2017-practical,
    author       = {Bruce, Peter and Bruce, Andrew},
    year         = {2017},
    title        = {Practical Statistics for Data Scientists},
    abstract     = {Statistical methods are a key part of of data science,
                   yet very few data scientists have any formal statistics
                   training. Courses and books on basic statistics rarely
                   cover the topic from a data science perspective. This
                   practical guide explains how to apply various statistical
                   methods to data science, tells you how to avoid their
                   misuse, and gives you advice on what's important and
                   what's not. Many data science resources incorporate
                   statistical methods but lack a deeper statistical
                   perspective. If you're familiar with the R programming
                   language, and have some exposure to statistics, this quick
                   reference bridges the gap in an accessible, readable
                   format.},
    address      = {Sebastopol, CA},
    isbn         = {9781491952894},
    keywords     = {computer},
    mendeley-tags= {computer},
    publisher    = {O'Reilly Media}
}

Statistical methods are a key part of of data science, yet very few data scientists have any formal statistics training. Courses and books on basic statistics rarely cover the topic from a data science perspective. This practical guide explains how to apply various statistical methods to data science, tells you how to avoid their misuse, and gives you advice on what's important and what's not. Many data science resources incorporate statistical methods but lack a deeper statistical perspective. If you're familiar with the R programming language, and have some exposure to statistics, this quick reference bridges the gap in an accessible, readable format.

@Article{          garfinkle.ea2017-patternfinder,
    author       = {Garfinkle, David and Arthur, Claire and Schubert, Peter
                   and Cumming, Julie and Fujinaga, Ichiro},
    year         = {2017},
    title        = {PatternFinder: Content-Based Music Retrieval with
                   music21},
    abstract     = {Content-Based Music Retrieval (CBMR) for symbolic music
                   aims to find all similar occurrences of a musical pattern
                   within a larger database of symbolic music. To the best of
                   our knowledge there does not currently exist a
                   distributable CBMR software package integrated with a
                   music analysis toolkit that facilitates extendability with
                   new CBMR methods. This project presents a new MIR tool
                   called "PatternFinder" satisfying these goals.
                   PatternFinder is built with the computational musicology
                   Python package music21, which provides a flexible platform
                   capable of working with many music notation formats. To
                   achieve polyphonic CBMR, we implement seven geometric
                   algorithms developed at the University of Helsinki-four of
                   which are being implemented and released publicly for the
                   first time. The application of our MIR tool is then
                   demonstrated through a musicological investigation of
                   Renaissance imitation masses, which borrow melodic or
                   contrapuntal material from a pre-existing musical work. In
                   addition, we show Pattern-Finder's ability to find a
                   contrapuntal pattern over a large dataset, Palestrina's
                   104 masses. Our investigations demonstrate the relevance
                   of our tool for musicological research as well as its
                   potential application for locating music within digital
                   music libraries.},
    doi          = {10.1145/3144749.3144751},
    isbn         = {9781450353472},
    journal      = {ACM International Conference Proceeding Series},
    keywords     = {Content-based music retrieval,Imitation
                   masses,Music21,Point-set similarity,Polyphonic
                   search,Symbolic music
                   similarity,Time-scaled,Time-warped,Transpositioninvariant,music
                   information retrieval},
    mendeley-tags= {music information retrieval},
    number       = {October},
    pages        = {5--8}
}

Content-Based Music Retrieval (CBMR) for symbolic music aims to find all similar occurrences of a musical pattern within a larger database of symbolic music. To the best of our knowledge there does not currently exist a distributable CBMR software package integrated with a music analysis toolkit that facilitates extendability with new CBMR methods. This project presents a new MIR tool called "PatternFinder" satisfying these goals. PatternFinder is built with the computational musicology Python package music21, which provides a flexible platform capable of working with many music notation formats. To achieve polyphonic CBMR, we implement seven geometric algorithms developed at the University of Helsinki-four of which are being implemented and released publicly for the first time. The application of our MIR tool is then demonstrated through a musicological investigation of Renaissance imitation masses, which borrow melodic or contrapuntal material from a pre-existing musical work. In addition, we show Pattern-Finder's ability to find a contrapuntal pattern over a large dataset, Palestrina's 104 masses. Our investigations demonstrate the relevance of our tool for musicological research as well as its potential application for locating music within digital music libraries.

@Article{          gentil-nunes2017-nestings,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2017},
    title        = {Nestings and {Intersections} between {Partitional}
                   {Complexes}},
    volume       = {I},
    url          = {https://musmat.org/wp-content/uploads/2018/06/09-Pauxy.pdf},
    abstract     = {The formalization of musical texture is the main
                   objective of Partitional Analysis. Each integer partition
                   corresponds to a specific textural configuration and is
                   used as a tool to organize and systematize the work with
                   textures through the compositional process. Partitional
                   complexes, on the other hand, are sets of partitions,
                   observed in the analysis of musical excerpts, that work in
                   tune to create stable temporal domains where a referential
                   partition projects, extends or presents itself as
                   dominant. The number of partitions and complexes for a
                   certain instrumental, vocal or electronic medium is finite
                   and implies nestings and intersections that can provide
                   important information about textural possibilities
                   available to the composer. In the present work, the
                   relationships establishedbetween distinct partitional
                   complexes are discussed, as well as the characterization
                   of an hierarchy related to the number of total choices
                   that each complex offers to the composer.},
    language     = {English},
    number       = {2},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {Rhythmic partitioning},
    pages        = {93--108}
}

The formalization of musical texture is the main objective of Partitional Analysis. Each integer partition corresponds to a specific textural configuration and is used as a tool to organize and systematize the work with textures through the compositional process. Partitional complexes, on the other hand, are sets of partitions, observed in the analysis of musical excerpts, that work in tune to create stable temporal domains where a referential partition projects, extends or presents itself as dominant. The number of partitions and complexes for a certain instrumental, vocal or electronic medium is finite and implies nestings and intersections that can provide important information about textural possibilities available to the composer. In the present work, the relationships establishedbetween distinct partitional complexes are discussed, as well as the characterization of an hierarchy related to the number of total choices that each complex offers to the composer.

@InBook{           gentil-nunes2017-partitiogram,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2017},
    title        = {Partitiogram, Mnet, Vnet and Tnet: Embedded Abstractions
                   Inside Compositional Games},
    chapter      = {12},
    pages        = {111--118},
    address      = {Berlin},
    publisher    = {Springer},
    booktitle    = {The Musical-Mathematical Mind: Patterns and
                   Transformations}
}

@InCollection{     gentil-nunes2017-teorias,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2017},
    title        = {Teorias anal\'{i}ticas sobre a textura musical no Brasil},
    address      = {Salvador},
    booktitle    = {Teoria e An\'{a}lise Musical em Perspectiva Did\'{a}tica},
    chapter      = {9},
    editor       = {Nogueira, Ilza},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {139--151},
    publisher    = {TeMA},
    url          = {https://tema.mus.br/novo/series.html}
}

@Article{          georges2017-western,
    author       = {Georges, Patrick},
    year         = {2017},
    title        = {Western classical music development: a statistical
                   analysis of composers similarity, differentiation and
                   evolution},
    abstract     = {This paper proposes a statistical analysis that captures
                   similarities and differences between classical music
                   composers with the eventual aim to understand why
                   particular composers 'sound' different even if their
                   'lineages' (influences network) are similar or why they
                   'sound' alike if their 'lineages' are different. In order
                   to do this we use statistical methods and measures of
                   association or similarity (based on presence/absence of
                   traits such as specific 'ecological' characteristics and
                   personal musical influences) that have been developed in
                   biosystematics, scientometrics, and bibliographic
                   coupling. This paper also represents a first step towards
                   a more ambitious goal of developing an evolutionary model
                   of Western classical music.},
    doi          = {10.1007/s11192-017-2387-x},
    issn         = {0138-9130},
    journal      = {Scientometrics},
    keywords     = {Classical
                   composers,Differentiation,Evolution,Imitation,Influences
                   network,Similarity indices,music analysis with computers},
    mendeley-tags= {music analysis with computers},
    month        = {jul},
    number       = {1},
    pages        = {21--53},
    url          = {http://link.springer.com/10.1007/s11192-017-2387-x},
    volume       = {112}
}

This paper proposes a statistical analysis that captures similarities and differences between classical music composers with the eventual aim to understand why particular composers 'sound' different even if their 'lineages' (influences network) are similar or why they 'sound' alike if their 'lineages' are different. In order to do this we use statistical methods and measures of association or similarity (based on presence/absence of traits such as specific 'ecological' characteristics and personal musical influences) that have been developed in biosystematics, scientometrics, and bibliographic coupling. This paper also represents a first step towards a more ambitious goal of developing an evolutionary model of Western classical music.

@Article{          greenberg2017-beginnings,
    author       = {Greenberg, Yoel},
    year         = {2017},
    title        = {Of beginnings and ends a corpus-based inquiry into the
                   rise of the recapitulation},
    abstract     = {This article investigates the sources of the
                   recapitulation using statistical methods. The
                   recapitulation has traditionally been viewed as an
                   expansion of small ternary forms, resulting in a top-down
                   approach, whereby the repeat of expositional material is
                   explained in rotational terms. Here I present a bottom-up
                   approach, demonstrating that the recapitulation arose as a
                   concatenation between two previously independent
                   practices: the double return of the opening theme in the
                   tonic in the middle of the second half of a two-part form,
                   and the thematic matching between the ends of the two
                   halves of two-part form. Drawing on a corpus of more than
                   seven hundred instrumental works dated 1650-1770, I
                   demonstrate that these two practices arose and functioned
                   independently from each other, increasing in frequency and
                   in length, before being subsumed into an overarching
                   rotational practice.},
    doi          = {10.1215/00222909-4149546},
    issn         = {00222909},
    journal      = {Journal of Music Theory},
    keywords     = {Big data,Double return,End-rhyme,Recapitulation,Sonata
                   form,music theory},
    mendeley-tags= {music theory},
    number       = {2},
    pages        = {171--200},
    volume       = {61}
}

This article investigates the sources of the recapitulation using statistical methods. The recapitulation has traditionally been viewed as an expansion of small ternary forms, resulting in a top-down approach, whereby the repeat of expositional material is explained in rotational terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends of the two halves of two-part form. Drawing on a corpus of more than seven hundred instrumental works dated 1650-1770, I demonstrate that these two practices arose and functioned independently from each other, increasing in frequency and in length, before being subsumed into an overarching rotational practice.

@Article{          inman2017-trimodular,
    author       = {Inman, Samantha M.},
    year         = {2017},
    title        = {Trimodular Block Strategies in Haydn's Sonata Movements
                   by Samantha M. Inman},
    abstract     = {This study combines concepts from Hepokoski and Darcy,
                   and Caplin, to examine Haydn's approaches to the
                   trimodular block (TMB). The first part of the article
                   proposes three categories of TMBs based on which modules
                   of a given TMB lie within S and the stability of the
                   opening of TM3. Subsequent parts use these three
                   categories to identify patterns in Haydn's instrumental
                   movements containing TMBs. Data regarding the fundamental
                   features of forty-one movements are combined with in-depth
                   analyses of three representative movements, one for each
                   TMB category. While some traits remain consistent across
                   all three categories, other traits typical of a single
                   category in Haydn's output correlate with specific
                   recapitulatory strategies.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {Spring},
    pages        = {1--27},
    volume       = {7}
}

This study combines concepts from Hepokoski and Darcy, and Caplin, to examine Haydn's approaches to the trimodular block (TMB). The first part of the article proposes three categories of TMBs based on which modules of a given TMB lie within S and the stability of the opening of TM3. Subsequent parts use these three categories to identify patterns in Haydn's instrumental movements containing TMBs. Data regarding the fundamental features of forty-one movements are combined with in-depth analyses of three representative movements, one for each TMB category. While some traits remain consistent across all three categories, other traits typical of a single category in Haydn's output correlate with specific recapitulatory strategies.

@Article{          janssen.ea2017-finding,
    author       = {Janssen, Berit and van Kranenburg, Peter and Volk, Anja},
    year         = {2017},
    title        = {Finding Occurrences of Melodic Segments in Folk Songs
                   Employing Symbolic Similarity Measures},
    abstract     = {Much research has been devoted to the classification of
                   folk songs, revealing that variants are recognised based
                   on salient melodic segments, such as phrases and motifs,
                   while other musical material in a melody might vary
                   considerably. In order to judge similarity of melodies on
                   the level of melodic segments, a successful similarity
                   measure is needed which will allow finding occurrences of
                   melodic segments in folk songs reliably. The present study
                   compares several such similarity measures from different
                   music research domains: correlation distance, city block
                   distance, Euclidean distance, local align-ment, wavelet
                   transform and structure induction. We evaluate the
                   measures against annotations of phrase occurrences in a
                   corpus of Dutch folk songs, observing whether the
                   mea-sures detect annotated occurrences at the correct
                   positions. Moreover, we investigate the influence of music
                   represen-tation on the success of the various measures,
                   and analyse the robustness of the most successful measures
                   over subsets of the data. Our results reveal that
                   structure induction is a promising approach, but that
                   local alignment and city block distance perform even
                   better when applied to adjusted music representations.
                   These three methods can be combined to find occurrences
                   with increased precision.},
    doi          = {10.1080/09298215.2017.1316292},
    issn         = {0929-8215},
    journal      = {Journal of New Music Research},
    keywords     = {music analysis with computers,music
                   similarity,occurrences,pattern
                   matching,segments,symbolic},
    mendeley-tags= {music analysis with computers},
    month        = {apr},
    number       = {2},
    pages        = {118--134},
    url          = {https://www.tandfonline.com/doi/full/10.1080/09298215.2017.1316292},
    volume       = {46}
}

Much research has been devoted to the classification of folk songs, revealing that variants are recognised based on salient melodic segments, such as phrases and motifs, while other musical material in a melody might vary considerably. In order to judge similarity of melodies on the level of melodic segments, a successful similarity measure is needed which will allow finding occurrences of melodic segments in folk songs reliably. The present study compares several such similarity measures from different music research domains: correlation distance, city block distance, Euclidean distance, local align-ment, wavelet transform and structure induction. We evaluate the measures against annotations of phrase occurrences in a corpus of Dutch folk songs, observing whether the mea-sures detect annotated occurrences at the correct positions. Moreover, we investigate the influence of music represen-tation on the success of the various measures, and analyse the robustness of the most successful measures over subsets of the data. Our results reveal that structure induction is a promising approach, but that local alignment and city block distance perform even better when applied to adjusted music representations. These three methods can be combined to find occurrences with increased precision.

@Book{             kostka.ea2017-tonal,
    author       = {Kostka, Stefan M. and Payne, Dorothy and Alm{\'{e}}n,
                   Byron},
    year         = {2017},
    title        = {Tonal Harmony: with an Introduction to Post-Tonal Music},
    address      = {New York},
    edition      = {8},
    isbn         = {9788578110796},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {McGraw-Hill Education}
}

@Article{          kranenburg.ea2017-documenting,
    author       = {van Kranenburg, Peter and de Bruin, Martine and Volk,
                   Anja},
    year         = {2017},
    title        = {Documenting a song culture: the Dutch Song Database as a
                   resource for musicological research},
    abstract     = {The Dutch Song Database is a digital repository
                   documenting Dutch song culture in past and present. It
                   contains more than 173 thousand references to song
                   occurrences in the Dutch and Flemish language, from the
                   Middle Ages up to the present, as well as over 18 thousand
                   descriptions of song sources, such as song books,
                   manuscripts and field recordings, all adhering to high
                   quality standards. In this paper, we present the history
                   and functionality of the database, and we demonstrate how
                   the Dutch Song Database facilitates and enables
                   musicological research by presenting its contents and
                   search functionalities in a number of exemplary cases. We
                   discuss difficulties and impediments that were encountered
                   during the development of the database, and we sketch a
                   future prospect for further development in the European
                   context.},
    doi          = {10.1007/s00799-017-0228-4},
    issn         = {14321300},
    journal      = {International Journal on Digital Libraries},
    keywords     = {Database,Dutch song culture,History,Information
                   retrieval,Literature,Metadata,Musicology,computational
                   musicology},
    mendeley-tags= {computational musicology},
    number       = {1},
    pages        = {13--23},
    publisher    = {Springer Berlin Heidelberg},
    volume       = {20}
}

The Dutch Song Database is a digital repository documenting Dutch song culture in past and present. It contains more than 173 thousand references to song occurrences in the Dutch and Flemish language, from the Middle Ages up to the present, as well as over 18 thousand descriptions of song sources, such as song books, manuscripts and field recordings, all adhering to high quality standards. In this paper, we present the history and functionality of the database, and we demonstrate how the Dutch Song Database facilitates and enables musicological research by presenting its contents and search functionalities in a number of exemplary cases. We discuss difficulties and impediments that were encountered during the development of the database, and we sketch a future prospect for further development in the European context.

@Article{          mackay2017-case,
    author       = {MacKay, James S.},
    year         = {2017},
    title        = {A Case for Declassifying the IAC as a Cadence Type:
                   Cadence and Thematic Design in Selected Early- to
                   Middle-Period Haydn Sonatas},
    journal      = {Ad Parnassum},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {30},
    pages        = {1--27},
    volume       = {15}
}

@Book{             pal.ea2017-practical,
    author       = {Pal, Avishek and Prakash, PKS},
    year         = {2017},
    title        = {Practical Time Series Analysis: Master Time Series Data
                   Processing, Visualization, and Modeling using Python},
    address      = {Birmingham; Mumbai},
    booktitle    = {Packt Publishing},
    isbn         = {9781788290227},
    keywords     = {statistics},
    mendeley-tags= {statistics},
    publisher    = {Packt Publishing},
    url          = {https://www.packtpub.com/big-data-and-business-intelligence/practical-time-series-analysis}
}

@Article{          panteli.ea2017-computational,
    author       = {Panteli, Maria and Benetos, Emmanouil and Dixon, Simon},
    year         = {2017},
    title        = {A computational study on outliers in world music},
    abstract     = {The comparative analysis of world music cultures has been
                   the focus of several ethnomusicological studies in the
                   last century. With the advances of Music Information
                   Retrieval and the increased accessibility of sound
                   archives, large-scale analysis of world music with
                   computational tools is today feasible. We investigate
                   music similarity in a corpus of 8200 recordings of folk
                   and traditional music from 137 countries around the world.
                   In particular, we aim to identify music recordings that
                   are most distinct compared to the rest of our corpus. We
                   refer to these recordings as ‘outliers'. We use signal
                   processing tools to extract music information from audio
                   recordings, data mining to quantify similarity and detect
                   outliers, and spatial statistics to account for
                   geographical correlation. Our findings suggest that
                   Botswana is the country with the most distinct recordings
                   in the corpus and China is the country with the most
                   distinct recordings when considering spatial correlation.
                   Our analysis includes a comparison of musical attributes
                   and styles that contribute to the ‘uniqueness' of the
                   music of each country.},
    doi          = {10.1371/journal.pone.0189399},
    isbn         = {1111111111},
    issn         = {19326203},
    journal      = {PLoS ONE},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    number       = {12},
    pages        = {1--29},
    pmid         = {29253027},
    volume       = {12}
}

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as ‘outliers'. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the ‘uniqueness' of the music of each country.

@InCollection{     sampaio2017-teoria,
    author       = {{Sampaio}, {Marcos da Silva}},
    year         = {2017},
    title        = {A Teoria de Rela{\c{c}}{\~{o}}es de Contornos no Brasil},
    abstract     = {The Theory of Musical Contours was initially developed by
                   Robert Morris, Elizabeth Marvin and Michael Friedmann as a
                   support for the study of musical contours. Since the
                   1980s, dozens of authors have used it as a basis for their
                   studies. In Brazil, this theory has been used both as a
                   support for Analysis and for Musical Composition. In this
                   work we present the approaches, applications of this
                   theory in studies carried out in Brazil and its
                   peculiarities. We identified the role of postgraduate
                   students in the use of this theory and the tendency to
                   apply it in the area of Musical Composition.},
    address      = {Salvador, BA},
    booktitle    = {Teoria e An{\'{a}}lise Musical em perspectiva
                   did{\'{a}}tica},
    chapter      = {8},
    editor       = {Nogueira, Ilza},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    pages        = {123--138},
    publisher    = {EDUFBA}
}

The Theory of Musical Contours was initially developed by Robert Morris, Elizabeth Marvin and Michael Friedmann as a support for the study of musical contours. Since the 1980s, dozens of authors have used it as a basis for their studies. In Brazil, this theory has been used both as a support for Analysis and for Musical Composition. In this work we present the approaches, applications of this theory in studies carried out in Brazil and its peculiarities. We identified the role of postgraduate students in the use of this theory and the tendency to apply it in the area of Musical Composition.

@Article{          urberg2017-pasts,
    author       = {Urberg, Michelle},
    year         = {2017},
    title        = {Pasts and futures of digital humanities in musicology:
                   Moving towards a “Bigger Tent”},
    abstract     = {Musicologists and music theorists have traditionally been
                   early adopters of technological tools to assist with
                   research. The earliest digital humanities projects in
                   musicology and music theory came directly out of
                   humanities computing and quantitative analytical
                   technologies developed in the 1980s, but newer projects
                   created since the mid-2000s still reflect this past of
                   algorithmic analysis and archival compilation, retrieval,
                   and display. Computational and archival research is,
                   currently, only one branch of digital humanities. The
                   umbrella of digital humanities research now also includes
                   digital publishing, philosophies of digital research, and
                   “born digital” projects that cannot exist outside of a
                   digital medium (e.g., virtual reality or 3D modeling).
                   This shift in the digital humanities represents a move to
                   a “bigger tent” that includes more types of projects.
                   Musicological and musico-theoretical scholarship is slowly
                   moving in this direction. Music librarians have been at
                   the forefront of identifying and promoting new digital
                   tools and archives, even though these projects have tended
                   to remain at the periphery of musico-theoretical
                   discourse. They should be on the lookout for “bigger
                   tent” projects, such as medieval and renaissance
                   projects like the Isabelle D'Este Archive, Opening the
                   Geesebook, and the Experience of Worship. These projects
                   are characterized by being iterative and multi-modally
                   engaging, as well as emerging from communities of practice
                   and intentionally engaging a public audience. Music
                   librarians should also be aware of systemic challenges to
                   creating and supporting digital projects because these
                   issues are at the center of libraries supporting all types
                   of digital scholarship.},
    doi          = {10.1080/10588167.2017.1404301},
    issn         = {15409503},
    journal      = {Music Reference Services Quarterly},
    keywords     = {Digital humanities,Digital scholarship,Music
                   librarianship,Music theory,Musicology,musicology},
    mendeley-tags= {musicology},
    number       = {3-4},
    pages        = {134--150},
    publisher    = {Routledge},
    url          = {https://doi.org/10.1080/10588167.2017.1404301},
    volume       = {20}
}

Musicologists and music theorists have traditionally been early adopters of technological tools to assist with research. The earliest digital humanities projects in musicology and music theory came directly out of humanities computing and quantitative analytical technologies developed in the 1980s, but newer projects created since the mid-2000s still reflect this past of algorithmic analysis and archival compilation, retrieval, and display. Computational and archival research is, currently, only one branch of digital humanities. The umbrella of digital humanities research now also includes digital publishing, philosophies of digital research, and “born digital” projects that cannot exist outside of a digital medium (e.g., virtual reality or 3D modeling). This shift in the digital humanities represents a move to a “bigger tent” that includes more types of projects. Musicological and musico-theoretical scholarship is slowly moving in this direction. Music librarians have been at the forefront of identifying and promoting new digital tools and archives, even though these projects have tended to remain at the periphery of musico-theoretical discourse. They should be on the lookout for “bigger tent” projects, such as medieval and renaissance projects like the Isabelle D'Este Archive, Opening the Geesebook, and the Experience of Worship. These projects are characterized by being iterative and multi-modally engaging, as well as emerging from communities of practice and intentionally engaging a public audience. Music librarians should also be aware of systemic challenges to creating and supporting digital projects because these issues are at the center of libraries supporting all types of digital scholarship.

@InCollection{     abdallah.ea2016-analysing,
    author       = {Abdallah, Samer and Gold, Nicolas and Marsden, Alan},
    year         = {2016},
    title        = {Analysing Symbolic Music with Probabilistic Grammars},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {7},
    doi          = {10.1007/978-3-319-25931-4_7},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    pages        = {157--189},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_7}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@InProceedings{    bountouridis.ea2016-music,
    author       = {Bountouridis, Dimitrios and Koops, Hendrik Vincent and
                   Wiering, Frans and Veltkamp, Remco C.},
    year         = {2016},
    title        = {Music Outlier Detection Using Multiple Sequence Alignment
                   and Independent Ensembles},
    abstract     = {The automated retrieval of related music documents, such
                   as cover songs or folk melodies belonging to the same
                   tune, has been an important task in the field of Music
                   Information Retrieval (MIR). Yet outlier detection, the
                   process of identifying those documents that deviate
                   significantly from the norm, has remained a rather
                   unexplored topic. Pairwise comparison of music sequences
                   (e.g. chord transcriptions, melodies), from which outlier
                   detection can potentially emerge, has been always in the
                   center of MIR research but the connection has remained
                   uninvestigated. In this paper we firstly argue that for
                   the analysis of musical collections of sequential data,
                   outlier detection can benefit immensely from the
                   advantages of Multiple Sequence Alignment (MSA). We show
                   that certain MSA-based similarity methods can better
                   separate inliers and outliers than the typical similarity
                   based on pairwise comparisons. Secondly, aiming towards an
                   unsupervised outlier detection method that is data-driven
                   and robust enough to be generalizable across different
                   music datasets, we show that ensemble approaches using an
                   entropy-based diversity measure can outperform supervised
                   alternatives.},
    address      = {Tokyo},
    booktitle    = {Proc. of 9th International Conference, SISAP 2016},
    doi          = {10.1007/978-3-319-46759-7_22},
    editor       = {Amsaleg, Laurent and Houle, Michael E. and Schubert,
                   Erich},
    isbn         = {9783319467597},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {286--300},
    publisher    = {Springer Berlin Heidelberg},
    url          = {http://link.springer.com/10.1007/978-3-319-46759-7_22}
}

The automated retrieval of related music documents, such as cover songs or folk melodies belonging to the same tune, has been an important task in the field of Music Information Retrieval (MIR). Yet outlier detection, the process of identifying those documents that deviate significantly from the norm, has remained a rather unexplored topic. Pairwise comparison of music sequences (e.g. chord transcriptions, melodies), from which outlier detection can potentially emerge, has been always in the center of MIR research but the connection has remained uninvestigated. In this paper we firstly argue that for the analysis of musical collections of sequential data, outlier detection can benefit immensely from the advantages of Multiple Sequence Alignment (MSA). We show that certain MSA-based similarity methods can better separate inliers and outliers than the typical similarity based on pairwise comparisons. Secondly, aiming towards an unsupervised outlier detection method that is data-driven and robust enough to be generalizable across different music datasets, we show that ensemble approaches using an entropy-based diversity measure can outperform supervised alternatives.

@Article{          bourne2016-perceiving,
    author       = {Bourne, Janet},
    year         = {2016},
    title        = {Perceiving Irony in Music: The Problem in Beethoven's
                   String Quartets},
    abstract     = {Hatten (1994) writes that if musical passages are
                   “inappropriate to the context of the movement . . . an
                   ironic interpretation would be one way to reconcile that
                   inappropriateness as a compositional effect rather than a
                   flaw” (185). Is there something systematic that prompts
                   listeners to interpret musical “inappropriateness” as
                   ironic? Building upon Hatten's work, this article explores
                   how a listener might infer irony in Beethoven's music by
                   drawing on cognitive principles and analogies shared by
                   music and language. I create an analytical framework that
                   draws conditions from language psychologists' empirical
                   studies of verbal and situational irony (Colston 2001,
                   Lucariello 1994). The first condition is a violation of
                   expectations established through a norm or schema. I use
                   Caplin's (1998) theory of formal function, Gjerdingen's
                   (2007) schema theory, and Hepokoski and Darcy's (2006)
                   Sonata Theory to measure violation of expectation as
                   defined by Beethoven and his audience's shared stylistic
                   knowledge. Since listeners develop expectations in music
                   simply by listening (Meyer 1956), this paper incorporates
                   “common ground,” Clark's (1996) term for the
                   information, knowledge, and cultural norms that the
                   composer and listener share. The second condition is
                   blatantly failing to fulfill one or more of the
                   “maxims” defined by the linguist H.P. Grice (1975),
                   who argues that a person implicitly follows the maxims in
                   any “cooperative” conversation. I apply this framework
                   to analyze three Beethoven string quartet movements that
                   Hatten and others have described as “ironic”: op.
                   95/iv, op. 131/v, and op. 130/i. I close by discussing
                   implications for musical communication as a whole.
                   [ABSTRACT FROM AUTHOR]},
    doi          = {10.30535/mto.22.3.2},
    issn         = {1067-3040},
    journal      = {Music Theory Online},
    keywords     = {aesthetics,alla breve,coda,contradiction,discourse
                   marker,irony,literature,music
                   analysis,musical,pathos,philosophy,situational ethics},
    mendeley-tags= {music analysis},
    number       = {3},
    volume       = {22}
}

Hatten (1994) writes that if musical passages are “inappropriate to the context of the movement . . . an ironic interpretation would be one way to reconcile that inappropriateness as a compositional effect rather than a flaw” (185). Is there something systematic that prompts listeners to interpret musical “inappropriateness” as ironic? Building upon Hatten's work, this article explores how a listener might infer irony in Beethoven's music by drawing on cognitive principles and analogies shared by music and language. I create an analytical framework that draws conditions from language psychologists' empirical studies of verbal and situational irony (Colston 2001, Lucariello 1994). The first condition is a violation of expectations established through a norm or schema. I use Caplin's (1998) theory of formal function, Gjerdingen's (2007) schema theory, and Hepokoski and Darcy's (2006) Sonata Theory to measure violation of expectation as defined by Beethoven and his audience's shared stylistic knowledge. Since listeners develop expectations in music simply by listening (Meyer 1956), this paper incorporates “common ground,” Clark's (1996) term for the information, knowledge, and cultural norms that the composer and listener share. The second condition is blatantly failing to fulfill one or more of the “maxims” defined by the linguist H.P. Grice (1975), who argues that a person implicitly follows the maxims in any “cooperative” conversation. I apply this framework to analyze three Beethoven string quartet movements that Hatten and others have described as “ironic”: op. 95/iv, op. 131/v, and op. 130/i. I close by discussing implications for musical communication as a whole. [ABSTRACT FROM AUTHOR]

@InProceedings{    brinkman.ea2016-musical,
    author       = {Brinkman, Alan and Shanahan, Daniel and Sapp, Craig
                   Stuart},
    year         = {2016},
    title        = {Musical {Stylometry}, {Machine} {Learning}, and
                   {Attribution} {Studies}: {A} {Semi}-{Supervised}
                   {Approach} to the {Works} of {Josquin}},
    address      = {San Francisco},
    url          = {http://icmpc.org/icmpc14/files/ICMPC14_Proceedings.pdf},
    abstract     = {Compositional authorship is often assigned though factors
                   external to the musical text, such as biographical records
                   and surveys of source attributions; however, such
                   methodologies often fall short and are potentially
                   unreliable. On the other hand, determining compositional
                   authorship through internal factors—through stylistic
                   traits of composers derived from the music itself—is
                   often fraught with errors and biases. One of the
                   underlying assumptions in the field of stylometry is that,
                   while it is difficult for humans to perform a truly
                   unbiased analysis of authorial attribution, computational
                   methods can provide clearer and more objective guidelines
                   than would otherwise be apparent to readers or listeners,
                   and thus might provide corroboration or clues for further
                   investigation. This paper discusses machine-learning
                   approaches for evaluating attribution for compositions by
                   Josquin des Prez. We explore musical characteristics such
                   as melodic sequences, counterpoint motion, rhythmic
                   variability, and other entry measures to search for
                   features inherent to a composer's works or style, and we
                   hope that employing such an approach—one that explicitly
                   states which factors led to the decision-making
                   process—can serve to inform scholars looking at other
                   works and composers.},
    booktitle    = {Proceedings of the {International} {Conference} on
                   {Music} {Perception} and {Cognition}},
    keywords     = {Computational Musicology},
    pages        = {91--97}
}

Compositional authorship is often assigned though factors external to the musical text, such as biographical records and surveys of source attributions; however, such methodologies often fall short and are potentially unreliable. On the other hand, determining compositional authorship through internal factors—through stylistic traits of composers derived from the music itself—is often fraught with errors and biases. One of the underlying assumptions in the field of stylometry is that, while it is difficult for humans to perform a truly unbiased analysis of authorial attribution, computational methods can provide clearer and more objective guidelines than would otherwise be apparent to readers or listeners, and thus might provide corroboration or clues for further investigation. This paper discusses machine-learning approaches for evaluating attribution for compositions by Josquin des Prez. We explore musical characteristics such as melodic sequences, counterpoint motion, rhythmic variability, and other entry measures to search for features inherent to a composer's works or style, and we hope that employing such an approach—one that explicitly states which factors led to the decision-making process—can serve to inform scholars looking at other works and composers.

@InCollection{     burgoyne.ea2016-music,
    author       = {Burgoyne, John Ashley and Fujinaga, Ichiro and Downie, J
                   Stephen},
    year         = {2016},
    title        = {Music {Information} {Retrieval}},
    language     = {en},
    booktitle    = {A {New} {Companion} to {Digital} {Humanities}},
    publisher    = {John Wiley \& Sons, Ltd},
    collaborator = {Schreibman, Susan and Siemens, Ray},
    pages        = {213--228}
}

@Article{          caplin.ea2016-continuous,
    author       = {Caplin, William Earl and Martin, Nathan John},
    year         = {2016},
    title        = {The Continuous Exposition and the Concept of Subordinate
                   Theme},
    abstract     = {James Hepokoski and Warren Darcy's Sonata Theory promotes
                   a fundamental distinction between sonata expositions that
                   are either two-part or continuous. We contend that this
                   binary opposition misconstrues the commonality of formal
                   procedures operative in Classical sonata form. Advocating
                   a form-functional approach, we hold that all sonata
                   expositions contain a subordinate theme (or at least
                   sufficient functional elements of such a theme), even if
                   the boundary between the transition and subordinate theme
                   is obscured. We illustrate three categories of such a
                   blurred boundary: (1) the transition lacks a functional
                   ending but the subordinate theme still brings an
                   initiating function of some kind; (2) the transition ends
                   normally but the subordinate theme lacks a clear
                   beginning; and (3) the transition lacks an ending and the
                   subordinate theme lacks a beginning, thus effecting a
                   complete fusion of these thematic functions. We extend
                   these considerations to another formal type - minuet form
                   - in order to place the technique of fusion as it arises
                   in sonata-form expositions in a broader perspective. In
                   further comparing a theory of formal functions to Sonata
                   Theory, we invoke thesonata clockmetaphor, first
                   introduced by Hepokoski and Darcy, and show that our
                   respective clocks have differenthourmarkers and run at
                   different speeds. We conclude by examining some of the
                   main conceptual differences that account for the divergent
                   views of expositional structures offered by Sonata Theory
                   and a theory of formal functions, arguing against the
                   former's claim that the medial caesura is a necessary
                   condition for the appearance of a subordinate theme.},
    doi          = {10.1111/musa.12060},
    issn         = {02625245},
    journal      = {Music Analysis},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {4--43},
    volume       = {35}
}

James Hepokoski and Warren Darcy's Sonata Theory promotes a fundamental distinction between sonata expositions that are either two-part or continuous. We contend that this binary opposition misconstrues the commonality of formal procedures operative in Classical sonata form. Advocating a form-functional approach, we hold that all sonata expositions contain a subordinate theme (or at least sufficient functional elements of such a theme), even if the boundary between the transition and subordinate theme is obscured. We illustrate three categories of such a blurred boundary: (1) the transition lacks a functional ending but the subordinate theme still brings an initiating function of some kind; (2) the transition ends normally but the subordinate theme lacks a clear beginning; and (3) the transition lacks an ending and the subordinate theme lacks a beginning, thus effecting a complete fusion of these thematic functions. We extend these considerations to another formal type - minuet form - in order to place the technique of fusion as it arises in sonata-form expositions in a broader perspective. In further comparing a theory of formal functions to Sonata Theory, we invoke thesonata clockmetaphor, first introduced by Hepokoski and Darcy, and show that our respective clocks have differenthourmarkers and run at different speeds. We conclude by examining some of the main conceptual differences that account for the divergent views of expositional structures offered by Sonata Theory and a theory of formal functions, arguing against the former's claim that the medial caesura is a necessary condition for the appearance of a subordinate theme.

@InCollection{     collins.ea2016-using,
    author       = {Collins, Tom and Arzt, Andreas and Frostel, Harald and
                   Widmer, Gerhard},
    year         = {2016},
    title        = {Using Geometric Symbolic Fingerprinting to Discover
                   Distinctive Patterns in Polyphonic Music Corpora},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {17},
    doi          = {10.1007/978-3-319-25931-4_17},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {445--474},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_17}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@InCollection{     couprie2016-algorithmique,
    author       = {Couprie, Pierre},
    year         = {2016},
    title        = {Algorithmique et technologies numériques dans la
                   notation musicale},
    language     = {fr},
    booktitle    = {Musiques {Orales}, leur notation et encodage
                   num\'{e}rique},
    publisher    = {Les éditions de l'immatériel},
    collaborator = {Martin, Sylvaine Leblond},
    pages        = {99--115}
}

@PhDThesis{        fortes2016-modelagem,
    author       = {Rafael Fortes},
    year         = {2016},
    title        = {Modelagem e particionamento de Unidades Musicais
                   Sistêmicas},
    school       = {Universidade Federal do Rio de Janeiro},
    type         = {Master's Thesis}
}

@InCollection{     hamanaka.ea2016-implementing,
    author       = {Hamanaka, Masatoshi and Hirata, Keiji and Tojo, Satoshi},
    year         = {2016},
    title        = {Implementing Methods for Analysing Music Based on Lerdahl
                   and Jackendoff's Generative Theory of Tonal Music},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {9},
    doi          = {10.1007/978-3-319-25931-4_9},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {221--249},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_9}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@InCollection{     herremans.ea2016-composer,
    author       = {Herremans, Dorien and Martens, David and S{\"{o}}rensen,
                   Kenneth},
    year         = {2016},
    title        = {Composer Classification Models for Music-Theory
                   Building},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {14},
    doi          = {10.1007/978-3-319-25931-4_14},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {369--392},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_14}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@InCollection{     hirata.ea2016-algebraic,
    author       = {Hirata, Keiji and Tojo, Satoshi and Hamanaka, Masatoshi},
    year         = {2016},
    title        = {An Algebraic Approach to Time-Span Reduction},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {10},
    doi          = {10.1007/978-3-319-25931-4_10},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {251--270},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_10}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@Article{          huron.ea2016-are,
    author       = {Huron, David and Trevor, Caitlyn},
    year         = {2016},
    title        = {Are Stopped Strings Preferred in Sad Music?},
    abstract     = {String instruments may be played either with open strings
                   (where the string vibrates between the bridge and a hard
                   wooden nut) or with stopped strings (where the string
                   vibrates between the bridge and a performer's finger
                   pressed against the fingerboard). Compared with open
                   strings, stopped strings permit the use of vibrato and
                   exhibit a darker timbre. Inspired by research on the
                   timbre of sad speech, we test whether there is a tendency
                   to use stopped strings in nominally sad music.
                   Specifically, we compare the proportion of potentially
                   open-to-stopped strings in a sample of slow, minor-mode
                   movements with matched major-mode movements. By way of
                   illustration, a preliminary analysis of Samuel Barber's
                   famous Adagio from his Opus 11 string quartet shows that
                   the selected key (B-flat minor) provides the optimum key
                   for minimizing open string tones. However, examination of
                   a broader controlled sample of quartet movements by Haydn,
                   Mozart and Beethoven failed to exhibit the conjectured
                   relationship. Instead, major-mode movements were found to
                   avoid possible open strings more than slow minor-mode
                   movements.},
    doi          = {10.18061/emr.v11i2.4968},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {barber,music analysis with computers,s adagio,sad
                   music,stopped strings,string instruments},
    mendeley-tags= {music analysis with computers},
    number       = {2},
    pages        = {261},
    volume       = {11}
}

String instruments may be played either with open strings (where the string vibrates between the bridge and a hard wooden nut) or with stopped strings (where the string vibrates between the bridge and a performer's finger pressed against the fingerboard). Compared with open strings, stopped strings permit the use of vibrato and exhibit a darker timbre. Inspired by research on the timbre of sad speech, we test whether there is a tendency to use stopped strings in nominally sad music. Specifically, we compare the proportion of potentially open-to-stopped strings in a sample of slow, minor-mode movements with matched major-mode movements. By way of illustration, a preliminary analysis of Samuel Barber's famous Adagio from his Opus 11 string quartet shows that the selected key (B-flat minor) provides the optimum key for minimizing open string tones. However, examination of a broader controlled sample of quartet movements by Haydn, Mozart and Beethoven failed to exhibit the conjectured relationship. Instead, major-mode movements were found to avoid possible open strings more than slow minor-mode movements.

@Article{          kroher.ea2016-corpus,
    author       = {Kroher, Nadine and D{\'{i}}az-B{\'{a}}{\~{n}}ez,
                   Jos{\'{e}}-Miguel and Mora, Joaquin and G{\'{o}}mez, Emilia},
    year         = {2016},
    title        = {Corpus COFLA: A Research Corpus for the Computational
                   Study of Flamenco Music},
    abstract     = {Flamenco is a music tradition from Southern Spain that
                   attracts a growing community of enthusiasts around the
                   world. Its unique melodic and rhythmic elements, the
                   typically spontaneous and improvised interpretation, and
                   its diversity regarding styles make this still largely
                   undocumented art form a particularly interesting material
                   for musicological studies. In prior works, it has already
                   been demonstrated that research on computational analysis
                   of flamenco music, despite it being a relatively new
                   field, can provide powerful tools for the discovery and
                   diffusion of this genre. In this article, we present
                   corpusCOFLA, a data framework for the development of such
                   computational tools. The proposed collection of audio
                   recordings and metadata serves as a pool for creating
                   annotated subsets that can be used in development and
                   evaluation of algorithms for specific music information
                   retrieval tasks. First, we describe the design criteria
                   for the corpus creation and then provide various examples
                   of subsets drawn from the corpus. We showcase possible
                   research applications in the context of computational
                   study of flamenco music and give perspectives regarding
                   further development of the corpus.},
    archiveprefix= {arXiv},
    arxivid      = {1510.04029},
    doi          = {10.1145/2875428},
    eprint       = {1510.04029},
    issn         = {1556-4673},
    journal      = {Journal on Computing and Cultural Heritage},
    keywords     = {Computational ethnomusicology,Flamenco,Research
                   corpus,computational musicology},
    mendeley-tags= {computational musicology},
    month        = {may},
    number       = {2},
    pages        = {1--21},
    url          = {https://dl.acm.org/doi/10.1145/2875428},
    volume       = {9}
}

Flamenco is a music tradition from Southern Spain that attracts a growing community of enthusiasts around the world. Its unique melodic and rhythmic elements, the typically spontaneous and improvised interpretation, and its diversity regarding styles make this still largely undocumented art form a particularly interesting material for musicological studies. In prior works, it has already been demonstrated that research on computational analysis of flamenco music, despite it being a relatively new field, can provide powerful tools for the discovery and diffusion of this genre. In this article, we present corpusCOFLA, a data framework for the development of such computational tools. The proposed collection of audio recordings and metadata serves as a pool for creating annotated subsets that can be used in development and evaluation of algorithms for specific music information retrieval tasks. First, we describe the design criteria for the corpus creation and then provide various examples of subsets drawn from the corpus. We showcase possible research applications in the context of computational study of flamenco music and give perspectives regarding further development of the corpus.

@InCollection{     meredith2016-analysing,
    author       = {Meredith, David},
    year         = {2016},
    title        = {Analysing Music with Point-Set Compression Algorithms},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {13},
    doi          = {10.1007/978-3-319-25931-4_13},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {335--366},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_13}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@Article{          ponce-de-leon.ea2016-data-based,
    author       = {{Ponce de Le{\'{o}}n}, Pedro J. and I{\~{n}}esta,
                   Jos{\'{e}} M. and Calvo-Zaragoza, Jorge and Rizo, David},
    year         = {2016},
    title        = {Data-based melody generation through multi-objective
                   evolutionary computation},
    abstract     = {Genetic-based composition algorithms are able to explore
                   an immense space of possibilities, but the main difficulty
                   has always been the implementation of the selection
                   process. In this work, sets of melodies are utilized for
                   training a machine learning approach to compute fitness,
                   based on different metrics. The fitness of a candidate is
                   provided by combining the metrics, but their values can
                   range through different orders of magnitude and evolve in
                   different ways, which makes it hard to combine these
                   criteria. In order to solve this problem, a
                   multi-objective fitness approach is proposed, in which the
                   best individuals are those in the Pareto front of the
                   multi-dimensional fitness space. Melodic trees are also
                   proposed as a data structure for chromosomic
                   representation of melodies and genetic operators are
                   adapted to them. Some experiments have been carried out
                   using a graphical interface prototype that allows one to
                   explore the creative capabilities of the proposed system.
                   An Online Supplement is provided and can be accessed at
                   http://dx.doi.org/10.1080/17459737.2016.1188171, where the
                   reader can find some technical details, information about
                   the data used, generated melodies, and additional
                   information about the developed prototype and its
                   performance.},
    doi          = {10.1080/17459737.2016.1188171},
    issn         = {17459745},
    journal      = {Journal of Mathematics and Music},
    keywords     = {algorithmic composition,composition,evolutionary
                   algorithms,machine learning,melody,multi-objective
                   optimization,tree representation},
    mendeley-tags= {algorithmic composition},
    number       = {2},
    pages        = {173--192},
    url          = {https://doi.org/10.1080/17459737.2016.1188171},
    volume       = {10}
}

Genetic-based composition algorithms are able to explore an immense space of possibilities, but the main difficulty has always been the implementation of the selection process. In this work, sets of melodies are utilized for training a machine learning approach to compute fitness, based on different metrics. The fitness of a candidate is provided by combining the metrics, but their values can range through different orders of magnitude and evolve in different ways, which makes it hard to combine these criteria. In order to solve this problem, a multi-objective fitness approach is proposed, in which the best individuals are those in the Pareto front of the multi-dimensional fitness space. Melodic trees are also proposed as a data structure for chromosomic representation of melodies and genetic operators are adapted to them. Some experiments have been carried out using a graphical interface prototype that allows one to explore the creative capabilities of the proposed system. An Online Supplement is provided and can be accessed at http://dx.doi.org/10.1080/17459737.2016.1188171, where the reader can find some technical details, information about the data used, generated melodies, and additional information about the developed prototype and its performance.

@InCollection{     rizo.ea2016-interactive,
    author       = {Rizo, David and Illescas, Pl{\'{a}}cido R. and
                   I{\~{n}}esta, Jos{\'{e}} M.},
    year         = {2016},
    title        = {Interactive Melodic Analysis},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {8},
    doi          = {10.1007/978-3-319-25931-4_8},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    pages        = {191--219},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_8}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@InProceedings{    rizo.ea2016-standard,
    author       = {Rizo, David and Marsden, Alan},
    year         = {2016},
    title        = {A standard format proposal for hierarchical analyses and
                   representations},
    abstract     = {In the realm of digital musicology, standardizations
                   efforts to date have mostly concentrated on the
                   representation of music. Analyses of music are
                   increasingly being generated or communicated by digital
                   means. We demonstrate that the same arguments for the
                   desirability of standardization in the representation of
                   music apply also to the representation of analyses of
                   music: proper preservation, sharing of data, and
                   facilitation of digital processing. We concentrate here on
                   analyses which can be described as hierarchical and show
                   that this covers a broad range of existing analytical
                   formats. We propose an extension of MEI (Music Encoding
                   Initiative) to allow the encoding of analyses
                   unambiguously associated with and aligned to a
                   representation of the music analysed, making use of
                   existing mechanisms within MEI's parent TEI (Text Encoding
                   Initiative) for the representation of trees and graphs.},
    address      = {New York, New York, USA},
    booktitle    = {Proceedings of the 3rd International workshop on Digital
                   Libraries for Musicology - DLfM 2016},
    doi          = {10.1145/2970044.2970046},
    isbn         = {9781450347518},
    keywords     = {Encodings,Music analysis,Music
                   representations,Standards,computer and music},
    mendeley-tags= {computer and music},
    pages        = {25--32},
    publisher    = {ACM Press},
    url          = {http://dl.acm.org/citation.cfm?doid=2970044.2970046}
}

In the realm of digital musicology, standardizations efforts to date have mostly concentrated on the representation of music. Analyses of music are increasingly being generated or communicated by digital means. We demonstrate that the same arguments for the desirability of standardization in the representation of music apply also to the representation of analyses of music: proper preservation, sharing of data, and facilitation of digital processing. We concentrate here on analyses which can be described as hierarchical and show that this covers a broad range of existing analytical formats. We propose an extension of MEI (Music Encoding Initiative) to allow the encoding of analyses unambiguously associated with and aligned to a representation of the music analysed, making use of existing mechanisms within MEI's parent TEI (Text Encoding Initiative) for the representation of trees and graphs.

@Article{          sampaio.ea2016-contour,
    author       = {{Sampaio}, {Marcos da Silva} and Kroger, Pedro},
    year         = {2016},
    title        = {Contour Algorithms Review},
    abstract     = {In this paper, we present some problems of two Music
                   Contour Relations Theory operations algorithms: the
                   Refinement of Contour Reduction Algorithm, which was
                   developed by Rob Schultz, and the Equivalence Contour
                   Class Prime Form algorithm, which was developed by
                   Elizabeth Marvin and Paul Laprade. We also propose two
                   alternative algorithms to solve these problems.},
    journal      = {MusMat - Brazilian Journal of Music and Mathematics},
    keywords     = {algorithm,equivalent contour classes,music contour,music
                   contour theory,reduction algorithm},
    mendeley-tags= {music contour},
    number       = {1},
    pages        = {72--85},
    url          = {https://grupomusmat.files.wordpress.com/2016/12/07-sampaio.pdf},
    volume       = {1}
}

In this paper, we present some problems of two Music Contour Relations Theory operations algorithms: the Refinement of Contour Reduction Algorithm, which was developed by Rob Schultz, and the Equivalence Contour Class Prime Form algorithm, which was developed by Elizabeth Marvin and Paul Laprade. We also propose two alternative algorithms to solve these problems.

@Book{             schreibman.ea2016-new,
    year         = {2016},
    title        = {A new companion to Digital Humanities},
    address      = {West Sussex, England},
    editor       = {Schreibman, Susan and Siemens, Ray and Unsworth, Johm},
    isbn         = {9781118680599},
    keywords     = {computer},
    mendeley-tags= {computer},
    publisher    = {John Wiley \& Sons Ltd}
}

@Article{          schultz2016-normalizing,
    author       = {Schultz, Rob D.},
    year         = {2016},
    title        = {Normalizing Musical Contour Theory},
    doi          = {10.1215/00222909-3448746},
    issn         = {0022-2909},
    journal      = {Journal of Music Theory},
    keywords     = {149,1995,50,advantages that numerical
                   representa-,analytical notation,contour,elizabeth west
                   marvin,has cited three distinct,melody,music
                   contour,normalization,numerical representation of
                   contour,of musical contour theory,pitch,rhythm,shed in the
                   development,the advent of the,was a water-},
    mendeley-tags= {music contour},
    number       = {1},
    pages        = {23--50},
    url          = {http://jmt.dukejournals.org/lookup/doi/10.1215/00222909-3448746},
    volume       = {60}
}

@InCollection{     velarde.ea2016-wavelet-based,
    author       = {Velarde, Gissel and Meredith, David and Weyde, Tillman},
    year         = {2016},
    title        = {A Wavelet-Based Approach to Pattern Discovery in
                   Melodies},
    abstract     = {This book provides an in-depth introduction and overview
                   of current research in computational music analysis. Its
                   seventeen chapters, written by leading researchers,
                   collectively represent the diversity as well as the
                   technical and philosophical sophistication of the work
                   being done today in this intensely interdisciplinary
                   field. A broad range of approaches are presented,
                   employing techniques originating in disciplines such as
                   linguistics, information theory, information retrieval,
                   pattern recognition, machine learning, topology, algebra
                   and signal processing. Many of the methods described draw
                   on well-established theories in music theory and analysis,
                   such as Forte's pitch-class set theory, Schenkerian
                   analysis, the methods of semiotic analysis developed by
                   Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative
                   Theory of Tonal Music. The book is divided into six parts,
                   covering methodological issues, harmonic and pitch-class
                   set analysis, form and voice-separation, grammars and
                   hierarchical reduction, motivic analysis and pattern
                   discovery and, finally, classification and the discovery
                   of distinctive patterns. As a detailed and up-to-date
                   picture of current research in computational music
                   analysis, the book provides an invaluable resource for
                   researchers, teachers and students in music theory and
                   analysis, computer science, music information retrieval
                   and related disciplines. It also provides a
                   state-of-the-art reference for practitioners in the music
                   technology industry.},
    address      = {Cham},
    booktitle    = {Computational Music Analysis},
    chapter      = {12},
    doi          = {10.1007/978-3-319-25931-4_12},
    editor       = {Meredith, David},
    isbn         = {9783319259314},
    issn         = {0098-7484},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {303--333},
    pmid         = {1689},
    publisher    = {Springer International Publishing},
    url          = {http://link.springer.com/10.1007/978-3-319-25931-4_12}
}

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

@Article{          velardo.ea2016-symbolic,
    author       = {Velardo, Valerio and Vallati, Mauro and Jan, Steven},
    year         = {2016},
    title        = {Symbolic Melodic Similarity: State of the Art and Future
                   Challenges},
    abstract     = {The invention of software in the mid-20th century was as
                   big a breakthrough for modern humans as the mastery over
                   fire was for our prehistoric ancestors; the addition of
                   cognitive fluidity to hardware has resulted in an
                   explosion of experimentation and creativity (which also
                   poses some challenges). As is the case with any new
                   technology, humans immediately set about using software to
                   connect with one another and extend our networks of
                   distributed cognition. Computer musicians are uniquely
                   positioned to predict the future by composing it and
                   coding it, because as a group we combine the imagination
                   and daring of artists with the technology that can make
                   the imaginary real.},
    isbn         = {8187672641},
    issn         = {1531-5169},
    journal      = {Computer Music Journal},
    keywords     = {kyma,music similarity,systems},
    mendeley-tags= {music similarity},
    number       = {1},
    pages        = {10--24},
    url          = {http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_a_00359},
    volume       = {40}
}

The invention of software in the mid-20th century was as big a breakthrough for modern humans as the mastery over fire was for our prehistoric ancestors; the addition of cognitive fluidity to hardware has resulted in an explosion of experimentation and creativity (which also poses some challenges). As is the case with any new technology, humans immediately set about using software to connect with one another and extend our networks of distributed cognition. Computer musicians are uniquely positioned to predict the future by composing it and coding it, because as a group we combine the imagination and daring of artists with the technology that can make the imaginary real.

@PhDThesis{        warrenburg2016-examining,
    author       = {Warrenburg, Lindsay Alison},
    year         = {2016},
    title        = {Examining Contrasting Expressive Content within First and
                   Second Musical Themes},
    pages        = {2016},
    school       = {The Ohio State University},
    type         = {Master Thesis},
    url          = {https://etd.ohiolink.edu/pg_10?::NO:10:P10_ETD_SUBID:114166}
}

@PhDThesis{        wei2016-computational,
    author       = {Wei{\ss}, Christof},
    year         = {2016},
    title        = {Computational Methods for Tonality-Based Style Analysis
                   of Classical Music Audio Recordings},
    abstract     = {With the tremendously growing impact of digital
                   technology, the ways of accessing music crucially changed.
                   Nowadays, streaming services, download platforms, and
                   private archives provide a large amount of music
                   recordings to listeners. As tools for organizing and
                   browsing such collections, automatic methods have become
                   important. In the area of Music Informa- tion Retrieval,
                   researchers are developing algorithms for analyzing and
                   comparing music data with respect to musical
                   characteristics. One typical application scenario is the
                   classification of music recordings according to categories
                   such as musical genres. In this thesis, we approach such
                   classification problems with the goal of discriminating
                   subgenres within Western classical music. In particular,
                   we focus on typical categories such as historical periods
                   or individual composers. From a musicological point of
                   view, this classi- fication problem relates to the
                   question of musical style, which constitutes a rather
                   ill-defined and abstract concept. Usually, musicologists
                   analyze musical scores in a manual fashion in order to
                   acquire knowledge about style and its determining factors.
                   This thesis contributes with computational methods for
                   realizing such analyses on comprehensive corpora of audio
                   recordings. Though it is hard to extract explicit
                   information such as note events from audio data, the
                   computational analysis of audio recordings might bear
                   great potential for musi- cological research. One reason
                   for this is the limited availability of symbolic scores in
                   high quality. The style analysis experiments presented in
                   this thesis focus on the fields of harmony and tonality.
                   In the first step, we use signal processing techniques for
                   computing chroma representations of the audio data. These
                   semantic “mid-level” representations capture the pitch
                   class content of an audio recording in a robust way and,
                   thus, constitute a suitable starting point for subsequent
                   processing steps. From such chroma representations, we
                   derive measures for quantitatively describing stylistic
                   properties of the music. Since chroma features suppress
                   timbral characteristics to a certain extent, we hope to
                   achieve invariance to timbre and instrumentation for our
                   analysis methods. Inspired by the characteristics of the
                   chroma representations, we model in this thesis specific
                   concepts from music theory and propose algorithms to
                   measure the occurence of certain tonal structures in audio
                   recordings. One of the proposed methods aims at estimating
                   the global key of a piece by considering the particular
                   role of the final chord. Another contribution of this
                   thesis is an automatic method to visualize modulations
                   regarding diatonic scales as well as scale types over the
                   course of a piece. Furthermore, we propose novel
                   techniques for estimating the presence of specific
                   interval and chord types and for measuring more abstract
                   notions such as tonal complexity. In first experiments, we
                   show the features' behavior for individual pieces and
                   discuss their musical meaning. On the basis of these novel
                   types of audio features, we perform comprehensive
                   experiments for analyzing and classifying audio recordings
                   regarding musical style. For this purpose, we apply
                   methods from the field of machine learning. Using
                   unsupervised clustering methods, we investigate the
                   similarity of musical works across composers and
                   composition years. Even though the underlying feature
                   representations may be imprecise and error-prone in some
                   cases, we can observe interesting tendencies that may
                   exhibit some musical meaning when analyzing large
                   databases. For example, we observe an increase of tonal
                   complexity during the 19th and 20th century on the basis
                   of our features. As an essential contribution of this
                   dissertation, we perform automatic classification
                   experiments according to historical periods (“eras”)
                   and composers. We compile two datasets, on which we test
                   common classifiers using both our tonal features and
                   standardized audio features. Despite the vagueness of the
                   task and the complexity of the data, we obtain good
                   results for the classification with respect to historical
                   periods. This indicates that the tonal features proposed
                   in this thesis seem to robustly capture some stylistic
                   properties. In contrast, using standardized timbral
                   features for classification often leads to overfitting to
                   the training data resulting in worse performance.
                   Comparing different types of tonal features revealed that
                   features relating to interval types, tonal complexity, and
                   chord progressions are useful for classifying audio
                   recordings with respect to musical style. This seems to
                   validate the hypothesis that tonal characteristics can be
                   discriminative for style analysis and that we can measure
                   such characteristics directly from audio recordings. In
                   summary, the interplay between musicology and audio signal
                   processing can be very promising. When applied to a
                   specific example, we have to be careful with the results
                   of computational methods, which, of course, cannot compete
                   with the experienced judgement of a musicologist. For
                   analyzing comprehensive corpora, however,
                   computer-assisted techniques provide interesting
                   opportunities to recognize fundamental trends and to
                   verify hypotheses.},
    doi          = {10.1016/j.anr.2016.04.002},
    isbn         = {0278-4319},
    issn         = {20937482},
    keywords     = {depression,kidney diseases,meta-analysis,music analysis
                   with computers,quality of life,self-management},
    mendeley-tags= {music analysis with computers},
    pmid         = {28057311},
    school       = {Technische Universit{\"{a}}t Ilmenau},
    type         = {Ph.D. Dissertation},
    url          = {https://www.db-thueringen.de/servlets/MCRFileNodeServlet/dbt_derivate_00039054/ilm1-2017000293.pdf}
}

With the tremendously growing impact of digital technology, the ways of accessing music crucially changed. Nowadays, streaming services, download platforms, and private archives provide a large amount of music recordings to listeners. As tools for organizing and browsing such collections, automatic methods have become important. In the area of Music Informa- tion Retrieval, researchers are developing algorithms for analyzing and comparing music data with respect to musical characteristics. One typical application scenario is the classification of music recordings according to categories such as musical genres. In this thesis, we approach such classification problems with the goal of discriminating subgenres within Western classical music. In particular, we focus on typical categories such as historical periods or individual composers. From a musicological point of view, this classi- fication problem relates to the question of musical style, which constitutes a rather ill-defined and abstract concept. Usually, musicologists analyze musical scores in a manual fashion in order to acquire knowledge about style and its determining factors. This thesis contributes with computational methods for realizing such analyses on comprehensive corpora of audio recordings. Though it is hard to extract explicit information such as note events from audio data, the computational analysis of audio recordings might bear great potential for musi- cological research. One reason for this is the limited availability of symbolic scores in high quality. The style analysis experiments presented in this thesis focus on the fields of harmony and tonality. In the first step, we use signal processing techniques for computing chroma representations of the audio data. These semantic “mid-level” representations capture the pitch class content of an audio recording in a robust way and, thus, constitute a suitable starting point for subsequent processing steps. From such chroma representations, we derive measures for quantitatively describing stylistic properties of the music. Since chroma features suppress timbral characteristics to a certain extent, we hope to achieve invariance to timbre and instrumentation for our analysis methods. Inspired by the characteristics of the chroma representations, we model in this thesis specific concepts from music theory and propose algorithms to measure the occurence of certain tonal structures in audio recordings. One of the proposed methods aims at estimating the global key of a piece by considering the particular role of the final chord. Another contribution of this thesis is an automatic method to visualize modulations regarding diatonic scales as well as scale types over the course of a piece. Furthermore, we propose novel techniques for estimating the presence of specific interval and chord types and for measuring more abstract notions such as tonal complexity. In first experiments, we show the features' behavior for individual pieces and discuss their musical meaning. On the basis of these novel types of audio features, we perform comprehensive experiments for analyzing and classifying audio recordings regarding musical style. For this purpose, we apply methods from the field of machine learning. Using unsupervised clustering methods, we investigate the similarity of musical works across composers and composition years. Even though the underlying feature representations may be imprecise and error-prone in some cases, we can observe interesting tendencies that may exhibit some musical meaning when analyzing large databases. For example, we observe an increase of tonal complexity during the 19th and 20th century on the basis of our features. As an essential contribution of this dissertation, we perform automatic classification experiments according to historical periods (“eras”) and composers. We compile two datasets, on which we test common classifiers using both our tonal features and standardized audio features. Despite the vagueness of the task and the complexity of the data, we obtain good results for the classification with respect to historical periods. This indicates that the tonal features proposed in this thesis seem to robustly capture some stylistic properties. In contrast, using standardized timbral features for classification often leads to overfitting to the training data resulting in worse performance. Comparing different types of tonal features revealed that features relating to interval types, tonal complexity, and chord progressions are useful for classifying audio recordings with respect to musical style. This seems to validate the hypothesis that tonal characteristics can be discriminative for style analysis and that we can measure such characteristics directly from audio recordings. In summary, the interplay between musicology and audio signal processing can be very promising. When applied to a specific example, we have to be careful with the results of computational methods, which, of course, cannot compete with the experienced judgement of a musicologist. For analyzing comprehensive corpora, however, computer-assisted techniques provide interesting opportunities to recognize fundamental trends and to verify hypotheses.

@Article{          white.ea2016-yale-classical,
    author       = {White, Christopher William and Quinn, Ian},
    year         = {2016},
    title        = {The Yale-Classical Archives Corpus},
    abstract     = {The Yale-Classical Archives Corpus (YCAC) contains
                   harmonic and rhythmic information for a dataset of Western
                   European Classical art music. This corpus is based on data
                   from classicalarchives.com, a repository of thousands of
                   user-generated MIDI representations of pieces from several
                   periods of Western European music history. The YCAC makes
                   available metadata for each MIDI file, as well as a list
                   of pitch simultaneities ("salami slices") in the MIDI
                   file. Metadata include the piece's composer, the
                   composer's country of origin, date of composition, genre
                   (e.g., symphony, piano sonata, nocturne, etc.),
                   instrumentation, meter, and key. The processing step
                   groups the file's pitches into vertical slices each time a
                   pitch is added or subtracted from the texture, recording
                   the slice's offset (measured in the number of quarter
                   notes separating the event from the file's beginning),
                   highest pitch, lowest pitch, prime form, scale-degrees in
                   relation to the global key (as determined by experts), and
                   local key information (as determined by a windowed
                   key-profile analysis). The corpus contains 13,769 MIDI
                   files by 571 composers yielding over 14,051,144 vertical
                   slices. This paper outlines several properties of this
                   corpus, along with a representative study using this
                   dataset.},
    doi          = {10.18061/emr.v11i1.4958},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {academic inquiry,allowing scholars to quantify,amounts
                   of,as the fields of,c omputational analysis of,common
                   practice,corpus analysis,evidence,experiment with such
                   methods,historical trends and bolster,intuitive
                   observations with large,large data sets has,machine
                   learning,music,music theory and musicology,style,there
                   arises a need,tonality,transformed many aspects of},
    mendeley-tags= {music},
    number       = {1},
    pages        = {50},
    url          = {http://emusicology.org/article/view/4958/4397},
    volume       = {11}
}

The Yale-Classical Archives Corpus (YCAC) contains harmonic and rhythmic information for a dataset of Western European Classical art music. This corpus is based on data from classicalarchives.com, a repository of thousands of user-generated MIDI representations of pieces from several periods of Western European music history. The YCAC makes available metadata for each MIDI file, as well as a list of pitch simultaneities ("salami slices") in the MIDI file. Metadata include the piece's composer, the composer's country of origin, date of composition, genre (e.g., symphony, piano sonata, nocturne, etc.), instrumentation, meter, and key. The processing step groups the file's pitches into vertical slices each time a pitch is added or subtracted from the texture, recording the slice's offset (measured in the number of quarter notes separating the event from the file's beginning), highest pitch, lowest pitch, prime form, scale-degrees in relation to the global key (as determined by experts), and local key information (as determined by a windowed key-profile analysis). The corpus contains 13,769 MIDI files by 571 composers yielding over 14,051,144 vertical slices. This paper outlines several properties of this corpus, along with a representative study using this dataset.

@Article{          widmer2016-getting,
    author       = {Widmer, Gerhard},
    year         = {2016},
    title        = {Getting closer to the essence of music: The con
                   espressione manifesto},
    abstract     = {This text offers a personal and very subjective view on
                   the current situation of Music Information Research (MIR).
                   Motivated by the desire to build systems with a somewhat
                   deeper understanding of music than the ones we currently
                   have, I try to sketch a number of challenges for the next
                   decade of MIR research, grouped around six simple truths
                   about music that are probably generally agreed on but
                   often ignored in everyday research.},
    archiveprefix= {arXiv},
    arxivid      = {1611.09733},
    doi          = {10.1145/2899004},
    eprint       = {1611.09733},
    issn         = {21576912},
    journal      = {ACM Transactions on Intelligent Systems and Technology},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    number       = {2},
    pages        = {1--14},
    url          = {http://www.cp.jku.at/research/projects/ConEspressione/pubs/manifesto.pdf},
    volume       = {8}
}

This text offers a personal and very subjective view on the current situation of Music Information Research (MIR). Motivated by the desire to build systems with a somewhat deeper understanding of music than the ones we currently have, I try to sketch a number of challenges for the next decade of MIR research, grouped around six simple truths about music that are probably generally agreed on but often ignored in everyday research.

@Book{             aggarwal2015-data,
    author       = {Aggarwal, Charu C.},
    year         = {2015},
    title        = {Data Mining},
    address      = {Cham},
    doi          = {10.1007/978-3-319-14142-8},
    isbn         = {978-3-319-14141-1},
    keywords     = {computer},
    mendeley-tags= {computer},
    publisher    = {Springer International Publishing},
    url          = {https://linkinghub.elsevier.com/retrieve/pii/030438358190152X
                   http://link.springer.com/10.1007/978-3-319-14142-8}
}

@Article{          balen.ea2015-corpus,
    author       = {Balen, Jan Van and Burgoyne, John Ashley and
                   Bountouridis, Dimitrios and Müllensiefen, Daniel and
                   Veltkamp, Remco C.},
    year         = {2015},
    title        = {Corpus {Analysis} {Tools} {For} {Computational} {Hook}
                   {Discovery}.},
    copyright    = {Creative Commons Attribution 4.0, Open Access},
    url          = {https://zenodo.org/record/1415038},
    doi          = {10.5281/ZENODO.1415038},
    abstract     = {Compared to studies with symbolic music data, advances in
                   music description from audio have overwhelmingly focused
                   on ground truth reconstruction and maximizing prediction
                   accuracy, with only a small fraction of studies using
                   audio description to gain insight into musical data. We
                   present a strategy for the corpus analysis of audio data
                   that is optimized for interpretable results. The approach
                   brings two previously unexplored concepts to the audio
                   domain: audio bigram distributions, and the use of
                   corpus-relative or “second-order” descriptors. To test
                   the real-world applicability of our method, we present an
                   experiment in which we model song recognition data
                   collected in a widely-played music game. By using the
                   proposed corpus analysis pipeline we are able to present a
                   cognitively adequate analysis that allows a model
                   interpretation in terms of the listening history and
                   experience of our participants. We find that our
                   corpus-based audio features are able to explain a
                   comparable amount of variance to symbolic features for
                   this task when used alone and that they can supplement
                   symbolic features profitably when the two types of
                   features are used in tandem. Finally, we highlight new
                   insights into what makes music recognizable.},
    language     = {en},
    urldate      = {2023-02-23},
    month        = oct,
    note         = {Publisher: Zenodo}
}

Compared to studies with symbolic music data, advances in music description from audio have overwhelmingly focused on ground truth reconstruction and maximizing prediction accuracy, with only a small fraction of studies using audio description to gain insight into musical data. We present a strategy for the corpus analysis of audio data that is optimized for interpretable results. The approach brings two previously unexplored concepts to the audio domain: audio bigram distributions, and the use of corpus-relative or “second-order” descriptors. To test the real-world applicability of our method, we present an experiment in which we model song recognition data collected in a widely-played music game. By using the proposed corpus analysis pipeline we are able to present a cognitively adequate analysis that allows a model interpretation in terms of the listening history and experience of our participants. We find that our corpus-based audio features are able to explain a comparable amount of variance to symbolic features for this task when used alone and that they can supplement symbolic features profitably when the two types of features are used in tandem. Finally, we highlight new insights into what makes music recognizable.

@Article{          barbosa.ea2015-evaluating,
    author       = {Barbosa, Jeronimo and Mckay, Cory and Fujinaga, Ichiro},
    year         = {2015},
    title        = {Evaluating automated classification techniques for folk
                   music genres from the Brazilian Northeast},
    journal      = {Proceedings of the 15th Brazilian Symposium on Computer
                   Music},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {3--12}
}

@PhDThesis{        birson2015-haydns,
    author       = {Birson, Adem Merter},
    year         = {2015},
    title        = {Haydn's dramatic dissonances: chromaticism and formal
                   process in his string quartets, opp. 9 and 17},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    school       = {Cornell University},
    type         = {Ph.D. Dissertation}
}

@InProceedings{    devaney.ea2015-theme,
    author       = {Devaney, Johanna and Arthur, Claire and Condit-Schultz,
                   Nathaniel and Nisula, Kirsten},
    year         = {2015},
    title        = {Theme and variation encodings with roman numerals
                   (TaVERn): A new data set for symbolic music analysis},
    abstract     = {The Theme And Variation Encodings with Roman Numerals
                   (TAVERN) dataset consists of 27 complete sets of theme and
                   variations for piano composed between 1765 and 1810 by
                   Mozart and Beethoven. In these theme and variation sets,
                   comparable harmonic structures are realized in different
                   ways. This facilitates an evaluation of the effectiveness
                   of automatic analysis algorithms in generalizing across
                   different musical textures. The pieces are encoded in
                   standard **kern format, with analyses jointly encoded
                   using an extension to **kern. The harmonic content of the
                   music was analyzed with both Roman numerals and function
                   labels in duplicate by two different expert analyzers. The
                   pieces are divided into musical phrases, allowing for
                   multiple-levels of automatic analysis, including chord
                   labeling and phrase parsing. This paper describes the
                   content of the dataset in detail, including the types of
                   chords represented, and discusses the ways in which the
                   analyzers sometimes disagreed on the lower-level harmonic
                   content (the Roman numerals) while converging at similar
                   high-level structures (the function of the chords within
                   the phrase).},
    address      = {M{\'{a}}laga, Spain},
    booktitle    = {Proceedings of the 16th International Society for Music
                   Information Retrieval Conference, ISMIR 2015},
    isbn         = {9788460688532},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {728--734},
    publisher    = {International Society for Music Information Retrieval},
    url          = {http://ismir2015.uma.es/articles/261_Paper.pdf}
}

The Theme And Variation Encodings with Roman Numerals (TAVERN) dataset consists of 27 complete sets of theme and variations for piano composed between 1765 and 1810 by Mozart and Beethoven. In these theme and variation sets, comparable harmonic structures are realized in different ways. This facilitates an evaluation of the effectiveness of automatic analysis algorithms in generalizing across different musical textures. The pieces are encoded in standard **kern format, with analyses jointly encoded using an extension to **kern. The harmonic content of the music was analyzed with both Roman numerals and function labels in duplicate by two different expert analyzers. The pieces are divided into musical phrases, allowing for multiple-levels of automatic analysis, including chord labeling and phrase parsing. This paper describes the content of the dataset in detail, including the types of chords represented, and discusses the ways in which the analyzers sometimes disagreed on the lower-level harmonic content (the Roman numerals) while converging at similar high-level structures (the function of the chords within the phrase).

@Article{          frieler.ea2015-is,
    author       = {Frieler, Klaus and Jakubowski, Kelly and Mullensiefen,
                   Daniel},
    year         = {2015},
    title        = {Is it the song and not the singer? Hit song prediction
                   using structural features of melodies},
    journal      = {Musikpsychologie Bd.},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {41--54},
    url          = {https://www.researchgate.net/publication/281826659_Is_it_the_Song_and_Not_the_Singer_Hit_Song_Prediction_Using_Structural_Features_of_Melodies},
    volume       = {25}
}

@InProceedings{    gentil-nunes2015-analise,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2015},
    title        = {An\'{a}lise formal de estruturas r\'{i}tmicas de {Meyer}
                   em diagrama de {Hasse}},
    volume       = {2 - Processos criativos},
    url          = {14º Col\'{o}quio de Pesquisa do PPGM/UFRJ},
    abstract     = {O presente trabalho é parte de uma pesquisa mais ampla,
                   desenvolvida no âmbito do Programa de P\'{o}s-Graduação
                   em Música da UFRJ – Grupo MusMat e consiste na
                   formalização do conjunto de estruturas r\'{i}tmicas
                   propostas por Leonard Meyer (1960), baseadas na
                   pros\'{o}dia musical, resultando em sua taxonomia
                   exaustiva e na definição de relações entre elementos
                   (perfis r\'{i}tmicos). Repercussões e cr\'{i}ticas do
                   trabalho de Meyer são revisadas e avaliadas. São
                   apresentadas também pequenas an\'{a}lises, como exemplos
                   de aplicação elementar da formalização proposta.},
    language     = {pt},
    keywords     = {An\'{a}lise Musical;, An\'{a}lise Particional,
                   Composição Musical, Reticulado de Young},
    pages        = {153--169}
}

O presente trabalho é parte de uma pesquisa mais ampla, desenvolvida no âmbito do Programa de Pós-Graduação em Música da UFRJ – Grupo MusMat e consiste na formalização do conjunto de estruturas rítmicas propostas por Leonard Meyer (1960), baseadas na prosódia musical, resultando em sua taxonomia exaustiva e na definição de relações entre elementos (perfis rítmicos). Repercussões e críticas do trabalho de Meyer são revisadas e avaliadas. São apresentadas também pequenas análises, como exemplos de aplicação elementar da formalização proposta.

@InProceedings{    koops.ea2015-corpus-based,
    author       = {Koops, Hendrik Vincent and Volk, Anja and {Bas de Haas},
                   W.},
    year         = {2015},
    title        = {Corpus-based rhythmic pattern analysis of ragtime
                   syncopation},
    abstract     = {This paper presents a corpus-based study on rhythmic
                   patterns in the RAG-collection of approximately 11.000
                   symbolically encoded ragtime pieces. While characteristic
                   musical features that define ragtime as a genre have been
                   debated since its inception, musicologists argue that
                   specific syncopation patterns are most typical for this
                   genre. Therefore, we investigate the use of syncopation
                   patterns in the RAG-collection from its beginnings until
                   the present time in this paper. Using computational
                   methods, this paper provides an overview on the use of
                   rhythmical patterns of the ragtime genre, thereby offering
                   valuable new insights that complement musicological
                   hypotheses about this genre. Specifically, we measure the
                   amount of syncopation for each bar using Longuet-Higgins
                   and Lee's model of syncopation, determine the most
                   frequent rhythmic patterns, and discuss the role of a
                   specific short-long-short syncopation pattern that
                   musicologists argue is characteristic for ragtime. A
                   comparison between the ragtime (pre-1920) and modern
                   (post-1920) era shows that the two eras differ in
                   syncopation pattern use. Onset density and amount of
                   syncopation increase after 1920. Moreover, our study
                   confirms the musicological hypothesis on the important
                   role of the short-long-short syncopation pattern in
                   ragtime. These findings are pivotal in developing ragtime
                   genre-specific features.},
    address      = {Malaga, Spain},
    booktitle    = {Proceedings of the 16th International Society for Music
                   Information Retrieval Conference, ISMIR 2015},
    isbn         = {9788460688532},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {483--489}
}

This paper presents a corpus-based study on rhythmic patterns in the RAG-collection of approximately 11.000 symbolically encoded ragtime pieces. While characteristic musical features that define ragtime as a genre have been debated since its inception, musicologists argue that specific syncopation patterns are most typical for this genre. Therefore, we investigate the use of syncopation patterns in the RAG-collection from its beginnings until the present time in this paper. Using computational methods, this paper provides an overview on the use of rhythmical patterns of the ragtime genre, thereby offering valuable new insights that complement musicological hypotheses about this genre. Specifically, we measure the amount of syncopation for each bar using Longuet-Higgins and Lee's model of syncopation, determine the most frequent rhythmic patterns, and discuss the role of a specific short-long-short syncopation pattern that musicologists argue is characteristic for ragtime. A comparison between the ragtime (pre-1920) and modern (post-1920) era shows that the two eras differ in syncopation pattern use. Onset density and amount of syncopation increase after 1920. Moreover, our study confirms the musicological hypothesis on the important role of the short-long-short syncopation pattern in ragtime. These findings are pivotal in developing ragtime genre-specific features.

@PhDThesis{        mastic2015-normative,
    author       = {Mastic, Timothy R.},
    year         = {2015},
    title        = {Normative wit: Haydn's personal Sonata Form},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    school       = {University of Oregon},
    type         = {Master Thesis},
    url          = {https://www.academia.edu/10763858/Normative_Wit_Haydns_Personal_Sonata_Form}
}

@Book{             meredith2015-computational,
    year         = {2015},
    title        = {Computational Music Analysis},
    address      = {New York},
    editor       = {Meredith, David},
    isbn         = {9783319259291},
    keywords     = {music similarity},
    mendeley-tags= {music similarity},
    publisher    = {Springer}
}

@InProceedings{    papasarantopoulos.ea2015-computational,
    author       = {Papasarantopoulos, Nikos and Poulakis, Nick and
                   Anagnostopoulou, Christina},
    year         = {2015},
    title        = {A computational analysis study of children's songs from
                   different countries},
    address      = {Manchester, UK},
    booktitle    = {Proceedings of the Ninth Triennial Conference of the
                   European Society for the Cognitive Sciences of Music},
    editor       = {Ginsborg, J. and Lamont, A. and Phillips, M. and Bramley,
                   S.},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {626--630}
}

@Article{          pugin2015-challenge,
    author       = {Pugin, Laurent},
    year         = {2015},
    title        = {The Challenge of Data in Digital Musicology},
    abstract     = {Most of our work in the humanities is increasingly driven
                   by digital technology. Musicology is no exception and the
                   field is undergoing the same revolution as all disciplines
                   in the humanities. There are at least two key areas in
                   which digital technology is transforming research: access
                   and scale. Technology, and the internet in particular, has
                   radically changed how we can access data, but also how we
                   can make research results accessible to others.
                   Correlatively, the scope of projects can be broadened to a
                   completely new extent. What does this mean for musicology?
                   Scholars in musicology base their work on a wide range of
                   materials. Since most of the music that forms our heritage
                   in Western culture has been preserved in a text-based
                   form, this is by far, the most widely used type of
                   material for musicological studies. Handwritten and
                   printed sources constitute the core data, but historical
                   studies also rely on various types of textual and archival
                   material, be they letter writings, libretti, or
                   inventories of diverse kind. These are essential for
                   understanding the socio-economic context in which the
                   music sources were written or produced and for better
                   understanding of specific aspects, such as performance
                   practice of the time. Performance practice study itself
                   may also be based on sound recordings when focusing on
                   relatively recent history, as it is often the case for
                   studies in ethno-musicology or in folk-songs (Cook, 2010).
                   Obtaining access to the sources has always been a struggle
                   for musicologists. Only a few years ago, studying a
                   particular source meant first locating the relevant
                   sources using printed bibliographies, writing to the
                   holding library, and then waiting for a microfilm to be
                   prepared and sent out. The process could take months and
                   be unpredictably expensive, with no guarantee of success.
                   Such an obstacle seriously reduced the breadth of research
                   musicologists could reasonably envisage, with a consequent
                   inclination toward close-reading approaches on a
                   restricted set of sources. With the coming of the digital
                   world, the situation changed. Many resources are now
                   available online, including the bibliographic finding
                   aids, which makes locating sources significantly easier.
                   Collections are being digitized and made accessible
                   online, which greatly facilitates access to them for
                   musicologists. This is also the case for secondary
                   sources. Some projects are composer-specific, such as the
                   Digital Archive of the Beethoven-Haus, others are
                   repertoire-oriented, such as the digital image archive for
                   medieval manuscripts (DIAMM) or based on a particular
                   library collection, such as the Julliard Manuscript
                   Collection, to cite only three examples. In the archives,
                   digital cameras are often allowed and can be used to
                   capture sources quickly. It is now straightforward for
                   scholars to store thousands of images on their personal
                   computer, in the cloud, or even share them on community
                   websites, although this in its turn raises new copyright
                   concerns. What other issues need to be addressed? Digital
                   access in musicology is still overwhelmingly linked to
                   images. Several important digital musicology research
                   projects, such as the OCVE and the Edirom projects,
                   focusing mostly on philological issues have been very
                   successful in relying extensively on digital image
                   resources (Bradley and Vetch, 2007; Bohl et al., 2011).
                   However, digital musicology projects that address a wide
                   range of other issues, such as music analysis or music
                   searching, require access to the music itself in digital
                   form, are referred to as content-based resources.
                   Musicology has never been behind other disciplines for
                   experimenting with computational approaches in these
                   domains, quite on the Frontiers in Digital Humanities |
                   www.frontiersin.org August 2015 | Volume 2 | Article 4 1
                   Pugin Data in digital musicology contrary. However,
                   obtaining or accessing high quality datasets remains a
                   serious hurdle, especially on a large scale, in a similar
                   way to accessing sources a couple of decades ago. It is a
                   major barrier that needs to be removed if digital
                   musicology research is to be taken to the next level.
                   Several initiatives have laid down the basis for
                   large-scale content-based resources. First and foremost,
                   the CCARH with its KernScores repository 1 , which
                   represents years of careful data creation and curation is
                   made available for research and is an invaluable
                   contribution. The Josquin Research Project (JRP 2) at
                   Stanford is a groundbreaking project that is currently
                   building a considerable dataset of pieces of Josquin des
                   Prez and of other composers of the time (1400–1500).
                   Another is the Electronic Locator of Vertical Interval
                   Successions project at McGill Uni-versity (ELVIS 3). These
                   two projects pursue similar goals and follow more or less
                   comparable strategies: respectively creating or collecting
                   a large collection of data and making it accessi-ble and
                   analyzable by integrating state-of-the-art analysis tools
                   Humdrum and Music21. Their output in terms of counterpoint
                   analysis is a breakthrough and opens new perspectives for
                   style analysis and composition attribution. The use of the
                   harmonic and melodic intervals in ELVIS illuminates areas
                   in which inno-vative research might be needed to address
                   the question of how to represent music appropriately for
                   such corpus-based analysis undertakings. These are
                   undoubtedly models to follow, but they also illustrate how
                   much still needs to be done. They hold a few thousand
                   pieces 4},
    doi          = {10.3389/fdigh.2015.00004},
    issn         = {2297-2668},
    journal      = {Frontiers in Digital Humanities},
    keywords     = {ccarh,content-based music resources,digital
                   musicology,edited and reviewed by,eleanor
                   selfridge-field,music analysis,music
                   encoding,musicology,the packard,usa},
    mendeley-tags= {musicology},
    number       = {August},
    pages        = {19--21},
    volume       = {2}
}

Most of our work in the humanities is increasingly driven by digital technology. Musicology is no exception and the field is undergoing the same revolution as all disciplines in the humanities. There are at least two key areas in which digital technology is transforming research: access and scale. Technology, and the internet in particular, has radically changed how we can access data, but also how we can make research results accessible to others. Correlatively, the scope of projects can be broadened to a completely new extent. What does this mean for musicology? Scholars in musicology base their work on a wide range of materials. Since most of the music that forms our heritage in Western culture has been preserved in a text-based form, this is by far, the most widely used type of material for musicological studies. Handwritten and printed sources constitute the core data, but historical studies also rely on various types of textual and archival material, be they letter writings, libretti, or inventories of diverse kind. These are essential for understanding the socio-economic context in which the music sources were written or produced and for better understanding of specific aspects, such as performance practice of the time. Performance practice study itself may also be based on sound recordings when focusing on relatively recent history, as it is often the case for studies in ethno-musicology or in folk-songs (Cook, 2010). Obtaining access to the sources has always been a struggle for musicologists. Only a few years ago, studying a particular source meant first locating the relevant sources using printed bibliographies, writing to the holding library, and then waiting for a microfilm to be prepared and sent out. The process could take months and be unpredictably expensive, with no guarantee of success. Such an obstacle seriously reduced the breadth of research musicologists could reasonably envisage, with a consequent inclination toward close-reading approaches on a restricted set of sources. With the coming of the digital world, the situation changed. Many resources are now available online, including the bibliographic finding aids, which makes locating sources significantly easier. Collections are being digitized and made accessible online, which greatly facilitates access to them for musicologists. This is also the case for secondary sources. Some projects are composer-specific, such as the Digital Archive of the Beethoven-Haus, others are repertoire-oriented, such as the digital image archive for medieval manuscripts (DIAMM) or based on a particular library collection, such as the Julliard Manuscript Collection, to cite only three examples. In the archives, digital cameras are often allowed and can be used to capture sources quickly. It is now straightforward for scholars to store thousands of images on their personal computer, in the cloud, or even share them on community websites, although this in its turn raises new copyright concerns. What other issues need to be addressed? Digital access in musicology is still overwhelmingly linked to images. Several important digital musicology research projects, such as the OCVE and the Edirom projects, focusing mostly on philological issues have been very successful in relying extensively on digital image resources (Bradley and Vetch, 2007; Bohl et al., 2011). However, digital musicology projects that address a wide range of other issues, such as music analysis or music searching, require access to the music itself in digital form, are referred to as content-based resources. Musicology has never been behind other disciplines for experimenting with computational approaches in these domains, quite on the Frontiers in Digital Humanities | www.frontiersin.org August 2015 | Volume 2 | Article 4 1 Pugin Data in digital musicology contrary. However, obtaining or accessing high quality datasets remains a serious hurdle, especially on a large scale, in a similar way to accessing sources a couple of decades ago. It is a major barrier that needs to be removed if digital musicology research is to be taken to the next level. Several initiatives have laid down the basis for large-scale content-based resources. First and foremost, the CCARH with its KernScores repository 1 , which represents years of careful data creation and curation is made available for research and is an invaluable contribution. The Josquin Research Project (JRP 2) at Stanford is a groundbreaking project that is currently building a considerable dataset of pieces of Josquin des Prez and of other composers of the time (1400–1500). Another is the Electronic Locator of Vertical Interval Successions project at McGill Uni-versity (ELVIS 3). These two projects pursue similar goals and follow more or less comparable strategies: respectively creating or collecting a large collection of data and making it accessi-ble and analyzable by integrating state-of-the-art analysis tools Humdrum and Music21. Their output in terms of counterpoint analysis is a breakthrough and opens new perspectives for style analysis and composition attribution. The use of the harmonic and melodic intervals in ELVIS illuminates areas in which inno-vative research might be needed to address the question of how to represent music appropriately for such corpus-based analysis undertakings. These are undoubtedly models to follow, but they also illustrate how much still needs to be done. They hold a few thousand pieces 4

@Article{          riley2015-sonata,
    author       = {Riley, Matthew},
    year         = {2015},
    title        = {The sonata principle reformulated for Haydn post-1770 and
                   a typology of his recapitulatory strategies},
    doi          = {10.1080/02690403.2015.1008862},
    issn         = {02690403},
    journal      = {Journal of the Royal Musical Association},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {1--39},
    volume       = {140}
}

@Article{          schubert.ea2015-another,
    author       = {Schubert, Peter and Cumming, Julie},
    year         = {2015},
    title        = {Another lesson from Lassus: Using computers to analyse
                   counterpoint},
    abstract     = {The authors report on experiments they have run using the
                   computer to search a small corpus of Renaissance pieces
                   (the famous Lassus duos of 1577) for recurring
                   contrapuntal combinations. They liken these combinations
                   (or 'modules' as Jessie Ann Owens has called them) to
                   words in a text, and the process of finding them, to work
                   done by linguists such as John Sinclair on large corpora
                   of text. The program used was devised by a team at McGill
                   University as part of the ELVIS ('Electronic Locator of
                   Vertical Interval Successions') project. The interval
                   successions are identified by the vertical intervals and
                   the melodic motions that connect them, in the manner of
                   Tinctoris's counterpoint treatise (1477), which
                   illustrates most of the possible ways two vertical
                   intervals can be connected. The authors find that some
                   short interval successions appear, as we would expect, in
                   repetitions of thematic material (i.e. as parts of
                   soggetti associated with specific text phrases). Others,
                   however, occur in apparently run-of-the-mill counterpoint:
                   in the middle of words, in the middle of melismas, across
                   phrase boundaries and embellished in a variety of ways.
                   These often exhibit surprising consistency as to semitone
                   position and possible modal associations. [ABSTRACT FROM
                   AUTHOR]},
    doi          = {10.1093/em/cav088},
    issn         = {03061078},
    journal      = {Early Music},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {4},
    pages        = {577--586},
    url          = {https://www.academia.edu/20226339/Another_Lesson_from_Lassus_Using_Computers_to_Analyze_Counterpoint},
    volume       = {43}
}

The authors report on experiments they have run using the computer to search a small corpus of Renaissance pieces (the famous Lassus duos of 1577) for recurring contrapuntal combinations. They liken these combinations (or 'modules' as Jessie Ann Owens has called them) to words in a text, and the process of finding them, to work done by linguists such as John Sinclair on large corpora of text. The program used was devised by a team at McGill University as part of the ELVIS ('Electronic Locator of Vertical Interval Successions') project. The interval successions are identified by the vertical intervals and the melodic motions that connect them, in the manner of Tinctoris's counterpoint treatise (1477), which illustrates most of the possible ways two vertical intervals can be connected. The authors find that some short interval successions appear, as we would expect, in repetitions of thematic material (i.e. as parts of soggetti associated with specific text phrases). Others, however, occur in apparently run-of-the-mill counterpoint: in the middle of words, in the middle of melismas, across phrase boundaries and embellished in a variety of ways. These often exhibit surprising consistency as to semitone position and possible modal associations. [ABSTRACT FROM AUTHOR]

@PhDThesis{        sousa2015-perspectivas,
    author       = {de Sousa, Daniel Moreira},
    year         = {2015},
    title        = {Perspectivas para a an{\'{a}}lise textural a partir da
                   media{\c{c}}{\~{a}}o entre a Teoria dos Contornos e a
                   An{\'{a}}lise Particional},
    abstract     = {O Contorno Textural é uma proposta original que surge a
                   partir de uma nova aplicação da Teoria dos Contornos
                   Musicais, desenvolvida principalmente por Friedmann
                   (1985), Morris (1987) e Marvin e Laprade (1987), no campo
                   textural, através da utilização de alguns conceitos
                   da Análise Particional (GENTIL-NUNES e CARVALHO, 2003). O
                   principal objetivo do Contorno Textural é permitir a
                   realização de um estudo aprofundado das progressões
                   texturais através da observação de uma curva de
                   complexidade textural, constituída a partir da
                   aplicação do conceito de abstração de níveis da
                   Teoria dos Contornos na organização hierárquica das
                   configurações texturais. São destacadas algumas
                   ferramentas conceituais tanto da Teoria dos Contornos
                   quanto da Análise Particional utilizadas na
                   formulação do Contorno Textural. Um conjunto de
                   ferramentas e conceitos originais elaborados durante a
                   pesquisa são demonstrados em pequenos exemplos de
                   diferentes compositores. A abordagem analítica é
                   explorada na análise da Introdução da Sagração da
                   Primavera de Igor Stravinsky (1913/1989) e do Prélude
                   à L'après-midi d'un faune de Claude Debussy
                   (1892/1981), considerando também possíveis relações
                   entre a textura e o contorno melódico de seus
                   respectivos temas iniciais. A aplicação em processo
                   criativo foi realizada na obra Skyline para vibrafone
                   solo, cujo as escolhas texturais, assim como a
                   definição de outros parâmetros como o espaço de
                   alturas, o ritmo e o andamento, foram norteadas pela
                   escolha prévia de um contorno. Três aplicativos
                   computacionais foram desenvolvidos para facilitar a
                   implementação da presente proposta e suas
                   características e funções são detalhadas:
                   Operadores Particionais (GENTIL-NUNES; MOREIRA, 2013),
                   Contour Analyzer (MOREIRA, 2014c) e Jacquard (MOREIRA,
                   2015b).},
    keywords     = {Análise Musical,Análise
                   Particional,Composição,Progressão Textural,Teoria
                   dos Contornos,music contour},
    mendeley-tags= {music contour},
    school       = {Universidade Federal do Rio de Janeiro},
    type         = {Disserta{\c{c}}{\~{a}}o de mestrado},
    url          = {https://www.dropbox.com/s/7ak966u7k7rt4x0/Perspectivas
                   para a an{\'{a}}lise textural a partir da
                   media{\c{c}}{\~{a}}o entre a Teoria dos Contornos e a
                   An{\'{a}}lise Particional %28Daniel Moreira%29.pdf?dl=0
                   https://www.academia.edu/14877490/Perspectivas_para_a_an{\'{a}}lise_textural_a}
}

O Contorno Textural é uma proposta original que surge a partir de uma nova aplicação da Teoria dos Contornos Musicais, desenvolvida principalmente por Friedmann (1985), Morris (1987) e Marvin e Laprade (1987), no campo textural, através da utilização de alguns conceitos da Análise Particional (GENTIL-NUNES e CARVALHO, 2003). O principal objetivo do Contorno Textural é permitir a realização de um estudo aprofundado das progressões texturais através da observação de uma curva de complexidade textural, constituída a partir da aplicação do conceito de abstração de níveis da Teoria dos Contornos na organização hierárquica das configurações texturais. São destacadas algumas ferramentas conceituais tanto da Teoria dos Contornos quanto da Análise Particional utilizadas na formulação do Contorno Textural. Um conjunto de ferramentas e conceitos originais elaborados durante a pesquisa são demonstrados em pequenos exemplos de diferentes compositores. A abordagem analítica é explorada na análise da Introdução da Sagração da Primavera de Igor Stravinsky (1913/1989) e do Prélude à L'après-midi d'un faune de Claude Debussy (1892/1981), considerando também possíveis relações entre a textura e o contorno melódico de seus respectivos temas iniciais. A aplicação em processo criativo foi realizada na obra Skyline para vibrafone solo, cujo as escolhas texturais, assim como a definição de outros parâmetros como o espaço de alturas, o ritmo e o andamento, foram norteadas pela escolha prévia de um contorno. Três aplicativos computacionais foram desenvolvidos para facilitar a implementação da presente proposta e suas características e funções são detalhadas: Operadores Particionais (GENTIL-NUNES; MOREIRA, 2013), Contour Analyzer (MOREIRA, 2014c) e Jacquard (MOREIRA, 2015b).

@InProceedings{    wei.ea2015-tonal,
    author       = {Wei{\ss}, Christof and Muller, Meinard},
    year         = {2015},
    title        = {Tonal complexity features for style classification of
                   classical music},
    abstract     = {We propose a set of novel audio features for classifying
                   the style of classical music. The features rely on
                   statistical measures based on a chroma feature
                   representation of the audio data and describe the tonal
                   complexity of the music, independently from the
                   orchestration or timbre of the music. To analyze this
                   property, we use a dataset containing piano and orchestral
                   music from four general historical periods including
                   Baroque, Classical, Romantic, and Modern. By applying
                   dimensionality reduction techniques, we derive
                   visualizations that demonstrate the discriminative power
                   of the features with regard to the music styles. In
                   classification experiments, we evaluate the features'
                   performance using an SVM classifier. We investigate the
                   influence of artist filtering with respect to the
                   individual composers on the classification performance. In
                   all experiments, we compare the results to the performance
                   of standard features. We show that the introduced features
                   capture meaningful properties of musical style and are
                   robust to timbral variations. {\textcopyright} 2015 IEEE.},
    booktitle    = {ICASSP, IEEE International Conference on Acoustics,
                   Speech and Signal Processing - Proceedings},
    doi          = {10.1109/ICASSP.2015.7178057},
    isbn         = {9781467369978},
    issn         = {15206149},
    keywords     = {Musical Style Classification,Tonal Features,music
                   analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {June 2016},
    pages        = {688--692}
}

We propose a set of novel audio features for classifying the style of classical music. The features rely on statistical measures based on a chroma feature representation of the audio data and describe the tonal complexity of the music, independently from the orchestration or timbre of the music. To analyze this property, we use a dataset containing piano and orchestral music from four general historical periods including Baroque, Classical, Romantic, and Modern. By applying dimensionality reduction techniques, we derive visualizations that demonstrate the discriminative power of the features with regard to the music styles. In classification experiments, we evaluate the features' performance using an SVM classifier. We investigate the influence of artist filtering with respect to the individual composers on the classification performance. In all experiments, we compare the results to the performance of standard features. We show that the introduced features capture meaningful properties of musical style and are robust to timbral variations. © 2015 IEEE.

@Article{          birson2014-use,
    author       = {Birson, Adem Merter},
    year         = {2014},
    title        = {The Use of Minor Mode and Playing With Sonority in the
                   Expositions of Haydn's String Quartets, Opp. 9 and 17},
    abstract     = {Haydn's early string quartets have been receiving more
                   scholarly attention than previously within the last
                   decade. Whether they treat these works as part of larger
                   discussions of the entire ouvre of Haydn's quartets, or as
                   the focus of studies in their own right, scholars have
                   recently been willing to break from the traditional focus
                   on quartets beginning from Op. 33 and allow for deeper
                   engagement with the early quartets on terms more broadly
                   conceived. This study aims to add to the growing body of
                   knowledge on Opp. 9 and 17 by demonstrating how the first
                   movements of Op. 9 no. 1 in C major, Op. 17 no. 2 in F
                   major and Op. 17 no. 6 in D major each employ the minor
                   mode at analogous moments in the exposition, with a
                   disruptive effect on both the harmonic progression and the
                   emotional register of the music. The impact of these modal
                   digressions is analyzed, as they lead to climactic moments
                   of fixation on a dissonant sonority. This momentarily
                   freezes all four voices of the ensemble in a chromatic
                   harmony that lends an expressive, at times even eccentric,
                   character to the tonal drama. Thus important musical
                   moments are uncovered, which have mostly gone unnoticed
                   due to a general lack of emphasis of the early quartets as
                   serious works. This approach opens up new avenues to
                   understanding of the harmonic and expressive capability of
                   Haydn's approach to sonata form.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {1--30},
    volume       = {4}
}

Haydn's early string quartets have been receiving more scholarly attention than previously within the last decade. Whether they treat these works as part of larger discussions of the entire ouvre of Haydn's quartets, or as the focus of studies in their own right, scholars have recently been willing to break from the traditional focus on quartets beginning from Op. 33 and allow for deeper engagement with the early quartets on terms more broadly conceived. This study aims to add to the growing body of knowledge on Opp. 9 and 17 by demonstrating how the first movements of Op. 9 no. 1 in C major, Op. 17 no. 2 in F major and Op. 17 no. 6 in D major each employ the minor mode at analogous moments in the exposition, with a disruptive effect on both the harmonic progression and the emotional register of the music. The impact of these modal digressions is analyzed, as they lead to climactic moments of fixation on a dissonant sonority. This momentarily freezes all four voices of the ensemble in a chromatic harmony that lends an expressive, at times even eccentric, character to the tonal drama. Thus important musical moments are uncovered, which have mostly gone unnoticed due to a general lack of emphasis of the early quartets as serious works. This approach opens up new avenues to understanding of the harmonic and expressive capability of Haydn's approach to sonata form.

@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}
}

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.

@Article{          cortens2014-expositions,
    author       = {Cortens, Evan},
    year         = {2014},
    title        = {The Expositions of Haydn's String Quartets: A Corpus
                   Analysis},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    url          = {https://www.rit.edu/affiliate/haydn/expositions-haydn's-string-quartets-corpus-analysis},
    volume       = {4}
}

@Article{          david.ea2014-vers,
    author       = {David, Laurent and Giraud, Mathieu and Groult, Richard
                   and Lev{\'{e}}, Florence and Louboutin, Corentin},
    year         = {2014},
    title        = {Vers une analyse automatique des formes sonates},
    journal      = {Journ{\'{e}}es d'Informatique Musicale (JIM 2014)},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {113--118},
    url          = {https://hal.archives-ouvertes.fr/hal-01009166/document}
}

@PhDThesis{        donato2014-statistical,
    author       = {Donato, Stephanie M},
    year         = {2014},
    title        = {Statistical Analysis and Graphic Representation of the
                   Correlation of Bach and Chopin Preludes},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    school       = {University of Vermont},
    type         = {Honors College Thesis},
    url          = {https://scholarworks.uvm.edu/hcoltheses/25/}
}

@InProceedings{    giraud.ea2014-towards,
    author       = {Giraud, Mathieu and Lev{\'{e}}, Florence and Mercier,
                   Florent and Rigaudi{\`{e}}re, Marc and Thorez, Donatien},
    year         = {2014},
    title        = {Towards modeling texture in symbolic data},
    booktitle    = {Proceedings of 15th International Society for Music
                   Information Retrieval Conference},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {59--64}
}

@Article{          grave2014-listening,
    author       = {Grave, Floyd K.},
    year         = {2014},
    title        = {Listening for Tertiary Rhetoric in Haydn's Op. 77 String
                   Quartets},
    abstract     = {In a pair of recent essays, Elaine Sisman has advanced a
                   novel approach to the critical analysis of
                   eighteenth-century instrumental works whose invention and
                   publication fall within the familiar custom of the opus
                   group. Citing George Kennedy's distinction between two
                   species of rhetoric—primary (the speech act itself) and
                   secondary (involved with the reflective practice of
                   rhetorical analysis)—Sisman proposes a third kind, a
                   tertiary rhetoric by which we may imagine the works in an
                   opus group to be engaged in conversation among themselves.
                   Because the rhetorical field envisaged by Sisman's concept
                   normally comprises a full set of six works (or two
                   sub-groups of three each), the possibilities of tertiary
                   rhetoric are naturally limited in an opus that a composer
                   has left unfinished—limited but not necessarily
                   vitiated. In a famous case of the unfinished opus, Haydn's
                   Op. 77, which comprises just two quartets, we can discern
                   an array of complementary relationships, stylistic
                   dichotomies, and telling points of intersection by which
                   the two pieces are variously opposed or bound together.
                   The strands of an imaginary dialogue are thus in place, a
                   musical conversation from which fresh insight into the
                   music and its composer can be gained as we listen to the
                   quartets' discourse over such topics as tonal orientation,
                   thematic construction, motivic process, ensemble play,
                   rhetorical strategy, and the ingredients of structural
                   cohesion.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {Spring},
    pages        = {1--27},
    volume       = {4}
}

In a pair of recent essays, Elaine Sisman has advanced a novel approach to the critical analysis of eighteenth-century instrumental works whose invention and publication fall within the familiar custom of the opus group. Citing George Kennedy's distinction between two species of rhetoric—primary (the speech act itself) and secondary (involved with the reflective practice of rhetorical analysis)—Sisman proposes a third kind, a tertiary rhetoric by which we may imagine the works in an opus group to be engaged in conversation among themselves. Because the rhetorical field envisaged by Sisman's concept normally comprises a full set of six works (or two sub-groups of three each), the possibilities of tertiary rhetoric are naturally limited in an opus that a composer has left unfinished—limited but not necessarily vitiated. In a famous case of the unfinished opus, Haydn's Op. 77, which comprises just two quartets, we can discern an array of complementary relationships, stylistic dichotomies, and telling points of intersection by which the two pieces are variously opposed or bound together. The strands of an imaginary dialogue are thus in place, a musical conversation from which fresh insight into the music and its composer can be gained as we listen to the quartets' discourse over such topics as tonal orientation, thematic construction, motivic process, ensemble play, rhetorical strategy, and the ingredients of structural cohesion.

@PhDThesis{        gustar2014-statistics,
    author       = {Gustar, Andrew},
    year         = {2014},
    title        = {Statistics in Historical Musicology},
    keywords     = {music and mathematics},
    mendeley-tags= {music and mathematics},
    school       = {Open University},
    type         = {Ph.D. Dissertation}
}

@Article{          hunter2014-unisons,
    author       = {Hunter, Mary},
    year         = {2014},
    title        = {Unisons in Haydn's String Quartets by Mary Hunter},
    abstract     = {In this essay, I build on Janet Levy's work on the
                   signification of unisons, and that of Armin Raab on their
                   structural functions in Haydn's quartets to examine how
                   unisons convey meanings in these works. I argue that one
                   of the most salient characteristics of the unison in the
                   quartets is its capacity for both syntactic and semantic
                   ambiguity. I also briefly discuss the peculiar status on
                   the unison in a genre especially valued for its complex
                   “conversational” textures. I.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {Spring},
    volume       = {4}
}

In this essay, I build on Janet Levy's work on the signification of unisons, and that of Armin Raab on their structural functions in Haydn's quartets to examine how unisons convey meanings in these works. I argue that one of the most salient characteristics of the unison in the quartets is its capacity for both syntactic and semantic ambiguity. I also briefly discuss the peculiar status on the unison in a genre especially valued for its complex “conversational” textures. I.

@Article{          mackay2014-sonata,
    author       = {MacKay, James S.},
    year         = {2014},
    title        = {Sonata form Experimentation in Joseph Haydn's String
                   Quartets, Opus 17},
    abstract     = {In 1963, Jens Peter Larsen published an article entitled
                   “Sonata Form Problems,” in which he outlines some of
                   Haydn's unique solutions to sonata-exposition structures.
                   Using Larsen's hypotheses, coupled with William Caplin's
                   insights in Classical Form, and James Hepokoski and Warren
                   Darcy's ground-breaking Elements of Sonata Theory, I will
                   examine the diversity of Haydn's formal procedures in
                   certain movements of his oft-neglected Opus 17 string
                   quartets of 1771. These works provide a staggering array
                   of sonata-form possibilities, many of which deviate
                   provocatively from the High Classical sonata form model.
                   In a brief overview of the Opus 17 quartets' 17
                   sonata-form movements (presented in tabular form), we will
                   explore the diversity of Haydn's formal procedures. Four
                   of James Hepokoski and Warren Darcy's five sonata-form
                   “types” (from their Elements of Sonata Theory) are
                   employed in Opus 17: Type 1 sonatas (which lack a
                   development section), Type 2 sonatas (which omit the main
                   theme from the recapitulation), Type 3 sonatas (the
                   “textbook” form), and Type 4 sonatas (a sonata-rondo
                   blend). Following this overview, we will turn in depth to
                   three specific movements from this opus: the slow
                   movements of Opus 17, nos. 1 and 3, and the sonata-rondo
                   finale of Opus 17, no. 1. In these works, Haydn's fondness
                   for anomalous thematic structures will be explored and
                   examined as viable alternatives to normative sonata-form
                   design. Haydn's formal inventiveness in his Opus 17
                   quartets strongly suggests that he was not seeking to
                   problematize sonata form, but rather, positing a wide
                   range of solutions for the balance of thematic and
                   developmental activity in these works.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {1--31},
    url          = {https://www.rit.edu/affiliate/haydn/sonata-form-experimentation-joseph-haydn's-string-quartets-opus-17},
    volume       = {4}
}

In 1963, Jens Peter Larsen published an article entitled “Sonata Form Problems,” in which he outlines some of Haydn's unique solutions to sonata-exposition structures. Using Larsen's hypotheses, coupled with William Caplin's insights in Classical Form, and James Hepokoski and Warren Darcy's ground-breaking Elements of Sonata Theory, I will examine the diversity of Haydn's formal procedures in certain movements of his oft-neglected Opus 17 string quartets of 1771. These works provide a staggering array of sonata-form possibilities, many of which deviate provocatively from the High Classical sonata form model. In a brief overview of the Opus 17 quartets' 17 sonata-form movements (presented in tabular form), we will explore the diversity of Haydn's formal procedures. Four of James Hepokoski and Warren Darcy's five sonata-form “types” (from their Elements of Sonata Theory) are employed in Opus 17: Type 1 sonatas (which lack a development section), Type 2 sonatas (which omit the main theme from the recapitulation), Type 3 sonatas (the “textbook” form), and Type 4 sonatas (a sonata-rondo blend). Following this overview, we will turn in depth to three specific movements from this opus: the slow movements of Opus 17, nos. 1 and 3, and the sonata-rondo finale of Opus 17, no. 1. In these works, Haydn's fondness for anomalous thematic structures will be explored and examined as viable alternatives to normative sonata-form design. Haydn's formal inventiveness in his Opus 17 quartets strongly suggests that he was not seeking to problematize sonata form, but rather, positing a wide range of solutions for the balance of thematic and developmental activity in these works.

@InProceedings{    rodriguez-lopez.ea2014-symbolic,
    author       = {Rodr{\'{i}}guez-L{\'{o}}pez, Marcelo and Volk, Anja},
    year         = {2014},
    title        = {Symbolic Segmentation: A Corpus-Based Analysis of Melodic
                   Phrases},
    abstract     = {Gestalt-based segmentation models constitute the current
                   state of the art in automatic segmentation of melodies.
                   These models commonly assume that segment boundary
                   perception is mainly triggered by local discontinuities,
                   i.e. by abrupt changes in pitch and/or duration between
                   neighbouring notes. This paper presents a statistical
                   study of a large corpus of boundary-annotated vocal
                   melodies to test this assumption. The study focuses on
                   analysing the statistical behaviour of pitch and duration
                   in the neighbourhood of annotated phrase boundaries. Our
                   analysis shows duration discontinuities to be
                   statistically regular and homogeneous, and contrarily
                   pitch discontinuities to be irregular and heterogeneous.
                   We conclude that pitch discontinuities, when modelled as a
                   local and idiom-independent phenomenon, can only serve as
                   a weak predictor of segment boundary perception in vocal
                   melodies.},
    address      = {Cham},
    booktitle    = {Proc. 10th International Symposium on Computer Music
                   Multidisciplinary Research (CMMR)},
    editor       = {Aramaki, Mitsuko and Derrien, Olivier and
                   Kronland-Martinet, Richard and Ystad, S{\o}lvi},
    isbn         = {978-3-319-12976-1},
    keywords     = {Interval Size,Music Information Retrieval,Phrase
                   Boundary,Pitch Interval,Segmentation Model,music
                   information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {548--557},
    publisher    = {Springer International Publishing},
    url          = {https://link.springer.com/chapter/10.1007/978-3-319-12976-1_33}
}

Gestalt-based segmentation models constitute the current state of the art in automatic segmentation of melodies. These models commonly assume that segment boundary perception is mainly triggered by local discontinuities, i.e. by abrupt changes in pitch and/or duration between neighbouring notes. This paper presents a statistical study of a large corpus of boundary-annotated vocal melodies to test this assumption. The study focuses on analysing the statistical behaviour of pitch and duration in the neighbourhood of annotated phrase boundaries. Our analysis shows duration discontinuities to be statistically regular and homogeneous, and contrarily pitch discontinuities to be irregular and heterogeneous. We conclude that pitch discontinuities, when modelled as a local and idiom-independent phenomenon, can only serve as a weak predictor of segment boundary perception in vocal melodies.

@Article{          rumph2014-what,
    author       = {Rumph, Stephen},
    year         = {2014},
    title        = {What Beethoven learned from K464},
    doi          = {10.1017/S1478570613000377},
    journal      = {Eighteenth Century Music},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    pages        = {55--77},
    publisher    = {Cambridge University Press},
    volume       = {11}
}

@InProceedings{    serra2014-creating,
    author       = {Serra, Xavier},
    year         = {2014},
    title        = {Creating research corpora for the computational study of
                   music: The case of the CompMusic project},
    abstract     = {A fundamental concern in music information research is
                   the use of appropriate data sets, research corpora, from
                   which to perform the needed data processing tasks. These
                   corpora have to be suited for the specific research
                   problems to be addressed and the design criteria with
                   which to create them is a research task to which not much
                   attention has been paid. In the CompMusic project we are
                   studying several non-western art music traditions and a
                   major effort has been the creation of appropriate data
                   collections with which to study and characterise the
                   melodic and rhythmic aspects of these traditions. In this
                   article we go over the criteria used to create these
                   collections and we describe the specificities of each of
                   the collections gathered.},
    address      = {London, UK},
    booktitle    = {Proceedings of the AES International Conference},
    isbn         = {9781632662842},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {1--9},
    url          = {https://repositori.upf.edu/bitstream/handle/10230/44221/serra_aes53_crea.pdf?sequence=1&isAllowed=y}
}

A fundamental concern in music information research is the use of appropriate data sets, research corpora, from which to perform the needed data processing tasks. These corpora have to be suited for the specific research problems to be addressed and the design criteria with which to create them is a research task to which not much attention has been paid. In the CompMusic project we are studying several non-western art music traditions and a major effort has been the creation of appropriate data collections with which to study and characterise the melodic and rhythmic aspects of these traditions. In this article we go over the criteria used to create these collections and we describe the specificities of each of the collections gathered.

@InProceedings{    wei.ea2014-quantifying,
    author       = {Wei{\ss}, Christof and M{\"{u}}ller, Meinard},
    year         = {2014},
    title        = {Quantifying and Visualizing Tonal Complexity},
    abstract     = {In Western classical music, the structure of a piece is
                   reinforced by the contrasting harmonic nature of its
                   sections. The structural parts are characterized by the
                   presence of certain chords or chord changes. A section
                   that is harmonically stable may be followed by a
                   contrasting section that feels unstable or tense. In the
                   sonata form, for example, the unstable development part is
                   located between the stable exposition and recapitulation
                   phases. In this paper, we try to measure this kind of
                   harmonic stability and present visualizations for such
                   analyses. To this end, we propose novel features for
                   quantifying tonal complexity and discuss their
                   musicological implications. The features are based on
                   statistical measures calculated from chroma
                   representations of the music recording. The
                   characteristics of tonal complexity apply to different
                   time scales. To illustrate this time scale dependence for
                   the proposed features, we use hierarchical visualizations
                   based on previously introduced scape plot representations.
                   On a fine temporal level, tonal complexity is related the
                   character of chords or scales. For example, in a
                   modulating transition phase, we usually find more complex
                   chords than at the beginning of a piece. To analyze such
                   differences, we study the feature values for isolated
                   chords. Looking at a coarser level, the presence of
                   modulations is an indication for a segment's complexity.
                   In the sonata form, for example, the development usually
                   contains several modulations. To account for this
                   property, we calculate the complexity features based on a
                   coarse resolution of the chroma features. For evaluation
                   of this coarse-scale complexity, we analyze Beethoven's
                   sonatas where we find higher complexity in the development
                   parts.},
    address      = {Berlin},
    booktitle    = {Proceedings ofthe 9th Conference on Interdisciplinary
                   Musicology},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {January 2014},
    url          = {https://www.researchgate.net/publication/303667504_Quantifying_and_Visualizing_Tonal_Complexity}
}

In Western classical music, the structure of a piece is reinforced by the contrasting harmonic nature of its sections. The structural parts are characterized by the presence of certain chords or chord changes. A section that is harmonically stable may be followed by a contrasting section that feels unstable or tense. In the sonata form, for example, the unstable development part is located between the stable exposition and recapitulation phases. In this paper, we try to measure this kind of harmonic stability and present visualizations for such analyses. To this end, we propose novel features for quantifying tonal complexity and discuss their musicological implications. The features are based on statistical measures calculated from chroma representations of the music recording. The characteristics of tonal complexity apply to different time scales. To illustrate this time scale dependence for the proposed features, we use hierarchical visualizations based on previously introduced scape plot representations. On a fine temporal level, tonal complexity is related the character of chords or scales. For example, in a modulating transition phase, we usually find more complex chords than at the beginning of a piece. To analyze such differences, we study the feature values for isolated chords. Looking at a coarser level, the presence of modulations is an indication for a segment's complexity. In the sonata form, for example, the development usually contains several modulations. To account for this property, we calculate the complexity features based on a coarse resolution of the chroma features. For evaluation of this coarse-scale complexity, we analyze Beethoven's sonatas where we find higher complexity in the development parts.

@InProceedings{    anagnostopoulou.ea2013-melodic,
    author       = {Anagnostopoulou, Christina and Giraud, Mathieu and
                   Poulakis, Nick},
    year         = {2013},
    title        = {Melodic contour representations in the analysis of
                   children's songs},
    address      = {Utrecht, Netherlands},
    booktitle    = {Proceedings of the Third International Workshop on Folk
                   Music Analysis},
    editor       = {van Kranenburg, Peter and Anagnostopoulou, Christina and
                   Volk, Anja},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {40--43}
}

@InProceedings{    gentil-nunes2013-partitional,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2013},
    title        = {Partitional Analysis and Rhythmic Partitioning:
                   Mediations Between Rhythm and Texture},
    address      = {Vilnius, Lituania},
    booktitle    = {13th International Music Theory Conference},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {44--51},
    url          = {http://pmc.lmta.lt/EN.html}
}

@Article{          huron2013-virtuous,
    author       = {Huron, David},
    year         = {2013},
    title        = {On the Virtuous and the Vexatious in an Age of Big Data},
    doi          = {10.1525/mp.2013.31.1.4},
    issn         = {0730-7829},
    journal      = {Music Perception},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    month        = {sep},
    number       = {1},
    pages        = {4--9},
    url          = {https://online.ucpress.edu/mp/article/31/1/4/62591/On-the-Virtuous-and-the-Vexatious-in-an-Age-of-Big},
    volume       = {31}
}

@Article{          ludwig2013-expecting,
    author       = {Ludwig, Alexander Raymond},
    year         = {2013},
    title        = {Expecting the Unexpected: Haydn's Three-Part
                   Expositions},
    doi          = {10.7202/1015482ar},
    issn         = {1209-3696},
    journal      = {Lumen: Selected Proceedings from the Canadian Society for
                   Eighteenth-Century Studies},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    pages        = {31},
    url          = {https://www.erudit.org/en/journals/lumen/2013-v32-lumen0563/1015482ar/
                   http://id.erudit.org/iderudit/1015482ar},
    volume       = {32}
}

@Article{          mackay2013-franz,
    author       = {MacKay, James S.},
    year         = {2013},
    title        = {Franz Joseph Haydn and the Five-Octave Classical
                   Keyboard: Registral Extremes, Formal Emphases and Tonal
                   Strategies},
    abstract     = {The Classical keyboard in its various forms (harpsichord,
                   clavichord and fortepiano) typically had a modest
                   five-octave range (FF–f 3 ) prior to ca. 1800. This
                   essay examines how this range influenced the tonal shape
                   of Joseph Haydn's keyboard music written after 1765. The
                   author explores how Haydn used registral extremes to
                   emphasize major formal junctures, cadences and
                   modulations. Finally, he explores how the presence or
                   absence of the keyboard's extreme pitches contributes to
                   key character, examining the different contexts in which
                   Haydn uses them in three tonalities: D minor, C major and
                   A major. Avant environ 1800, les diff{\'{e}}rentes formes
                   d'instruments {\`{a}} clavier classiques (clavecin,
                   clavicorde et pianoforte) comportaient un modeste ambitus
                   de cinq octaves (de deux octaves et demie sous le do
                   central {\`{a}} fa deux octaves et demie au-dessus du do
                   central). Le pr{\'{e}}sent essai analyse comment cet
                   ambitus influe sur le contour tonal de la musique pour
                   clavier de Joseph Haydn, {\'{e}}crite apr{\`{e}}s 1765.
                   L'auteur d{\'{e}}montre comment Haydn utilisait les
                   extr{\'{e}}mit{\'{e}}s du registre pour mettre en relief
                   les principaux points de jonction formels, les cadences et
                   les modulations importantes. Enfin, il signale comment la
                   pr{\'{e}}sence ou l'absence des hauteurs extr{\^{e}}mement
                   graves ou aigu{\"{e}}s du clavier contribue {\`{a}}
                   accentuer le caract{\`{e}}re de la tonalit{\'{e}}. Pour ce
                   faire, il {\'{e}}tudie diff{\'{e}}rents contextes dans
                   lesquels Haydn les emploie : r{\'{e}} mineur, do majeur et la majeur.},
    doi          = {10.7202/1014521ar},
    issn         = {0710-0353},
    journal      = {Canadian University Music Review},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1-2},
    pages        = {126--144},
    volume       = {23}
}

The Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f 3 ) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major. Avant environ 1800, les différentes formes d'instruments à clavier classiques (clavecin, clavicorde et pianoforte) comportaient un modeste ambitus de cinq octaves (de deux octaves et demie sous le do central à fa deux octaves et demie au-dessus du do central). Le présent essai analyse comment cet ambitus influe sur le contour tonal de la musique pour clavier de Joseph Haydn, écrite après 1765. L'auteur démontre comment Haydn utilisait les extrémités du registre pour mettre en relief les principaux points de jonction formels, les cadences et les modulations importantes. Enfin, il signale comment la présence ou l'absence des hauteurs extrêmement graves ou aiguës du clavier contribue à accentuer le caractère de la tonalité. Pour ce faire, il étudie différents contextes dans lesquels Haydn les emploie : ré mineur, do majeur et la majeur.

@Article{          sampaio.ea2013-implementation,
    author       = {{Sampaio}, {Marcos da Silva} and Kroger, Pedro and
                   Menezes, Mara Pinheiro and da Rocha, Jean Menezes and
                   Ourives, Natanael de Souza and de Carvalho, Dennis
                   Queiroz},
    year         = {2013},
    title        = {The Implementation of a Contour Module for Music21},
    journal      = {ART Music Review},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    url          = {http://www.revista-art.com/the-implementation-of-a-contour-module-for-music21},
    volume       = {24}
}

@Article{          savage.ea2013-toward,
    author       = {Savage, Patrick and Brown, Steven},
    year         = {2013},
    title        = {Toward a new comparative musicology},
    abstract     = {We propose a return to the forgotten agenda of
                   comparative musicology, one that is updated with the
                   paradigms of modern evolutionary theory and scientific
                   methodology. Ever since the field of comparative
                   musicology became redefined as ethnomusicology in the
                   mid-20th century, its original research agenda has been
                   all but abandoned by musicologists, not least the
                   overarching goal of cross-cultural musical comparison. We
                   outline here five major themes that underlie the
                   re-establishment of comparative musicology: (1)
                   classification, (2) cultural evolution, (3) human history,
                   (4) universals, and (5) biological evolution. Throughout
                   the article, we clarify key ideological, methodological
                   and terminological objections that have been levied
                   against musical comparison. Ultimately, we argue for an
                   inclusive, constructive, and multidisciplinary field that
                   analyzes the world's musical diversity, from the broadest
                   of generalities to the most culture-specific particulars,
                   with the aim of synthesizing the full range of theoretical
                   perspectives and research methodologies available.},
    doi          = {10.31234/osf.io/q3egp},
    journal      = {Analytical Approaches to World Music},
    keywords     = {Biomusicology,Constructive,Ethnomusicology,Humanities,Ideology,Musicology,Problem
                   of universals,Psychology,Scientific method,Social
                   science,Sociocultural evolution,computational musicology},
    mendeley-tags= {computational musicology},
    number       = {2},
    pages        = {148--197},
    url          = {https://www.researchgate.net/publication/283088191_Toward_a_new_comparative_musicology},
    volume       = {2}
}

We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world's musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available.

@Book{             tabachnick.ea2013-using,
    author       = {Tabachnick, Barbara G. and Fidell, Linda S.},
    year         = {2013},
    title        = {Using multivariate statistics},
    address      = {Boston Munich},
    edition      = {6. ed., international ed},
    series       = {Always learning},
    isbn         = {978-0-205-89081-1 978-1-292-02131-7},
    language     = {eng},
    publisher    = {Pearson},
    annote       = {Previous ed.: Boston, Mass.; London: Allyn and Bacon,
                   2006. - Includes bibliographical references and index}
}

@Article{          temperley.ea2013-statistical,
    author       = {Temperley, David and de Clercq, Trevor},
    year         = {2013},
    title        = {Statistical Analysis of Harmony and Melody in Rock
                   Music},
    abstract     = {We present a corpus of harmonic analyses and melodic
                   tran- scriptions of rock songs. After explaining the
                   creation and notation of the corpus, we present results of
                   some explorations of the corpus data. We begin by
                   considering the overall dis- tribution of scale-degrees in
                   rock. We then address the issue of key-finding: how the
                   key of a rock song can be identified from harmonic and
                   melodic information. Considering both the distribution of
                   melodic scale-degrees and the distribution of chords
                   (roots), as well as the metrical placement of chords,
                   leads to good key-finding performance. Finally, we discuss
                   how songs within the corpus might be categorized with
                   regard to their pitch organization. Statistical
                   categorization methods point to a clustering of songs that
                   resembles the major/minor distinction in common-practice
                   music, though with some im- portant differences. 1.},
    doi          = {10.1080/09298215.2013.839525},
    issn         = {17445027},
    journal      = {Journal of New Music Research},
    keywords     = {statistics},
    mendeley-tags= {statistics},
    number       = {3},
    pages        = {187--204},
    url          = {http://davidtemperley.com/wp-content/uploads/2015/11/temperley-declercq-jnmr.pdf},
    volume       = {42}
}

We present a corpus of harmonic analyses and melodic tran- scriptions of rock songs. After explaining the creation and notation of the corpus, we present results of some explorations of the corpus data. We begin by considering the overall dis- tribution of scale-degrees in rock. We then address the issue of key-finding: how the key of a rock song can be identified from harmonic and melodic information. Considering both the distribution of melodic scale-degrees and the distribution of chords (roots), as well as the metrical placement of chords, leads to good key-finding performance. Finally, we discuss how songs within the corpus might be categorized with regard to their pitch organization. Statistical categorization methods point to a clustering of songs that resembles the major/minor distinction in common-practice music, though with some im- portant differences. 1.

@Book{             triola2013-elementary,
    author       = {Triola, Mario F.},
    year         = {2013},
    title        = {Elementary Statistics},
    address      = {Boston},
    doi          = {10.1136/bmj.1.5135.1458},
    edition      = {10},
    isbn         = {9780808924395},
    issn         = {0959-8138},
    keywords     = {statistics},
    mendeley-tags= {statistics},
    publisher    = {Pearson Addison Wesley}
}

@PhDThesis{        white2013-some,
    author       = {White, Christopher William},
    year         = {2013},
    title        = {Some Statistical Properties of Tonality, 1650-1900},
    abstract     = {This dissertation investigates the statistical properties
                   present within corpora of common practice music, involving
                   a data set of more than 8,000 works spanning from 1650 to
                   1900, and focusing specifically on the properties of the
                   chord progressions contained therein. In the first
                   chapter, methodologies concerning corpus analysis are
                   presented and contrasted with text-based methodologies. It
                   is argued that corpus analyses not only can show
                   large-scale trends within data, but can empirically test
                   and formalize traditional or inherited music theories,
                   while also modeling corpora as a collection of discursive
                   and communicative materials. Concerning the idea of corpus
                   analysis as an analysis of discourse, literature
                   concerning musical communication and learning is reviewed,
                   and connections between corpus analysis and statistical
                   learning are explored. After making this connection, we
                   explore several problems with models of musical
                   communication (e.g., music's composers and listeners
                   likely use different cognitive models for their respective
                   production and interpretation) and several implications of
                   connecting corpora to cognitive models (e.g., a model's
                   dependency on a particular historical situation). Chapter
                   2 provides an overview of literature concerning
                   computational musical analysis. The divide between
                   top-down systems and bottom-up systems is discussed, and
                   examples of each are reviewed. The chapter ends with an
                   examination of more recent applications of information
                   theory in music analysis. Chapter 3 considers various ways
                   corpora can be grouped as well as the implications those
                   grouping techniques have on notions of musical style. It
                   is hypothesized that the evolution of musical style can be
                   modeled through the interaction of corpus statistics,
                   chronological eras, and geographic contexts. This idea is
                   tested by quantifying the probabilities of various
                   composers' chord progressions, and cluster analyses are
                   performed on these data. Various ways to divide and group
                   corpora are considered, modeled, and tested. In the fourth
                   chapter, this dissertation investigates notions of
                   harmonic vocabulary and syntax, hypothesizing that music
                   involves syntactic regularity in much the same way as
                   occurs in spoken languages. This investigation first
                   probes this hypothesis through a corpus analysis of the
                   Bach chorales, identifying potential syntactic/functional
                   categories using a Hidden Markov Model. The analysis
                   produces a three-function model as well as models with
                   higher numbers of functions. In the end, the data suggest
                   that music does indeed involve regularities, while also
                   arguing for a definition of chord function that adds
                   subtlety to models used by traditional music theory. A
                   number of implications are considered, including the
                   interaction of chord frequency and chord function, and the
                   preeminence of triads in the resulting syntactic models.
                   Chapter 5 considers a particularly difficult problem of
                   corpus analysis as it relates to musical vocabulary and
                   syntax: the variegated and complex musical surface. One
                   potential algorithm for vocabulary reduction is presented.
                   This algorithm attempts to change each chord within an
                   n-grams to its subset or superset that maximizes the
                   probability of that trigram occurring. When a corpus of
                   common-practice music is processed using this algorithm, a
                   standard tertian chord vocabulary results, along with a
                   bigram chord syntax that adheres to our intuitions
                   concerning standard chord function. In the sixth chapter,
                   this study probes the notion of musical key as it concerns
                   communication, suggesting that if musical practice is
                   constrained by its point in history and progressions of
                   chords exhibit syntactic regularities, then one should be
                   able to build a key-finding model that learns to identify
                   key by observing some historically situated corpus. Such a
                   model is presented, and is trained on the music of a
                   variety of different historical periods. The model then
                   analyzes two famous moments of musical ambiguity: the
                   openings of Beethoven's Eroica and Wagner's prelude to
                   Tristan und Isolde. The results confirm that different
                   corpus-trained models produce subtly different behavior.
                   The dissertation ends by considering several general and
                   summarizing issues, for instance the notion that there are
                   many historically-situated tonal models within Western
                   music history, and that the difference between listening
                   and compositional models likely accounts for the gap
                   between the complex statistics of the tonal tradition and
                   traditional concepts in music theory.},
    isbn         = {9781303715631},
    keywords     = {0290:Linguistics,0413:Music,Communication and the
                   arts,Computation,Data
                   mining,Language,Linguistics,Modeling,Music,Music
                   theory,Musicology,literature and linguistics,music and
                   mathematics},
    mendeley-tags= {music and mathematics},
    number       = {December},
    pages        = {332},
    pmid         = {1495950055},
    school       = {Yale University},
    type         = {Ph.D. Dissertation},
    url          = {https://search.proquest.com/docview/1495950055?accountid=26641%5Cnhttp://link.periodicos.capes.gov.br/sfxlcl41?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&genre=dissertations+%26+theses&sid=ProQ:ProQuest+Dissertations+%26+Theses+Glob}
}

This dissertation investigates the statistical properties present within corpora of common practice music, involving a data set of more than 8,000 works spanning from 1650 to 1900, and focusing specifically on the properties of the chord progressions contained therein. In the first chapter, methodologies concerning corpus analysis are presented and contrasted with text-based methodologies. It is argued that corpus analyses not only can show large-scale trends within data, but can empirically test and formalize traditional or inherited music theories, while also modeling corpora as a collection of discursive and communicative materials. Concerning the idea of corpus analysis as an analysis of discourse, literature concerning musical communication and learning is reviewed, and connections between corpus analysis and statistical learning are explored. After making this connection, we explore several problems with models of musical communication (e.g., music's composers and listeners likely use different cognitive models for their respective production and interpretation) and several implications of connecting corpora to cognitive models (e.g., a model's dependency on a particular historical situation). Chapter 2 provides an overview of literature concerning computational musical analysis. The divide between top-down systems and bottom-up systems is discussed, and examples of each are reviewed. The chapter ends with an examination of more recent applications of information theory in music analysis. Chapter 3 considers various ways corpora can be grouped as well as the implications those grouping techniques have on notions of musical style. It is hypothesized that the evolution of musical style can be modeled through the interaction of corpus statistics, chronological eras, and geographic contexts. This idea is tested by quantifying the probabilities of various composers' chord progressions, and cluster analyses are performed on these data. Various ways to divide and group corpora are considered, modeled, and tested. In the fourth chapter, this dissertation investigates notions of harmonic vocabulary and syntax, hypothesizing that music involves syntactic regularity in much the same way as occurs in spoken languages. This investigation first probes this hypothesis through a corpus analysis of the Bach chorales, identifying potential syntactic/functional categories using a Hidden Markov Model. The analysis produces a three-function model as well as models with higher numbers of functions. In the end, the data suggest that music does indeed involve regularities, while also arguing for a definition of chord function that adds subtlety to models used by traditional music theory. A number of implications are considered, including the interaction of chord frequency and chord function, and the preeminence of triads in the resulting syntactic models. Chapter 5 considers a particularly difficult problem of corpus analysis as it relates to musical vocabulary and syntax: the variegated and complex musical surface. One potential algorithm for vocabulary reduction is presented. This algorithm attempts to change each chord within an n-grams to its subset or superset that maximizes the probability of that trigram occurring. When a corpus of common-practice music is processed using this algorithm, a standard tertian chord vocabulary results, along with a bigram chord syntax that adheres to our intuitions concerning standard chord function. In the sixth chapter, this study probes the notion of musical key as it concerns communication, suggesting that if musical practice is constrained by its point in history and progressions of chords exhibit syntactic regularities, then one should be able to build a key-finding model that learns to identify key by observing some historically situated corpus. Such a model is presented, and is trained on the music of a variety of different historical periods. The model then analyzes two famous moments of musical ambiguity: the openings of Beethoven's Eroica and Wagner's prelude to Tristan und Isolde. The results confirm that different corpus-trained models produce subtly different behavior. The dissertation ends by considering several general and summarizing issues, for instance the notion that there are many historically-situated tonal models within Western music history, and that the difference between listening and compositional models likely accounts for the gap between the complex statistics of the tonal tradition and traditional concepts in music theory.

@InProceedings{    wiering.ea2013-digital,
    author       = {Wiering, Frans and Benetos, Emmanouil},
    year         = {2013},
    title        = {Digital Musicology and MIR : Papers , Projects and
                   Challenges},
    abstract     = {In this paper we report on the ISMIR 2013 Demo and Late
                   Breaking Session entitled Digital Musicology and MIR. Five
                   papers were discussed as examples of interest- ing MIR
                   contributions to musicology. Two important projects,
                   Transforming Musicology and CompMusic, were briefly
                   presented. Finally, this paper reports the first results
                   of a questionnaire about challenges from Digital
                   Musicology for MIR research. The most important out- comes
                   are that lack of suitable musical data is still an im-
                   portant obstacle and that there is a great demand for
                   tools and methods that make integrated access and analysis
                   of symbolic and audio data possible.},
    address      = {Curitiba},
    booktitle    = {Proceedings of the 14th International Society for Music
                   Information Retrieval Conference},
    editor       = {{Brito Jr}, Alceu de Souza and Gouyen, Fabien and Dixon,
                   Simon},
    keywords     = {music information retrieval},
    mendeley-tags= {music information retrieval},
    pages        = {2--5},
    url          = {http://www.staff.science.uu.nl/$\sim$wieri103/publications/WieringBenetosDigitalMusicologyAndMIRfinal.pdf}
}

In this paper we report on the ISMIR 2013 Demo and Late Breaking Session entitled Digital Musicology and MIR. Five papers were discussed as examples of interest- ing MIR contributions to musicology. Two important projects, Transforming Musicology and CompMusic, were briefly presented. Finally, this paper reports the first results of a questionnaire about challenges from Digital Musicology for MIR research. The most important out- comes are that lack of suitable musical data is still an im- portant obstacle and that there is a great demand for tools and methods that make integrated access and analysis of symbolic and audio data possible.

@Article{          bakulina2012-loosening,
    author       = {Bakulina, Olga Ellen},
    year         = {2012},
    title        = {The Loosening Role of Polyphony: Texture and Formal
                   Functions in Mozart's “Haydn” Quartets},
    abstract     = {This essay demonstrates that texture can act as a
                   form-defining factor by focusing on one specific textural
                   type: imitative polyphony. Mozart's six quartets dedicated
                   to Haydn illustrate this claim. Building on William
                   Caplin's form-functional theory and his distinction
                   between tight-knit and loose organization, imitative
                   texture is shown to serve two purposes: as a loosening
                   device, and as a means of textural and phrase-structural
                   contrast. To deepen our understanding of polyphony's
                   formal and expressive roles, two new concepts are
                   proposed: contrast pair and imitative presentation. The
                   contrast-pair principle is then explored in select
                   Viennese quartets by Mozart's contemporaries.},
    doi          = {10.7202/1018577ar},
    issn         = {1918-512X},
    journal      = {Intersections: Canadian Journal of Music},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    month        = {sep},
    number       = {1-2},
    pages        = {7--42},
    url          = {http://id.erudit.org/iderudit/1018577ar},
    volume       = {32}
}

This essay demonstrates that texture can act as a form-defining factor by focusing on one specific textural type: imitative polyphony. Mozart's six quartets dedicated to Haydn illustrate this claim. Building on William Caplin's form-functional theory and his distinction between tight-knit and loose organization, imitative texture is shown to serve two purposes: as a loosening device, and as a means of textural and phrase-structural contrast. To deepen our understanding of polyphony's formal and expressive roles, two new concepts are proposed: contrast pair and imitative presentation. The contrast-pair principle is then explored in select Viennese quartets by Mozart's contemporaries.

@Article{          ludwig2012-hepokoski,
    author       = {Ludwig, Alexander},
    year         = {2012},
    title        = {Hepokoski and Darcy's Haydn},
    abstract     = {In their massive book Elements of Sonata Theory, James
                   Hepokoski and Warren Darcy frequently allude to or
                   explicitly detail Joseph Haydn's well- known proclivity
                   for using humor and wit. By constantly qualifying Haydn's
                   music as witty or humorous, they succeed only in
                   marginalizing both Haydn and his music. But given Haydn's
                   status and influence as a composer in the late eighteenth
                   century, this marginalization, historically speaking,
                   hardly seems accurate. I propose two modifications that
                   will enhance the overall effectiveness of Hepokoski and
                   Darcy's theory, particularly as it relates to Haydn's
                   compositional practices, and thereby soften the theory's
                   current marginalization of Haydn. First, extracting the
                   concept of "deformation" entirely and replacing it with a
                   lower-level default will allow the direct examination of
                   defaults between composers instead of juxtaposing defaults
                   and deformations. Second, reconfiguring the foundational
                   binary opposition from "two-part" or "continuous"
                   expositions to those "with" or "without" medial caesuras
                   will effectively open for consideration the previously
                   excluded "three-part" exposition, a structural type
                   prominent in Haydn's works. These two changes will help
                   Hepokoski and Darcy's sonata theory to more fair-mindedly
                   consider Haydn's music, thereby reshaping their theory
                   into a more versatile, robust, and historically faithful
                   tool.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {2},
    pages        = {1--27},
    volume       = {2}
}

In their massive book Elements of Sonata Theory, James Hepokoski and Warren Darcy frequently allude to or explicitly detail Joseph Haydn's well- known proclivity for using humor and wit. By constantly qualifying Haydn's music as witty or humorous, they succeed only in marginalizing both Haydn and his music. But given Haydn's status and influence as a composer in the late eighteenth century, this marginalization, historically speaking, hardly seems accurate. I propose two modifications that will enhance the overall effectiveness of Hepokoski and Darcy's theory, particularly as it relates to Haydn's compositional practices, and thereby soften the theory's current marginalization of Haydn. First, extracting the concept of "deformation" entirely and replacing it with a lower-level default will allow the direct examination of defaults between composers instead of juxtaposing defaults and deformations. Second, reconfiguring the foundational binary opposition from "two-part" or "continuous" expositions to those "with" or "without" medial caesuras will effectively open for consideration the previously excluded "three-part" exposition, a structural type prominent in Haydn's works. These two changes will help Hepokoski and Darcy's sonata theory to more fair-mindedly consider Haydn's music, thereby reshaping their theory into a more versatile, robust, and historically faithful tool.

@PhDThesis{        sampaio2012-teoria,
    author       = {{Sampaio}, {Marcos da Silva}},
    year         = {2012},
    title        = {A Teoria de Rela{\c{c}}{\~{o}}es de Contornos Musicais:
                   inconsist{\^{e}}ncias, solu{\c{c}}{\~{o}}es e ferramentas},
    abstract     = {Contorno {\'{e}} o perfil, desenho ou formato de um
                   objeto. Em M{\'{u}}sica, contornos podem ser
                   abstra{\'{i}}dos de qualquer par{\^{a}}metro, como altura,
                   densidade, ritmo, timbre, e intensidade. O estudo de
                   rela{\c{c}}{\~{o}}es de contornos musicais {\'{e}}
                   importante porque tais rela{\c{c}}{\~{o}}es s{\~{a}}o
                   facilmente reconhec{\'{i}}veis auditivamente por
                   m{\'{u}}sicos e leigos, e porque, assim como conjuntos de
                   notas e motivos, contornos podem ajudar a dar
                   coer{\^{e}}ncia a uma obra musical. A Teoria de
                   Rela{\c{c}}{\~{o}}es de Contornos Musicais foi
                   desenvolvida por autores como Michael L. Friedmann, Robert
                   D. Morris, e Elizabeth W. Marvin e Paul Laprade. Esta
                   teoria fornece conceitos e opera{\c{c}}{\~{o}}es que
                   ajudam a dar precis{\~{a}}o no estudo das
                   rela{\c{c}}{\~{o}}es de contornos musicais. Eu descobri
                   que o algoritmo de forma prima de classes de contornos
                   equivalentes de Marvin e Laprade {\'{e}} inconsistente.
                   Baseado na inconsist{\^{e}}ncia deste algoritmo, levantei
                   duas hip{\'{o}}teses: a Teoria dos Contornos cont{\'{e}}m
                   inconsist{\^{e}}ncias em outros pontos al{\'{e}}m deste
                   algoritmo; e a inconsist{\^{e}}ncia deste algoritmo
                   implica em erros nos desdobramentos e nos resultados das
                   an{\'{a}}lises de obras musicais baseadas nesta teoria.
                   Este trabalho teve duas partes. A primeira teve como
                   objetivo principal verificar a exist{\^{e}}ncia de
                   inconsist{\^{e}}ncias na Teoria dos Contornos e propor
                   solu{\c{c}}{\~{o}}es. A segunda teve como objetivo compor
                   um grupo de composi{\c{c}}{\~{o}}es com eventual uso de
                   rela{\c{c}}{\~{o}}es de contornos musicais. A metodologia
                   de verifica{\c{c}}{\~{a}}o de inconsist{\^{e}}ncias
                   consistiu no desenvolvimento do programa MusiContour e na
                   realiza{\c{c}}{\~{a}}o de testes funcionais. Ent{\~{a}}o,
                   programei e testei um conjunto de 37 opera{\c{c}}{\~{o}}es
                   e conceitos da Teoria dos Contornos. Com a pesquisa que
                   originou este trabalho pude verificar que a primeira
                   hip{\'{o}}tese, das inconsist{\^{e}}ncias em outros pontos
                   da Teoria dos Contornos, {\'{e}} verdadeira, e que a
                   segunda hip{\'{o}}tese, do impacto da inconsist{\^{e}}ncia
                   do algoritmo de Marvin e Laprade, {\'{e}} falsa. Os
                   principais resultados deste trabalho s{\~{a}}o os novos
                   algoritmos de forma prima de classes de contornos
                   equivalentes e de redu{\c{c}}{\~{a}}o de contornos,
                   revis{\~{a}}o de conceitos, opera{\c{c}}{\~{o}}es,
                   defini{\c{c}}{\~{a}}o de novas opera{\c{c}}{\~{o}}es, o
                   programa MusiContour, a organiza{\c{c}}{\~{a}}o
                   did{\'{a}}tica do texto sobre a teoria, e a composi{\c{c}}{\~{a}}o e apresenta{\c{c}}{\~{a}}o de sete obras musicais.},
    keywords     = {Composi{\c{c}}{\~{a}}o Musical,Contornos
                   musicais,Programa de computador para M{\'{u}}sica,Teoria
                   Musical,Teoria de Rela{\c{c}}{\~{o}}es de Contornos
                   Musicais,music contour},
    mendeley-tags= {music contour},
    pages        = {230},
    school       = {Universidade Federal da Bahia},
    type         = {Ph.D. Thesis},
    url          = {https://repositorio.ufba.br/ri/handle/ri/10555}
}

Contorno é o perfil, desenho ou formato de um objeto. Em Música, contornos podem ser abstraídos de qualquer parâmetro, como altura, densidade, ritmo, timbre, e intensidade. O estudo de relações de contornos musicais é importante porque tais relações são facilmente reconhecíveis auditivamente por músicos e leigos, e porque, assim como conjuntos de notas e motivos, contornos podem ajudar a dar coerência a uma obra musical. A Teoria de Relações de Contornos Musicais foi desenvolvida por autores como Michael L. Friedmann, Robert D. Morris, e Elizabeth W. Marvin e Paul Laprade. Esta teoria fornece conceitos e operações que ajudam a dar precisão no estudo das relações de contornos musicais. Eu descobri que o algoritmo de forma prima de classes de contornos equivalentes de Marvin e Laprade é inconsistente. Baseado na inconsistência deste algoritmo, levantei duas hipóteses: a Teoria dos Contornos contém inconsistências em outros pontos além deste algoritmo; e a inconsistência deste algoritmo implica em erros nos desdobramentos e nos resultados das análises de obras musicais baseadas nesta teoria. Este trabalho teve duas partes. A primeira teve como objetivo principal verificar a existência de inconsistências na Teoria dos Contornos e propor soluções. A segunda teve como objetivo compor um grupo de composições com eventual uso de relações de contornos musicais. A metodologia de verificação de inconsistências consistiu no desenvolvimento do programa MusiContour e na realização de testes funcionais. Então, programei e testei um conjunto de 37 operações e conceitos da Teoria dos Contornos. Com a pesquisa que originou este trabalho pude verificar que a primeira hipótese, das inconsistências em outros pontos da Teoria dos Contornos, é verdadeira, e que a segunda hipótese, do impacto da inconsistência do algoritmo de Marvin e Laprade, é falsa. Os principais resultados deste trabalho são os novos algoritmos de forma prima de classes de contornos equivalentes e de redução de contornos, revisão de conceitos, operações, definição de novas operações, o programa MusiContour, a organização didática do texto sobre a teoria, e a composição e apresentação de sete obras musicais.

@Article{          volk.ea2012-melodic,
    author       = {Volk, Anja and van Kranenburg, Peter},
    year         = {2012},
    title        = {Melodic similarity among folk songs: An annotation study
                   on similarity-based categorization in music},
    doi          = {10.1177/1029864912448329},
    issn         = {1029-8649},
    journal      = {Musicae Scientiae},
    keywords     = {categorization,melodic similarity,music
                   similarity,musical features,tune families},
    mendeley-tags= {music similarity},
    number       = {0},
    pages        = {317--339},
    volume       = {16}
}

@Misc{             wong2012-feature-based,
    author       = {Wong, Lawson},
    year         = {2012},
    title        = {Feature-Based Analysis of Haydn String Quartets},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {1--11},
    url          = {https://ocw.mit.edu/courses/music-and-theater-arts/21m-269-studies-in-western-music-history-quantitative-and-computational-approaches-to-music-history-spring-2012/assignments/MIT21M_269S12_assn_final1.pdf}
}

@PhDThesis{        bellmann2011-categorization,
    author       = {Bellmann, H{\'{e}}ctor G.},
    year         = {2011},
    title        = {Categorization of Tonal Music Style: A quantitative
                   investigation},
    keywords     = {between-measures index,entropy,global average dot
                   product,intermodal in- dex,key determination,modulation
                   index,music analysis,music data mining,music pattern
                   recognition,music stylometry,musicXML,musical style
                   taxonomy,notation complexity,quantitative music
                   research,rhythm pattern,style classification,style
                   theory,tonal music style,within-measures index},
    mendeley-tags= {music analysis},
    number       = {December},
    school       = {Griffith University},
    type         = {Ph.D. Dissertation},
    url          = {https://www120.secure.griffith.edu.au/rch/file/1cf4aba7-cf39-ef53-ec9e-4708168fd5ca/1/Bellmann_2012_02Thesis.pdf}
}

@PhDThesis{        burgoyne2011-stochastic,
    author       = {Burgoyne, John Ashley},
    year         = {2011},
    title        = {Stochastic processes and database-driven Musicology},
    abstract     = {For more than a decade, music information science and
                   musicology have been at what Nicholas Cook has described
                   as a 'moment of opportunity' for collaboration on
                   database-driven musicology. The literature contains
                   relatively few examples of mathematical tools that are
                   suitable for analysing temporally structured data like
                   music, however, and there are surprisingly few large
                   databases of music that contain information at the
                   semantic levels of interest to musicologists. This
                   dissertation compiles a bibliography of the most important
                   concepts from probability and statistics for analysing
                   musical data, reviews how previous researchers have used
                   statistics to study temporal relationships in music, and
                   presents a new corpus of carefully curated chord labels
                   from more than 1000 popular songs from the latter half of
                   the twentieth century, as ranked by Billboard magazine's
                   Hot 100 chart. The corpus is based on a careful sampling
                   methodology that maintained cost efficiency while ensuring
                   that the corpus is well suited to drawing conclusions
                   about how harmonic practises may have evolved over time
                   and to what extent they may have affected songs'
                   popularity. This dissertation also introduces techniques
                   new to the musicological community for analysing databases
                   of this size and scope, most importantly the
                   Dirichlet-multinomial distribution and constraint-based
                   structure learning for causal Bayesian networks. The
                   analysis confirms some common intuitions about harmonic
                   practises in popular music and suggests several intriguing
                   directions for further research.},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    school       = {McGill University},
    type         = {Ph.D. Thesis},
    url          = {https://escholarship.mcgill.ca/concern/theses/d217qt98k?locale=en}
}

For more than a decade, music information science and musicology have been at what Nicholas Cook has described as a 'moment of opportunity' for collaboration on database-driven musicology. The literature contains relatively few examples of mathematical tools that are suitable for analysing temporally structured data like music, however, and there are surprisingly few large databases of music that contain information at the semantic levels of interest to musicologists. This dissertation compiles a bibliography of the most important concepts from probability and statistics for analysing musical data, reviews how previous researchers have used statistics to study temporal relationships in music, and presents a new corpus of carefully curated chord labels from more than 1000 popular songs from the latter half of the twentieth century, as ranked by Billboard magazine's Hot 100 chart. The corpus is based on a careful sampling methodology that maintained cost efficiency while ensuring that the corpus is well suited to drawing conclusions about how harmonic practises may have evolved over time and to what extent they may have affected songs' popularity. This dissertation also introduces techniques new to the musicological community for analysing databases of this size and scope, most importantly the Dirichlet-multinomial distribution and constraint-based structure learning for causal Bayesian networks. The analysis confirms some common intuitions about harmonic practises in popular music and suggests several intriguing directions for further research.

@Article{          burstein2011-true,
    author       = {Burstein, L. Poundie},
    year         = {2011},
    title        = {True or False? Re-Assessing the Voice-Leading Role of
                   Haydn's So-Called “False Recapitulations”},
    journal      = {Journal of Schenkerian Studies},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    pages        = {1--37},
    volume       = {5}
}

@PhDThesis{        collins2011-improved,
    author       = {Thomas Edward Collins},
    year         = {2011},
    title        = {Improved methods for pattern discovery in music, with
                   applications in automated stylistic composition},
    month        = {August},
    school       = {The Open University},
    url          = {https://oro.open.ac.uk/30103/},
    abstract     = {Computational methods for intra-opus pattern discovery
                   (discovering repeated patterns within a piece of music)
                   and stylistic composition (composing in the style of
                   another composer or period) can offer insights into how
                   human listeners and composers undertake such activities.
                   Two studies are reported that demonstrate improved
                   computational methods for pattern discovery in music. In
                   the first, regression models are built with the aim of
                   predicting subjective assessments of a pattern's salience,
                   based on various quantifiable attributes of that pattern,
                   such as the number of notes it contains. Using variable
                   selection and cross-validation, a formula is derived for
                   rating the importance of a discovered pattern. In the
                   second study, a music analyst undertook intra-opus pattern
                   discovery for works by Domenico Scarlatti and Johann
                   Sebastian Bach, forming a benchmark of target patterns.
                   The performance of two existing algorithms and one of my
                   own creation, called SIACT (Structure Induction Algorithm
                   with Compactness Trawling), is evaluated by comparison
                   with this benchmark. SIACT out-performs the existing
                   algorithms with regard to recall and, more often than not,
                   precision. A third experiment is reported concerning human
                   judgements of music excerpts that are, to varying degrees,
                   in the style of mazurkas by Frededric Chopin. This acts as
                   an evaluation for two computational models of musical
                   style, called Racchman-Oct2010 and Racchmaninof-Oct2010
                   (standing for RAndom Constrained CHain of MArkovian Nodes
                   with INheritance Of Form), which are developed over two
                   chapters. The latter of these models applies SIACT and the
                   formula for rating pattern importance, using temporal and
                   registral positions of discovered patterns from an
                   existing template piece to guide the generation of a new
                   passage of music. The precision and runtime of pattern
                   discovery algorithms, and their use for audio
                   summarisation are among topics for future work. Data and
                   code related to this thesis is available on the
                   accompanying CD or at http://www.tomcollinsresearch.net}
}

Computational methods for intra-opus pattern discovery (discovering repeated patterns within a piece of music) and stylistic composition (composing in the style of another composer or period) can offer insights into how human listeners and composers undertake such activities. Two studies are reported that demonstrate improved computational methods for pattern discovery in music. In the first, regression models are built with the aim of predicting subjective assessments of a pattern's salience, based on various quantifiable attributes of that pattern, such as the number of notes it contains. Using variable selection and cross-validation, a formula is derived for rating the importance of a discovered pattern. In the second study, a music analyst undertook intra-opus pattern discovery for works by Domenico Scarlatti and Johann Sebastian Bach, forming a benchmark of target patterns. The performance of two existing algorithms and one of my own creation, called SIACT (Structure Induction Algorithm with Compactness Trawling), is evaluated by comparison with this benchmark. SIACT out-performs the existing algorithms with regard to recall and, more often than not, precision. A third experiment is reported concerning human judgements of music excerpts that are, to varying degrees, in the style of mazurkas by Frededric Chopin. This acts as an evaluation for two computational models of musical style, called Racchman-Oct2010 and Racchmaninof-Oct2010 (standing for RAndom Constrained CHain of MArkovian Nodes with INheritance Of Form), which are developed over two chapters. The latter of these models applies SIACT and the formula for rating pattern importance, using temporal and registral positions of discovered patterns from an existing template piece to guide the generation of a new passage of music. The precision and runtime of pattern discovery algorithms, and their use for audio summarisation are among topics for future work. Data and code related to this thesis is available on the accompanying CD or at http://www.tomcollinsresearch.net

@InProceedings{    cruz-alcazar.ea2011-musical,
    author       = {Cruz-Alc{\'{a}}zar, Pedro P. and Vidal-Ruiz, Enrique and
                   P{\'{e}}rez-Cort{\'{e}}s, Juan C.},
    year         = {2011},
    title        = {Musical Style Identification Using Grammatical Inference:
                   The Encoding Problem},
    abstract     = {Un modelo de estilo identificaci{\'{o}}n musical basado
                   en inferencia gramatical (GI) se presenta. Bajo este
                   modelo, las gram{\'{a}}ticas regulares se utilizan para
                   modelar el estilo musical. Clasificaci{\'{o}}n de estilo
                   se puede utilizar para implementar o mejorar la
                   recuperaci{\'{o}}n de contenido basado en bases de datos
                   multimedia, la musicolog{\'{i}}a y educaci{\'{o}}n
                   musical. En este trabajo, varias t{\'{e}}cnicas de GI se
                   utilizan para aprender, a partir de ejemplos de
                   melod{\'{i}}as, una gram{\'{a}}tica estoc{\'{a}}stica para
                   cada uno de los tres estilos musicales diferentes. Luego,
                   cada una de las gram{\'{a}}ticas aprendido proporciona un
                   valor de confianza de una composici{\'{o}}n que pertenece
                   a la gram{\'{a}}tica, que puede ser utilizado para
                   clasificar las melod{\'{i}}as de prueba. Una
                   cuesti{\'{o}}n muy importante en este caso es el uso de un
                   esquema de codificaci{\'{o}}n de la m{\'{u}}sica adecuada,
                   los sistemas de codificaci{\'{o}}n que se presentan
                   diferentes y en comparaci{\'{o}}n, alcanzando una tasa de
                   error de clasificaci{\'{o}}n del 3%.ABSTRACTA Musical
                   Style Identification model based on Grammatical Inference
                   (GI) is presented. Under this model, regular grammars are
                   used for modeling Musical Style. Style Classification can
                   be used to implement or improve content based retrieval in
                   multimedia databases, musicology or music education. In
                   this work, several GI Techniques are used to learn, from
                   examples of melodies, a stochastic grammar for each of
                   three different musical styles. Then, each of the learned
                   grammars provides a confidence value of a composition
                   belonging to that grammar, which can be used to classify
                   test melodies. A very important issue in this case is the
                   use of a proper music coding scheme, so different coding
                   schemes are presented and compared, achieving a 3 %
                   classification error rate.},
    booktitle    = {Proc. Iberoamerican Congress on Pattern Recognition},
    doi          = {10.1007/978-3-540-24586-5_46},
    editor       = {Sanfeliu, A. and Shulcloper, J. Ruiz-},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    pages        = {375--382},
    publisher    = {Springer Berlin Heidelberg}
}

Un modelo de estilo identificación musical basado en inferencia gramatical (GI) se presenta. Bajo este modelo, las gramáticas regulares se utilizan para modelar el estilo musical. Clasificación de estilo se puede utilizar para implementar o mejorar la recuperación de contenido basado en bases de datos multimedia, la musicología y educación musical. En este trabajo, varias técnicas de GI se utilizan para aprender, a partir de ejemplos de melodías, una gramática estocástica para cada uno de los tres estilos musicales diferentes. Luego, cada una de las gramáticas aprendido proporciona un valor de confianza de una composición que pertenece a la gramática, que puede ser utilizado para clasificar las melodías de prueba. Una cuestión muy importante en este caso es el uso de un esquema de codificación de la música adecuada, los sistemas de codificación que se presentan diferentes y en comparación, alcanzando una tasa de error de clasificación del 3%.ABSTRACTA Musical Style Identification model based on Grammatical Inference (GI) is presented. Under this model, regular grammars are used for modeling Musical Style. Style Classification can be used to implement or improve content based retrieval in multimedia databases, musicology or music education. In this work, several GI Techniques are used to learn, from examples of melodies, a stochastic grammar for each of three different musical styles. Then, each of the learned grammars provides a confidence value of a composition belonging to that grammar, which can be used to classify test melodies. A very important issue in this case is the use of a proper music coding scheme, so different coding schemes are presented and compared, achieving a 3 % classification error rate.

@InProceedings{    cuthbert.ea2011-feature,
    author       = {Cuthbert, Michael Scott and Ariza, Christopher and
                   Friedland, Lisa},
    year         = {2011},
    title        = {Feature Extraction and Machine Learning on Symbolic Music
                   using the music21 Toolkit},
    booktitle    = {Proceedings of International Symposium on Music
                   Information Retrieval},
    url          = {http://ismir2011.ismir.net/papers/PS3-6.pdf}
}

@Article{          duncan2011-blurring,
    author       = {Duncan, Stuart Paul},
    year         = {2011},
    title        = {Blurring the Boundaries: Toward a Multivalent Reading of
                   Three First-Movement Sonata Forms in Haydn's Op. 50 String
                   Quartets},
    issn         = {1711-9235},
    journal      = {Musicological Explorations},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {0},
    pages        = {5--40},
    volume       = {12}
}

@Book{             keefe2011-mozarts,
    author       = {Keefe, Simon P.},
    year         = {2011},
    title        = {Mozart's Viennese instrumental music: A study of
                   stylistic re-invention},
    address      = {Woodbridge},
    isbn         = {9781843833192},
    keywords     = {music history},
    mendeley-tags= {music history},
    pages        = {1--217},
    publisher    = {Boydell Press}
}

@Article{          neuwirth2011-joseph,
    author       = {Neuwirth, Markus},
    year         = {2011},
    title        = {Joseph Haydn's “witty” play on Hepokoski and Darcy's
                   Elements of Sonata Theory. James Hepokoski/Warren Darcy,
                   Elements of Sonata Theory: Norms, Types, and Deformations
                   in the Late-Eighteenth-Century Sonata, New York: Oxford
                   University Press 2006.},
    abstract     = {This paper presents a detailed integration process for
                   XML schemata\ncalled BInXS. BInXS adopts a global-as-view
                   integration approach\nthat builds a global schema from a
                   set of heterogeneous XML schemata\nrelated to a same
                   application domain. This bottom-up approach maps\nall
                   element and attribute definitions in XML schemata to
                   correspondent\nconcepts at the global schema, allowing
                   access to all data available\nat the XML sources. The
                   integration process is semi-automatically\nperformed over
                   conceptual representations of the XML schemata,
                   which\nprovides a better understanding of the semantics of
                   the XML data\nto be unified. A conceptual schema is
                   generated by a set of conversion\nrules that are applied
                   to a schema definition for XML data. Once\nthis conceptual
                   schema is the result of a meticulous analysis of\nthe XML
                   logical model, it is able to abstract the
                   particularities\nof semistructured and XML data, like
                   elements with mixed contents\nand elements with
                   alternative representations. Therefore, the
                   further\nunification of such conceptual schemata
                   implicitly deals with structural\nconflicts inherent to
                   semistructured and XML data. In addition, BInXS\nsupports
                   a mapping strategy based on XPath expressions in order
                   to\nmaintain correspondences among global concepts and
                   data at the XML\nsources.},
    doi          = {10.31751/586},
    issn         = {1862-6742},
    journal      = {Zeitschrift der Gesellschaft f{\"{u}}r Musiktheorie
                   [Journal of the German-Speaking Society of Music Theory]},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {199--220},
    url          = {https://www.gmth.de/zeitschrift/artikel/586.aspx},
    volume       = {8}
}

This paper presents a detailed integration process for XML schemata\ncalled BInXS. BInXS adopts a global-as-view integration approach\nthat builds a global schema from a set of heterogeneous XML schemata\nrelated to a same application domain. This bottom-up approach maps\nall element and attribute definitions in XML schemata to correspondent\nconcepts at the global schema, allowing access to all data available\nat the XML sources. The integration process is semi-automatically\nperformed over conceptual representations of the XML schemata, which\nprovides a better understanding of the semantics of the XML data\nto be unified. A conceptual schema is generated by a set of conversion\nrules that are applied to a schema definition for XML data. Once\nthis conceptual schema is the result of a meticulous analysis of\nthe XML logical model, it is able to abstract the particularities\nof semistructured and XML data, like elements with mixed contents\nand elements with alternative representations. Therefore, the furtherνnification of such conceptual schemata implicitly deals with structural\nconflicts inherent to semistructured and XML data. In addition, BInXS\nsupports a mapping strategy based on XPath expressions in order to\nmaintain correspondences among global concepts and data at the XML\nsources.

@Article{          riley2011-haydns,
    author       = {Riley, Matthew},
    year         = {2011},
    title        = {Haydn's Missing Middles},
    abstract     = {Haydn's play on expectations and conventions and his
                   deliberate grammatical mistakes are well-known. Yet one
                   notable syntactic irregularity to be found in his music
                   has been overlooked: the use of a sentential theme which
                   lacks the first half of the continuation phrase (to use
                   the terms of William E. Caplin's functional theory of
                   Classical form). This type of theme moves straight from
                   its presentation phrase to its cadential progression, so
                   there is no pre-cadential section of the continuation
                   phrase which expresses a specifically medial function.
                   Moreover, the theme's dimensions are irregular: its second
                   part is only half the length of its first. Most cases of
                   the 'missing middle' occur in the main themes of sonata
                   allegros, the middle being supplied later in the movement,
                   usually in the subordinate theme. These points are
                   illustrated by brief analyses of the first movements of
                   Symphony No. 85 and the Sonata Hob. XVI:21, and a longer
                   analysis of the first movement of the Sonata Hob. XVI:49.
                   {\textcopyright} 2011 The Author. Music Analysis
                   {\textcopyright} 2011 Blackwell Publishing Ltd.},
    doi          = {10.1111/j.1468-2249.2011.00309.x},
    issn         = {02625245},
    journal      = {Music Analysis},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {37--57},
    volume       = {30}
}

Haydn's play on expectations and conventions and his deliberate grammatical mistakes are well-known. Yet one notable syntactic irregularity to be found in his music has been overlooked: the use of a sentential theme which lacks the first half of the continuation phrase (to use the terms of William E. Caplin's functional theory of Classical form). This type of theme moves straight from its presentation phrase to its cadential progression, so there is no pre-cadential section of the continuation phrase which expresses a specifically medial function. Moreover, the theme's dimensions are irregular: its second part is only half the length of its first. Most cases of the 'missing middle' occur in the main themes of sonata allegros, the middle being supplied later in the movement, usually in the subordinate theme. These points are illustrated by brief analyses of the first movements of Symphony No. 85 and the Sonata Hob. XVI:21, and a longer analysis of the first movement of the Sonata Hob. XVI:49. © 2011 The Author. Music Analysis © 2011 Blackwell Publishing Ltd.

@PhDThesis{        sapp2011-computational,
    author       = {Sapp, Craig Stuart},
    year         = {2011},
    title        = {Computational Methods for the Analysis of Musical
                   Structure},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    school       = {Stanford University},
    type         = {Ph.D. Dissertation},
    url          = {https://stacks.stanford.edu/file/druid:br237mp4161/dissertation-submitted-augmented.pdf}
}

@Article{          volk.ea2011-unfolding,
    author       = {Volk, Anja and Wiering, Frans and Kranenburg, Peter Van},
    year         = {2011},
    title        = {Unfolding the potential of computational musicology},
    journal      = {Proceedings of the13th International Conference on
                   Informatics and Semiotics in Organisations (ICISO)},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {137--144},
    url          = {http://www.cs.uu.nl/groups/MG/multimedia/publications/art/CompMus_Volketal.pdf}
}

@Article{          ammirante.ea2010-melodic,
    author       = {Ammirante, Paolo and Thompson, William Forde},
    year         = {2010},
    title        = {Melodic Accent as an Emergent Property of Tonal Motion},
    abstract     = {In a previous continuation tapping study (Ammirante,
                   Thompson, \& Russo, in press), each tap triggered a
                   discrete tone in a sequence randomly varying in pitch
                   height and contour. Although participants were instructed
                   to ignore the tones, pitch distance and pitch contour
                   influenced intertap interval (ITI) and tap velocity (TV).
                   The current study replicated these findings with original
                   melodies. Results were interpreted as an effect of
                   apparent tonal motion, with deviation in ITI and TV
                   mirroring implied tonal acceleration. Due to overlapping
                   perceptual and motor representations, participants may
                   have failed to disambiguate acceleration implied by tonal
                   motion from the acceleration of their finger trajectory.
                   Dissociative effects of pitch distance on ITI and pitch
                   contour on TV implied that pitch distance influences the
                   initial finger extension while pitch contour influences
                   later finger flexion. Acceleration in ITI and TV were also
                   both correlated with melodic accent strength values from
                   perceptual data (Thomassen, 1982), suggesting that
                   perception and production of melodic accent emerge from
                   shared action associations.},
    doi          = {10.18061/1811/47559},
    issn         = {1559-5749},
    journal      = {Empirical Musicology Review},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {3},
    pages        = {94--107},
    url          = {https://kb.osu.edu/handle/1811/47559},
    volume       = {5}
}

In a previous continuation tapping study (Ammirante, Thompson, & Russo, in press), each tap triggered a discrete tone in a sequence randomly varying in pitch height and contour. Although participants were instructed to ignore the tones, pitch distance and pitch contour influenced intertap interval (ITI) and tap velocity (TV). The current study replicated these findings with original melodies. Results were interpreted as an effect of apparent tonal motion, with deviation in ITI and TV mirroring implied tonal acceleration. Due to overlapping perceptual and motor representations, participants may have failed to disambiguate acceleration implied by tonal motion from the acceleration of their finger trajectory. Dissociative effects of pitch distance on ITI and pitch contour on TV implied that pitch distance influences the initial finger extension while pitch contour influences later finger flexion. Acceleration in ITI and TV were also both correlated with melodic accent strength values from perceptual data (Thomassen, 1982), suggesting that perception and production of melodic accent emerge from shared action associations.

@PhDThesis{        bakulina2010-polyphony,
    author       = {Bakulina, Olga},
    year         = {2010},
    title        = {Polyphony as a loosening technique in Mozart's Haydn
                   quartets},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    school       = {McGill University},
    type         = {MA Thesis},
    url          = {http://digitool.library.mcgill.ca/webclient/StreamGate?folder_id=0&dvs=1459686324642$\sim$853}
}

@Article{          burstein2010-mid-section,
    author       = {Burstein, L. Poundie},
    year         = {2010},
    title        = {Mid-section cadences in Haydn's sonata-form movements},
    doi          = {10.1556/SMus.51.2010.1-2.7},
    issn         = {00393266},
    journal      = {Studia Musicologica},
    keywords     = {Heinrich christoph koch,Joseph
                   haydn,Sonata-form,Third-level default medial caesura,music
                   analysis},
    mendeley-tags= {music analysis},
    number       = {1-2},
    pages        = {91--107},
    volume       = {51}
}

@Book{             caplin.ea2010-musical,
    author       = {Caplin, William Earl and Hepokoski, James A. and Webster,
                   James},
    year         = {2010},
    title        = {Musical Form, Forms \& Formenlehre: Three Methodological
                   Reflections},
    abstract     = {In Musical Form, Forms, and Formenlehre, three eminent
                   music theorists reflect on the fundamentals of "musical
                   form." They discuss how to analyze form in music and
                   question the relevance of analytical theories and methods
                   in general. They illustrate their basic concepts andc
                   oncerns by offering some concrete analyses of works by
                   Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven
                   (First and Pastoral Symphony, Egmont Overture, and Die
                   Ruinen von Athen Overture).The volume is divided into
                   three parts, focusing on Caplin's "theory of formal
                   functions," Hepokoski's concept of "dialogic form," and
                   Webster's method of "multivalent analysis" respectively.
                   Each part begins with a basic essay by one of the three
                   authors. Subsequently, the two opposing authors comment on
                   issues and analyses they consider to be problematic or
                   underdeveloped, in a style that ranges from the gently
                   critical to the overtly polemical. Finally, the author of
                   the initial essay is given the opportunity to reply to the
                   comments, and to further refine his own fundamental ideas
                   on musical form.},
    address      = {Leuven, Belgium},
    edition      = {2},
    isbn         = {9789058678225},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {179},
    publisher    = {Leuven University Press},
    url          = {https://books.google.com/books?id=YhAgAJDAK9sC&pgis=1}
}

In Musical Form, Forms, and Formenlehre, three eminent music theorists reflect on the fundamentals of "musical form." They discuss how to analyze form in music and question the relevance of analytical theories and methods in general. They illustrate their basic concepts andc oncerns by offering some concrete analyses of works by Mozart (Idomeneo Overture, Jupiter Symphony) and Beethoven (First and Pastoral Symphony, Egmont Overture, and Die Ruinen von Athen Overture).The volume is divided into three parts, focusing on Caplin's "theory of formal functions," Hepokoski's concept of "dialogic form," and Webster's method of "multivalent analysis" respectively. Each part begins with a basic essay by one of the three authors. Subsequently, the two opposing authors comment on issues and analyses they consider to be problematic or underdeveloped, in a style that ranges from the gently critical to the overtly polemical. Finally, the author of the initial essay is given the opportunity to reply to the comments, and to further refine his own fundamental ideas on musical form.

@Article{          conklin2010-discovery,
    author       = {Conklin, Darrell},
    year         = {2010},
    title        = {Discovery of distinctive patterns in music},
    abstract     = {This paper proposes a new view of pattern discovery in
                   music: inductive querying a corpus for maximally general
                   distinctive patterns. A pattern is distinctive if it is
                   over-represented with respect to an anticorpus, and
                   maximally general distinctive if no subsuming pattern is
                   also distinctive. An algorithm for maximally general
                   distinctive pattern discovery is presented and applied to
                   folk song melodies from three geographic regions, and to
                   chord sequences from three music genres. Distinctive
                   patterns are applicable to a wide range of music analysis
                   tasks where an anticorpus can be defined and contrasted
                   with an analysis corpus. {\textcopyright} 2010 - IOS Press
                   and the authors. All rights reserved.},
    doi          = {10.3233/IDA-2010-0438},
    editor       = {Conklin, Darrell and Anagnostopoulou, Christina and
                   Ramirez, Rafael},
    issn         = {15714128},
    journal      = {Intelligent Data Analysis},
    keywords     = {Pattern discovery,anticorpus,chord sequences,computer and
                   music,distinctive pattern,folk songs,subsumption},
    mendeley-tags= {computer and music},
    month        = {sep},
    number       = {5},
    pages        = {547--554},
    url          = {https://www.medra.org/servlet/aliasResolver?alias=iospress&doi=10.3233/IDA-2010-0438},
    volume       = {14}
}

This paper proposes a new view of pattern discovery in music: inductive querying a corpus for maximally general distinctive patterns. A pattern is distinctive if it is over-represented with respect to an anticorpus, and maximally general distinctive if no subsuming pattern is also distinctive. An algorithm for maximally general distinctive pattern discovery is presented and applied to folk song melodies from three geographic regions, and to chord sequences from three music genres. Distinctive patterns are applicable to a wide range of music analysis tasks where an anticorpus can be defined and contrasted with an analysis corpus. © 2010 - IOS Press and the authors. All rights reserved.

@InProceedings{    cuthbert.ea2010-music21,
    author       = {Cuthbert, Michael Scott and Ariza, Christopher},
    year         = {2010},
    title        = {Music21 A Toolkit for Computer-Aided Musicology and
                   Symbolic Music Data},
    booktitle    = {Proceedings of International Symposium on Music
                   Information Retrieval},
    keywords     = {music visualization,p1},
    mendeley-tags= {music visualization,p1},
    pages        = {637--642},
    url          = {http://ismir2010.ismir.net/proceedings/ismir2010-108.pdf}
}

@Article{          grier2010-reinstatement,
    author       = {Grier, James},
    year         = {2010},
    title        = {The Reinstatement of Polyphony in Musical Construction:
                   Fugal Finales in Haydn's Op. 20 String Quartets},
    doi          = {10.1525/jm.2010.27.1.55.JM2701},
    journal      = {The Journal of Musicology},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    pages        = {55--83},
    volume       = {27}
}

@PhDThesis{        harte2010-towards,
    author       = {Harte, Christopher},
    year         = {2010},
    title        = {Towards automatic extraction of harmony information from
                   music signals},
    keywords     = {Electronic Engineering,computer and music},
    mendeley-tags= {computer and music},
    school       = {Queen Mary, University of London},
    type         = {Ph.D. Dissertation},
    url          = {http://qmro.qmul.ac.uk/jspui/handle/123456789/534}
}

@Article{          mearns.ea2010-characterisation,
    author       = {Mearns, Lesley and Tidhar, Dan and Dixon, Simon},
    year         = {2010},
    title        = {Characterisation of composer style using high-level
                   musical features},
    address      = {New York, New York, USA},
    doi          = {10.1145/1878003.1878016},
    isbn         = {9781450301619},
    journal      = {Proceedings of 3rd international workshop on Machine
                   learning and music - MML '10},
    keywords     = {computer and music,counterpoint,machine
                   learning,music,style},
    mendeley-tags= {computer and music},
    pages        = {37},
    publisher    = {ACM Press},
    url          = {http://portal.acm.org/citation.cfm?doid=1878003.1878016}
}

@Article{          neuwirth2010-does,
    author       = {Neuwirth, Markus},
    year         = {2010},
    title        = {Does a 'monothematic' expositional design have
                   tautological implications for the recapitulation? An
                   alternative approach to 'altered recapitulations' in
                   Haydn},
    abstract     = {'Altered recapitulations,' commonly regarded as a
                   distinguishing feature of Joseph Haydn's sonata form
                   movements, are usually explained in terms of the
                   'monothematic' design of the exposition. According to the
                   logic used in such analytical studies, recomposing the
                   recapitulation would have been aimed at restoring the
                   proportional balance between exposition and
                   recapitulation, a need that resulted from the omission of
                   the seemingly redundant, retransposed secondary theme
                   along with the preceding transition. Though such an
                   explanation has long been considered indisputable, this
                   article casts doubt on the validity of the redundancy
                   principle by showing that Haydn often did retain the
                   monothematic section in the recapitulation. Rather, the
                   recomposition of the recapitulation results from two
                   important structural aspects thus far largely neglected in
                   the literature: (1) the repetitive formal structure of the
                   main theme, which is often considerably reworked in the
                   recapitulation; and (2) the insertion of a separate newly
                   composed dominant zone in the recapitulation that serves
                   to compensate for the lack of a structural dominant at the
                   end of the development section. Finally, it is argued here
                   that Haydn, who was deeply rooted in the late Baroque
                   tradition, by no means regarded multiple 'double returns'
                   as either problematic or redundant, for he may have been
                   thinking more in terms of an overriding ritornello
                   structure.},
    doi          = {10.1556/SMus.51.2010.3-4.9},
    issn         = {00393266},
    journal      = {Studia Musicologica},
    keywords     = {Joseph Haydn,monothematic exposition,music
                   analysis,recomposed recapitulation,ritornello
                   principle,sonata form},
    mendeley-tags= {music analysis},
    number       = {3-4},
    pages        = {369--385},
    volume       = {51}
}

'Altered recapitulations,' commonly regarded as a distinguishing feature of Joseph Haydn's sonata form movements, are usually explained in terms of the 'monothematic' design of the exposition. According to the logic used in such analytical studies, recomposing the recapitulation would have been aimed at restoring the proportional balance between exposition and recapitulation, a need that resulted from the omission of the seemingly redundant, retransposed secondary theme along with the preceding transition. Though such an explanation has long been considered indisputable, this article casts doubt on the validity of the redundancy principle by showing that Haydn often did retain the monothematic section in the recapitulation. Rather, the recomposition of the recapitulation results from two important structural aspects thus far largely neglected in the literature: (1) the repetitive formal structure of the main theme, which is often considerably reworked in the recapitulation; and (2) the insertion of a separate newly composed dominant zone in the recapitulation that serves to compensate for the lack of a structural dominant at the end of the development section. Finally, it is argued here that Haydn, who was deeply rooted in the late Baroque tradition, by no means regarded multiple 'double returns' as either problematic or redundant, for he may have been thinking more in terms of an overriding ritornello structure.

@Book{             russel.ea2010-artificial,
    author       = {Russel, Stuart J. and Norvig, Peter},
    year         = {2010},
    title        = {Artificial Intelligence: A Modern Approach},
    address      = {Boston},
    publisher    = {Pearson},
    edition      = {3}
}

@Article{          schmuckler2010-melodic,
    author       = {Schmuckler, Mark A.},
    year         = {2010},
    title        = {Melodic Contour Similarity Using Folk Melodies},
    issn         = {0730-7829},
    journal      = {Music Perception},
    keywords     = {music contour,music similarity},
    mendeley-tags= {music contour,music similarity},
    number       = {2},
    pages        = {169--194},
    publisher    = {JSTOR},
    url          = {http://www.jstor.org/stable/10.1525/mp.2010.28.2.169},
    volume       = {28}
}

@Article{          taminau.ea2010-applying,
    author       = {Taminau, Jonatan and Hillewaere, Ruben and Meganck, Stijn
                   and Conklin, Darrell and Now{\'{e}}, Ann and Manderick,
                   Bernard},
    year         = {2010},
    title        = {Applying subgroup discovery for the analysis of string
                   quartet movements},
    abstract     = {Descriptive and predictive analyses of symbolic music
                   data assist in understanding the properties that
                   characterize specific genres, movements and composers.
                   Subgroup Discovery, a machine learning technique lying on
                   the intersection between these types of analysis, is
                   applied on a dataset of string quartet movements composed
                   by either Haydn or Mozart. The resulting rules describe
                   subgroups of movements for each composer, which are
                   examined manually, and we investigate whether these
                   subgroups correlate with metadata such as type of movement
                   or period. In addition to this descriptive analysis, the
                   obtained rules are used for the predictive task of
                   composer classification; results are compared with
                   previous results on this corpus.},
    doi          = {10.1145/1878003.1878014},
    isbn         = {9781450301619},
    journal      = {MML'10 - Proceedings of the 3rd ACM International
                   Workshop on Machine Learning and Music, Co-located with
                   ACM Multimedia 2010},
    keywords     = {Global features,Subgroup discovery,computational
                   musicology},
    mendeley-tags= {computational musicology},
    number       = {May 2014},
    pages        = {29--32}
}

Descriptive and predictive analyses of symbolic music data assist in understanding the properties that characterize specific genres, movements and composers. Subgroup Discovery, a machine learning technique lying on the intersection between these types of analysis, is applied on a dataset of string quartet movements composed by either Haydn or Mozart. The resulting rules describe subgroups of movements for each composer, which are examined manually, and we investigate whether these subgroups correlate with metadata such as type of movement or period. In addition to this descriptive analysis, the obtained rules are used for the predictive task of composer classification; results are compared with previous results on this corpus.

@PhDThesis{        bor2009-contour,
    author       = {Bor, Mustafa},
    year         = {2009},
    title        = {Contour reduction algorithms: a theory of pitch and
                   duration hierarchies for post-tonal music},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    number       = {April},
    publisher    = {University of British Columbia},
    school       = {University of British Columbia},
    type         = {PhD Dissertation},
    url          = {http://scholar.google.com/scholar?hl=en&btnG=Search&q=intitle:CONTOUR+REDUCTION+ALGORITHMS+:+A+THEORY+OF+PITCH+AND+DURATION+HIERARCHIES+FOR+POST-TONAL+MUSIC#0}
}

@Article{          chandola.ea2009-anomaly,
    author       = {Chandola, Varun and Banerjee, Arindam and Kumar, Vipin},
    year         = {2009},
    title        = {Anomaly detection: A Survey},
    abstract     = {The paper presents a revolutionary framework for the
                   modeling, detection, characterization, identification, and
                   machine-learning of anomalous behavior in observed
                   phenomena arising from a large class of unknown and
                   uncertain dynamical systems. An evolved behavior would in
                   general be very difficult to correct unless the specific
                   anomalous event that caused such behavior can be detected
                   early, and any consequence attributed to the specific
                   anomaly following its detection. Substantial investigative
                   time and effort is required to back-track the cause for
                   abnormal behavior and to recreate the event sequence
                   leading to such abnormal behavior. The need to
                   automatically detect anomalous behavior is therefore
                   critical using principles of state motion, and to do so
                   with a human operator in the loop. Human-machine
                   interaction results in a capability for machine
                   self-learning and in producing a robust decision-support
                   mechanism. This is the fundamental concept of intelligent
                   control wherein machine-learning is enhanced by
                   interaction with human operators. Copyright
                   {\textcopyright} 2009 Tech Science Press.},
    doi          = {10.1145/1541880.1541882},
    issn         = {0360-0300},
    journal      = {ACM Computing Surveys},
    keywords     = {Anomaly detection,Decision-making,Machine
                   intelligence,Nonlinear dynamical
                   systems,Soft-computing,statistics},
    mendeley-tags= {statistics},
    month        = {jul},
    number       = {3},
    pages        = {1--58},
    url          = {https://dl.acm.org/doi/10.1145/1541880.1541882},
    volume       = {41}
}

The paper presents a revolutionary framework for the modeling, detection, characterization, identification, and machine-learning of anomalous behavior in observed phenomena arising from a large class of unknown and uncertain dynamical systems. An evolved behavior would in general be very difficult to correct unless the specific anomalous event that caused such behavior can be detected early, and any consequence attributed to the specific anomaly following its detection. Substantial investigative time and effort is required to back-track the cause for abnormal behavior and to recreate the event sequence leading to such abnormal behavior. The need to automatically detect anomalous behavior is therefore critical using principles of state motion, and to do so with a human operator in the loop. Human-machine interaction results in a capability for machine self-learning and in producing a robust decision-support mechanism. This is the fundamental concept of intelligent control wherein machine-learning is enhanced by interaction with human operators. Copyright © 2009 Tech Science Press.

@InCollection{     eisen2009-string,
    author       = {Eisen, Cliff},
    year         = {2009},
    title        = {The string quartet},
    address      = {Cambridge},
    language     = {English},
    booktitle    = {The {Cambridge} {History} of {Eighteenth}-{Century}
                   {Music}},
    publisher    = {Cambridge University Press},
    pages        = {648--660}
}

@PhDThesis{        gentil-nunes2009-analise,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2009},
    title        = {An{\'{a}}lise particional: uma media{\c{c}}{\~{a}}o entre
                   composi{\c{c}}{\~{a}}o musical e a teoria das
                   parti{\c{c}}{\~{o}}es},
    keywords     = {music composition},
    mendeley-tags= {music composition},
    school       = {Universidade Federal do Rio de Janeiro},
    type         = {Ph.D. Dissertation}
}

@Book{             keefe2009-cambridge,
    year         = {2009},
    title        = {The Cambridge History of Eighteenth-Century Music},
    address      = {Cambridge},
    editor       = {Keefe, Simon P.},
    isbn         = {9780521663199},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Cambridge University Press}
}

@Book{             mirka2009-metric,
    author       = {Mirka, Danuta},
    year         = {2009},
    title        = {Metric Manipulations in Haydn and Mozart: Chamber Music
                   for Strings, 1787-1791},
    address      = {Oxford},
    isbn         = {9788578110796},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Oxford University Press}
}

@InProceedings{    peeters.ea2009-is,
    author       = {Peeters, Geoffroy and Deruty, Emmanuel},
    year         = {2009},
    title        = {Is Music Structure Annotation Multi-Dimensional? A
                   Proposal for Robust Local Music Annotation .},
    address      = {Graz, Austria},
    booktitle    = {Proceedings of the 3rd Workshop on Learning the Semantics
                   of Audio Signals (LSAS)},
    editor       = {Baumann, Stephan and Burred, Juan Jos{\'{e}} and
                   N{\"{u}}rnberger, Andreas and Stober, Sebastian},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    pages        = {75--90},
    url          = {http://lsas2009.dke-research.de/proceedings/lsas2009peetersDeruty.pdf}
}

@PhDThesis{        schultz2009-diachronic-transformational,
    author       = {Schultz, Rob D.},
    year         = {2009},
    title        = {A diachronic-transformational theory of musical contour
                   relations},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    school       = {University of Washington},
    type         = {PhD Dissertation}
}

@Article{          sutcliffe2009-before,
    author       = {Sutcliffe, W. Dean},
    year         = {2009},
    title        = {Before the joke: Texture and sociability in the Largo of
                   Haydn's op. 33, no. 2},
    abstract     = {The Largo e sostenuto of Haydn's string quartet Op. 33,
                   No. 2, embodies various forms of sociable interaction.
                   This entails transactions between thematic materials as
                   well as the four players themselves, and involves the
                   imaginative handling of formula as well as the
                   foregrounding of composer-listener relationships through
                   overt manipulation and disruption. This movement, as well
                   as the remarkable finale to which it leads, is also placed
                   within the wider context of a later-eighteenth-century
                   aesthetic of sociability. Copyright {\textcopyright}
                   Taylor \& Francis Group, LLC.},
    doi          = {10.1080/01411890902922470},
    issn         = {01411896},
    journal      = {Journal of Musicological Research},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {2-3},
    pages        = {92--118},
    volume       = {28}
}

The Largo e sostenuto of Haydn's string quartet Op. 33, No. 2, embodies various forms of sociable interaction. This entails transactions between thematic materials as well as the four players themselves, and involves the imaginative handling of formula as well as the foregrounding of composer-listener relationships through overt manipulation and disruption. This movement, as well as the remarkable finale to which it leads, is also placed within the wider context of a later-eighteenth-century aesthetic of sociability. Copyright © Taylor & Francis Group, LLC.

@Book{             van-rossum.ea2009-python,
    author       = {Van Rossum, Guido and Drake, Fred L.},
    year         = {2009},
    title        = {Python 3 Reference Manual},
    isbn         = {1441412697},
    publisher    = {CreateSpace},
    address      = {Scotts Valley, CA}
}

@InProceedings{    belgacem.ea2008-centrality,
    author       = {Belgacem, Lucile and Hudry, Olivier},
    year         = {2008},
    title        = {Centrality and Distribution of Partitions according to
                   the Transfer Distance},
    address      = {Paris},
    booktitle    = {DIMACS/LAMSADE Workshop on Algorithmic Decision Theory
                   and Meeting of the COST Action ICO602},
    keywords     = {centrality,clustering,distance,mathematics,partition,transfer
                   graph},
    mendeley-tags= {mathematics},
    url          = {http://archive.dimacs.rutgers.edu/Workshops/DecisionTheory3/Belgacem_Hudry.pdf}
}

@Article{          castagna2008-musicologia,
    author       = {Castagna, Paulo},
    year         = {2008},
    title        = {A musicologia enquanto m{\'{e}}todo cient{\'{i}}fico},
    abstract     = {Resultado da reuni{\~{a}}o de v{\'{a}}rias atividades
                   ligadas ao estudo te{\'{o}}rico da m{\'{u}}sica a partir
                   do s{\'{e}}culo XVII, apesar de ra{\'{i}}zes que remontam
                   {\`{a}} Antiguidade, a musicologia surgiu como o estudo
                   cient{\'{i}}fico ou acad{\^{e}}mico da m{\'{u}}sica,
                   particularmente no {\^{a}}mbito do positivismo de Auguste
                   Comte (1798-1857), diferenciando-se, assim, da abordagem
                   da m{\'{u}}sica dependente da pr{\'{a}}tica art{\'{i}}stica.},
    journal      = {Revista do Conservat{\'{o}}rio Brasileiro de Pelotas},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    number       = {1},
    pages        = {7--31},
    url          = {https://periodicos.ufpel.edu.br/ojs2/index.php/RCM/article/view/2430/2281}
}

Resultado da reunião de várias atividades ligadas ao estudo teórico da música a partir do século XVII, apesar de raízes que remontam à Antiguidade, a musicologia surgiu como o estudo científico ou acadêmico da música, particularmente no âmbito do positivismo de Auguste Comte (1798-1857), diferenciando-se, assim, da abordagem da música dependente da prática artística.

@Book{             heartz2008-mozart,
    author       = {Heartz, Daniel},
    year         = {2008},
    title        = {Mozart, Haydn and Early Beethoven 1781-1802},
    address      = {New York and London},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {W. W. Norton \& Company}
}

@Article{          november2008-instrumental,
    author       = {November, Nancy},
    year         = {2008},
    title        = {Instrumental arias or sonic tableaux: 'Voice' in Haydn's
                   string quartets Opp. 9 and 17},
    abstract     = {The reception of Haydns early string quartets is
                   chequered. Professional performers tend to avoid the
                   quartets before Op. 20 (1772). In scholarship, essential
                   features of 'Classical' string quartets are typically
                   thought to be in place at the earliest with Op. 20, but
                   more usually with Op. 33. This essay contributes to a
                   critique of these assumptions, and offers an alternative
                   view of the earlier works. The slow movements in
                   particular, with their solo 'arias' for first violin, have
                   been considered especially problematic. From a historical
                   perspective, however, these movements can be understood to
                   exemplify a fundamentally new mode of expression that was
                   extolled by mid-eighteenth-century theorists: that of the
                   tableau. This concept was discussed, for example, by
                   Jean-Jacques Rousseau and Denis Diderot, and was brought
                   to the stages of Vienna and Eszterhza in the ballets of
                   Jean-Georges Noverre and the operas of Gluck and Haydn,
                   among others. As sonic tableaux, or instrumental 'arias',
                   movements from Haydns early string quartets epitomize a
                   dramatic mode that was of fundamental importance to music
                   of the Classical era.},
    doi          = {10.1093/ml/gcm130},
    issn         = {00274224},
    journal      = {Music and Letters},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {3},
    pages        = {346--372},
    volume       = {89}
}

The reception of Haydns early string quartets is chequered. Professional performers tend to avoid the quartets before Op. 20 (1772). In scholarship, essential features of 'Classical' string quartets are typically thought to be in place at the earliest with Op. 20, but more usually with Op. 33. This essay contributes to a critique of these assumptions, and offers an alternative view of the earlier works. The slow movements in particular, with their solo 'arias' for first violin, have been considered especially problematic. From a historical perspective, however, these movements can be understood to exemplify a fundamentally new mode of expression that was extolled by mid-eighteenth-century theorists: that of the tableau. This concept was discussed, for example, by Jean-Jacques Rousseau and Denis Diderot, and was brought to the stages of Vienna and Eszterhza in the ballets of Jean-Georges Noverre and the operas of Gluck and Haydn, among others. As sonic tableaux, or instrumental 'arias', movements from Haydns early string quartets epitomize a dramatic mode that was of fundamental importance to music of the Classical era.

@InProceedings{    volk.ea2008-manual,
    author       = {Volk, Anja and van Kranenburg, Peter and Garbers,
                   J{\"{o}}rg and Wiering, Frans and Veltkamp, Remco C and
                   Grijp, Louis P},
    year         = {2008},
    title        = {A manual annotation method for melodic similarity and the
                   study of melody feature sets},
    booktitle    = {Proceedings of the International Conference on Music
                   Information Retrieval (ISMIR)},
    keywords     = {music similarity},
    mendeley-tags= {music similarity},
    pages        = {101--106}
}

@Book{             gjerdingen2007-music,
    author       = {Gjerdingen, Robert O.},
    year         = {2007},
    title        = {Music in the Galant Style},
    address      = {New York},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    publisher    = {Oxford University Press}
}

@Book{             johnson.ea2007-applied,
    author       = {Johnson, Richard A. and Wichern, Dean W.},
    year         = {2007},
    title        = {Applied Multivariate Statistical Analysis},
    address      = {Upper Saddle River, New Jersey},
    edition      = {6},
    isbn         = {9780131877153},
    keywords     = {mathematics},
    mendeley-tags= {mathematics},
    publisher    = {Pearson Prentice Hall},
    url          = {http://cisco.qu.edu.qa/artssciences/mathphysta/stats/syllabi/Syllabus-
                   spring
                   2012/Statistics/Dr_Alodat_STAT_459_L01_Spring_2012.pdf}
}

@Article{          mckay.ea2007-style-independent,
    author       = {McKay, Cory and Fujinaga, Ichiro},
    year         = {2007},
    title        = {Style-independent computer-assisted exploratory analysis
                   of large music collections},
    abstract     = {The first goal of this paper is to introduce musi-
                   cologists and music theorists to the benefits of- fered by
                   state-of-the-art pattern recognition tech- niques. The
                   second goal is to provide them with a computer-based
                   framework that can be used to study large and diverse
                   collections of music for the purposes of empirically
                   developing, explor- ing and validating theoretical models.
                   The soft- ware presented in this paper implements tech-
                   niques from the fields of machine learning, pat- tern
                   recognition and data mining applied to and considered from
                   the perspectives of music theory and musicology.},
    doi          = {10.1.1.149.7958},
    journal      = {Journal of Interdisciplinary Music Studies},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    number       = {1},
    pages        = {63--85},
    url          = {http://www.musicstudies.org/spring2007.html},
    volume       = {1}
}

The first goal of this paper is to introduce musi- cologists and music theorists to the benefits of- fered by state-of-the-art pattern recognition tech- niques. The second goal is to provide them with a computer-based framework that can be used to study large and diverse collections of music for the purposes of empirically developing, explor- ing and validating theoretical models. The soft- ware presented in this paper implements tech- niques from the fields of machine learning, pat- tern recognition and data mining applied to and considered from the perspectives of music theory and musicology.

@Article{          november2007-register,
    author       = {November, Nancy},
    year         = {2007},
    title        = {Register in Haydn's String Quartets: Four Case Studies},
    doi          = {10.1111/j.1468-2249.2008.00260.x},
    issn         = {02625245},
    journal      = {Music Analysis},
    keywords     = {music history},
    mendeley-tags= {music history},
    month        = {oct},
    number       = {3},
    pages        = {289--322},
    url          = {http://doi.wiley.com/10.1111/j.1468-2249.2008.00260.x},
    volume       = {26}
}

@InProceedings{    unal.ea2007-statistical,
    author       = {Unal, Erdem and Georgiou, Panayiotis G. and Narayanan,
                   Shrikanth S. and Chew, Elaine},
    year         = {2007},
    title        = {Statistical modeling and retrieval of polyphonic music},
    abstract     = {AbstractIn this article, we propose a solution to the
                   problem of query by example for polyphonic music audio.We
                   first present a generic mid-level representation for audio
                   queries. Unlike previous efforts in the literature, the
                   proposed representation is not dependent on the different
                   spectral characteristics of different musical instruments
                   and the accurate location of note onsets and offsets. This
                   is achieved by first mapping the short term frequency
                   spectrum of consecutive audio frames to the musical space
                   (The Spiral Array) and defining a tonal identity with
                   respect to center of effect that is generated by the
                   spectral weights of the musical notes. We then use the
                   resulting single dimensional text representations of the
                   audio to create n-gram statistical sequence models to
                   track the tonal characteristics and the behavior of the
                   pieces. After performing appropriate smoothing, we build a
                   collection of melodic n-gram models for testing. Using
                   perplexity-based scoring, we test the likelihood of a
                   sequence of lexical chords (an audio query) given each
                   model in the database collection. Initial results show
                   that, some variations of the input piece appears in the
                   top 5 results 81pct of the time for whole melody inputs
                   within a 500 polyphonic melody database. We also tested
                   the retrieval engine for small audio clips. Using 25s
                   segments, variations of the input piece are among the top
                   5 results 75pct of the time.},
    address      = {Crete},
    booktitle    = {2007 IEEE 9Th International Workshop on Multimedia Signal
                   Processing, MMSP 2007 - Proceedings},
    doi          = {10.1109/MMSP.2007.4412902},
    isbn         = {1424412749},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    number       = {November},
    pages        = {405--409}
}

AbstractIn this article, we propose a solution to the problem of query by example for polyphonic music audio.We first present a generic mid-level representation for audio queries. Unlike previous efforts in the literature, the proposed representation is not dependent on the different spectral characteristics of different musical instruments and the accurate location of note onsets and offsets. This is achieved by first mapping the short term frequency spectrum of consecutive audio frames to the musical space (The Spiral Array) and defining a tonal identity with respect to center of effect that is generated by the spectral weights of the musical notes. We then use the resulting single dimensional text representations of the audio to create n-gram statistical sequence models to track the tonal characteristics and the behavior of the pieces. After performing appropriate smoothing, we build a collection of melodic n-gram models for testing. Using perplexity-based scoring, we test the likelihood of a sequence of lexical chords (an audio query) given each model in the database collection. Initial results show that, some variations of the input piece appears in the top 5 results 81pct of the time for whole melody inputs within a 500 polyphonic melody database. We also tested the retrieval engine for small audio clips. Using 25s segments, variations of the input piece are among the top 5 results 75pct of the time.

@Article{          geng.ea2006-interestingness,
    author       = {Geng, Liqiang and Hamilton, Howard J.},
    year         = {2006},
    title        = {Interestingness measures for data mining: A Survey},
    abstract     = {Interestingness measures play an important role in data
                   mining, regardless of the kind of patterns being mined.
                   These measures are intended for selecting and ranking
                   patterns according to their potential interest to the
                   user. Good measures also allow the time and space costs of
                   the mining process to be reduced. This survey reviews the
                   interestingness measures for rules and summaries,
                   classifies them from several perspectives, compares their
                   properties, identifies their roles in the data mining
                   process, gives strategies for selecting appropriate
                   measures for applications, and identifies opportunities
                   for future research in this area. {\textcopyright} 2006
                   ACM.},
    doi          = {10.1145/1132960.1132963},
    issn         = {0360-0300},
    journal      = {ACM Computing Surveys},
    keywords     = {Association rules,Classification rules,Interest
                   measures,Interestingness measures,Knowledge
                   discovery,Summaries,computer},
    mendeley-tags= {computer},
    month        = {sep},
    number       = {3},
    pages        = {9},
    url          = {https://dl.acm.org/doi/10.1145/1132960.1132963},
    volume       = {38}
}

Interestingness measures play an important role in data mining, regardless of the kind of patterns being mined. These measures are intended for selecting and ranking patterns according to their potential interest to the user. Good measures also allow the time and space costs of the mining process to be reduced. This survey reviews the interestingness measures for rules and summaries, classifies them from several perspectives, compares their properties, identifies their roles in the data mining process, gives strategies for selecting appropriate measures for applications, and identifies opportunities for future research in this area. © 2006 ACM.

@Article{          gentil-nunes2006-parsemas,
    author       = {Gentil-Nunes, Pauxy},
    year         = {2006},
    title        = {Parsemas e o m{\'{e}}todo de Fux},
    journal      = {Revista Pesquisa e M{\'{u}}sica},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {38--47},
    url          = {https://www.academia.edu/34020077/GENTIL_NUNES_Pauxy_Parsemas_e_o_m{\'{e}}todo_de_Fux_In_Revista_Pesquisa_e_M{\'{u}}sica_Rio_de_Janeiro_Conservat{\'{o}}rio_Brasileiro_de_M{\'{u}}sica_2006b_v_1_p_38_47},
    volume       = {1}
}

@Book{             grave.ea2006-string,
    author       = {Grave, Floyd K. and Grave, Margaret},
    year         = {2006},
    title        = {The String Quartets of Joseph Haydn},
    address      = {New York, NY},
    doi          = {10.2307/831027},
    issn         = {00030139},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Oxford University Press}
}

@Book{             hepokoski.ea2006-elements,
    author       = {Hepokoski, James A. and Darcy, Warren},
    year         = {2006},
    title        = {Elements of Sonata Theory: Norms, Types and Deformations
                   in the Late-Eighteenth-Century Sonata},
    abstract     = {This book analyses the sonata. Both building on and
                   departing from earlier methods of analysis, it provides an
                   in-depth examination of the sonata genre. After
                   establishing the normative features of the sonata, the
                   authors examine how individual sonatas from Beethoven,
                   Haydn, and Mozart both adhere to and deviate from those
                   standards to a variety of effects. Co-authored by a music
                   theorist and a musicologist, the book provides a
                   foundational theory and offers insights on individual
                   works from the Western canon.},
    address      = {Oxford},
    doi          = {10.1093/acprof:oso/9780195146400.001.0001},
    isbn         = {9780195146400},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {Oxford University Press}
}

This book analyses the sonata. Both building on and departing from earlier methods of analysis, it provides an in-depth examination of the sonata genre. After establishing the normative features of the sonata, the authors examine how individual sonatas from Beethoven, Haydn, and Mozart both adhere to and deviate from those standards to a variety of effects. Co-authored by a music theorist and a musicologist, the book provides a foundational theory and offers insights on individual works from the Western canon.

@Article{          mcclelland2006-extended,
    author       = {McClelland, Ryan},
    year         = {2006},
    title        = {Extended upbeats in the classical minuet: Interactions
                   with hypermeter and phrase structure},
    abstract     = {This article considers the hypermetric properties of
                   minuets that begin with an upbeat gesture that spans at
                   least one measure. Analyses of several minuets by Haydn
                   and Mozart, and a quasi-minuet movement by Brahms,
                   demonstrate five types of interaction between the extended
                   upbeat and hypermeter. The analyses describe the evolving
                   hypermetric structure of the minuets' openings and the
                   subsequent development of this thematic material. The
                   extended upbeat emerges in these minuets as a key
                   compositional element with implications for expressive
                   meaning and performance. {\textcopyright} 2006 by The
                   Society for Music Theory. All rights reserved.},
    doi          = {10.1525/mts.2006.28.1.23},
    issn         = {01956167},
    journal      = {Music Theory Spectrum},
    keywords     = {Anacrusis,Haydn,Hypermeter,Minuet,Upbeat,music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {23--56},
    volume       = {28}
}

This article considers the hypermetric properties of minuets that begin with an upbeat gesture that spans at least one measure. Analyses of several minuets by Haydn and Mozart, and a quasi-minuet movement by Brahms, demonstrate five types of interaction between the extended upbeat and hypermeter. The analyses describe the evolving hypermetric structure of the minuets' openings and the subsequent development of this thematic material. The extended upbeat emerges in these minuets as a key compositional element with implications for expressive meaning and performance. © 2006 by The Society for Music Theory. All rights reserved.

@InCollection{     miller2006-peak,
    author       = {Miller, Malcolm},
    year         = {2006},
    title        = {Peak Experience High Register and Structure in the
                   “Razumovsky” Quartets, Op. 59},
    address      = {Urbana and Chicago},
    booktitle    = {The String Quartets of Beethoven},
    chapter      = {3},
    editor       = {Kinderman, William},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    publisher    = {University of Illinois Press}
}

@Book{             morettin.ea2006-analise,
    author       = {Morettin, Pedro A. and Toloi, Cl{\'{e}}lia M. C.},
    year         = {2006},
    title        = {Analise de S{\'{e}}ries temporais},
    address      = {S{\~{a}}o Paulo},
    edition      = {2},
    isbn         = {9788521203896},
    keywords     = {statistics},
    mendeley-tags= {statistics},
    publisher    = {Edgard Blucher}
}

@PhDThesis{        proksch2006-cyclic,
    author       = {Proksch, Bryan Jeffrey},
    year         = {2006},
    title        = {Cyclic Integration in the instrumental music of Haydn and
                   Mozart},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    school       = {University of North Carolina at Chapel Hill},
    type         = {Ph.D. Dissertation}
}

@InProceedings{    sarg2006-does,
    author       = {S{\"{a}}rg, Taive},
    year         = {2006},
    title        = {Does melodic accent shape the melody contour in Estonian
                   folk songs ?},
    address      = {Bologna},
    booktitle    = {Proceedings of the 9th International Conference on Music
                   Perception and Cognition (ICMPC-2006) and 6th Triennial
                   Conference of the European Society for the Cognitive
                   Sciences of Music (ESCOM)},
    keywords     = {melodic accent,melody variation,regilaul},
    mendeley-tags= {melodic accent},
    number       = {December},
    pages        = {1304--1309}
}

@Article{          chew2005-regards,
    author       = {Chew, Elaine},
    year         = {2005},
    title        = {Regards on two regards by Messiaen: Post-tonal music
                   segmentation using pitch context distances in the spiral
                   array},
    abstract     = {This paper describes an O(n) algorithm for segmenting
                   music automatically by pitch context using the Spiral
                   Array, a mathematical model for tonality, and applies it
                   to the segmentation of post-tonal music, namely, Olivier
                   Messiaen's Regards IV and XVI from his Vingt Regards sur
                   l'Enfant J{\'{e}}sus . Using the idea of the centre of
                   effect ( c.e .), a summary point in the interior of the
                   Spiral Array, segmentation boundaries map to peaks in the
                   distances between the c.e .'s of adjacent segments of
                   music. The best-case computed boundaries are, on average,
                   within 0.94% (for Regard IV ) and 0.11% (for Regard XVI )
                   of their targets. {\textcopyright} 2005 Taylor \& Francis.},
    doi          = {10.1080/09298210600578147},
    issn         = {0929-8215},
    journal      = {Journal of New Music Research},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    month        = {dec},
    number       = {4},
    pages        = {341--354},
    url          = {http://www.tandfonline.com/doi/abs/10.1080/09298210600578147},
    volume       = {34}
}

This paper describes an O(n) algorithm for segmenting music automatically by pitch context using the Spiral Array, a mathematical model for tonality, and applies it to the segmentation of post-tonal music, namely, Olivier Messiaen's Regards IV and XVI from his Vingt Regards sur l'Enfant Jésus . Using the idea of the centre of effect ( c.e .), a summary point in the interior of the Spiral Array, segmentation boundaries map to peaks in the distances between the c.e .'s of adjacent segments of music. The best-case computed boundaries are, on average, within 0.94% (for Regard IV ) and 0.11% (for Regard XVI ) of their targets. © 2005 Taylor & Francis.

@InProceedings{    coutinho.ea2005-computational,
    author       = {Coutinho, Eduardo and Gimenes, Marcelo and Martins, Joao
                   M. and Miranda, Eduardo Reck},
    year         = {2005},
    title        = {Computational Musicology: An Artificial Life Approach},
    booktitle    = {2005 Portuguese Conference on Artificial Intelligence},
    doi          = {10.1109/EPIA.2005.341270},
    isbn         = {0-7803-9365-1},
    month        = {dec},
    pages        = {85--93},
    publisher    = {Ieee},
    url          = {http://ieeexplore.ieee.org/lpdocs/epic03/wrapper.htm?arnumber=4145929}
}

@InProceedings{    harte.ea2005-symbolic,
    author       = {Harte, Cristopher and Sandler, Mark and Abdallah, Samer
                   and G{\'{o}}mez, Emilia},
    year         = {2005},
    title        = {Symbolic Representation Of Musical Chords: A Proposed
                   Syntax For Text Annotations},
    address      = {London},
    booktitle    = {Proceedings of the 4th International Conference on Music
                   Information Retrieval (ISMIR 2005)},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    pages        = {66--71},
    url          = {http://en.scientificcommons.org/43256599}
}

@Book{             lockwood2005-beethoven,
    author       = {Lockwood, Lewis},
    year         = {2005},
    title        = {Beethoven: The Music and the Life},
    address      = {New York},
    isbn         = {9780393326383},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {W. W. Norton \& Company}
}

@PhDThesis{        pearce2005-construction,
    author       = {Pearce, Marcus Thomas},
    year         = {2005},
    title        = {The construction and evaluation of statistical models of
                   melodic structure in music perception and composition},
    abstract     = {The prevalent approach to developing cognitive models of
                   music perception and composition is to construct systems
                   of symbolic rules and constraints on the basis of
                   extensive music-theoretic and music-analytic knowledge.
                   The thesis proposed in this dissertation is that
                   statistical models which acquire knowledge through the
                   induction of regularities in corpora of existing music
                   can, if examined with appropriate methodologies, provide
                   significant insights into the cognitive processing
                   involved in music perception and composition. This claim
                   is examined in three stages. First, a number of
                   statistical modelling techniques drawn from the fields of
                   data compression, statistical language modelling and
                   machine learning are subjected to empirical evaluation in
                   the context of sequential prediction of pitch structure in
                   unseen melodies. This investigation results in a
                   collection of modelling strategies which together yield
                   significant performance improvements over existing
                   methods. In the second stage, these statistical systems
                   are used to examine observed patterns of expectation
                   collected in previous psychological research on melody
                   perception. In contrast to previous accounts of this data,
                   the results demonstrate that these patterns of expectation
                   can be accounted for in terms of the induction of
                   statistical regularities acquired through exposure to
                   music. In the final stage of the present research, the
                   statistical systems developed in the first stage are used
                   to examine the intrinsic computational demands of the task
                   of composing a stylistically successful melody The results
                   suggest that the systems lack the degree of expressive
                   power needed to consistently meet the demands of the task.
                   In contrast to previous research, however, the
                   methodological framework developed for the evaluation of
                   computational models of composition enables a detailed
                   empirical examination and comparison of such models which
                   facilitates the identification and resolution of their
                   weaknesses.},
    keywords     = {music analysis with computers},
    mendeley-tags= {music analysis with computers},
    school       = {City University of London},
    type         = {Ph.D. Dissertation},
    url          = {http://openaccess.city.ac.uk/id/eprint/8459/}
}

The prevalent approach to developing cognitive models of music perception and composition is to construct systems of symbolic rules and constraints on the basis of extensive music-theoretic and music-analytic knowledge. The thesis proposed in this dissertation is that statistical models which acquire knowledge through the induction of regularities in corpora of existing music can, if examined with appropriate methodologies, provide significant insights into the cognitive processing involved in music perception and composition. This claim is examined in three stages. First, a number of statistical modelling techniques drawn from the fields of data compression, statistical language modelling and machine learning are subjected to empirical evaluation in the context of sequential prediction of pitch structure in unseen melodies. This investigation results in a collection of modelling strategies which together yield significant performance improvements over existing methods. In the second stage, these statistical systems are used to examine observed patterns of expectation collected in previous psychological research on melody perception. In contrast to previous accounts of this data, the results demonstrate that these patterns of expectation can be accounted for in terms of the induction of statistical regularities acquired through exposure to music. In the final stage of the present research, the statistical systems developed in the first stage are used to examine the intrinsic computational demands of the task of composing a stylistically successful melody The results suggest that the systems lack the degree of expressive power needed to consistently meet the demands of the task. In contrast to previous research, however, the methodological framework developed for the evaluation of computational models of composition enables a detailed empirical examination and comparison of such models which facilitates the identification and resolution of their weaknesses.

@InProceedings{    sapp2005-online,
    author       = {Sapp, Craig Stuart},
    year         = 2005,
    title        = {Online database of scores in the {Humdrum} file format},
    address      = {London, UK},
    abstract     = {KernScores, an online library of musical data currently
                   consisting of over 5 million notes, has been created to
                   assist projects dealing with the computational analysis of
                   musical scores. The online scores are in a format suitable
                   for processing with the Humdrum Toolkit for Music
                   Research, but the website also provides automatic
                   translations into several other popular data formats for
                   digital musical scores.},
    language     = {en},
    booktitle    = {Proc. 6th {International} {Conference} on {Music}
                   {Information} {Retrieval}},
    tags         = {computational musicology},
    pages        = {2}
}

KernScores, an online library of musical data currently consisting of over 5 million notes, has been created to assist projects dealing with the computational analysis of musical scores. The online scores are in a format suitable for processing with the Humdrum Toolkit for Music Research, but the website also provides automatic translations into several other popular data formats for digital musical scores.

@Article{          taylor2005-problem,
    author       = {Taylor, Benedict},
    year         = {2005},
    title        = {The problem of the 'Introduction' in Beethoven's late
                   quartets},
    journal      = {Ad Parnassum},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {6},
    pages        = {45--64},
    volume       = {3}
}

@Book{             andrews.ea2004-integer,
    author       = {Andrews, George and Eriksson, Kimmo},
    year         = {2004},
    title        = {Integer Partitions},
    publisher    = {Cambridge University Press},
    address      = {Cambridge}
}

@Book{             beran2004-statistics,
    author       = {Beran, Jan},
    year         = {2004},
    title        = {Statistics in Musicology},
    address      = {Boca Raton, Fla},
    isbn         = {1584882190},
    keywords     = {Interdisciplinary statistics,Musical analysis-Statistical
                   methods,music and mathematics},
    mendeley-tags= {music and mathematics},
    publisher    = {Chapman \& Hall/CRC},
    url          = {http://books.google.com/books?hl=en&lr=&id=ZRzoSDUvqOUC&oi=fnd&pg=PR7&dq=STATISTICS+in+MUSICOLOGY&ots=BWjT6F5UDG&sig=xD4FjAMo0NP1moxRraZ6Z1EQu8A}
}

@Article{          caplin2004-classical,
    author       = {Caplin, William Earl},
    year         = {2004},
    title        = {The Classical Cadence: Conceptions and Misconceptions},
    abstract     = {The article examines notions traditionally attached to
                   the concept of cadence in general, retains those features
                   finding genuine expression in "the classical style" (as
                   defined by the instrumental works of Haydn, Mozart, and
                   Beethoven), and investigates problematic ideas that have
                   the potential of producing theoretical and analytical
                   confusion. It is argued that cadence effects formal
                   closure only at middle-ground levels of structure; a
                   cadential progression is highly constrained in its
                   harmonic content; cadential function precedes the moment
                   of cadential arrival, whereas the music following this
                   arrival may be postcadential in function; cadential
                   content must be distinguished from cadential function;
                   cadence represents a formal end, not a rhythmic or
                   textural stop; and cadential strength can be distinguished
                   in its syntactical and rhetorical aspects. An analysis of
                   selected musical passages demonstrates that an accurate
                   identification of cadence has a major impact on the
                   interpretation of musical form and phrase structure.},
    doi          = {10.1525/jams.2004.57.1.51},
    issn         = {00030139},
    journal      = {Journal of the American Musicological Society},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {51--118},
    url          = {https://jams.ucpress.edu/content/57/1/51},
    volume       = {57}
}

The article examines notions traditionally attached to the concept of cadence in general, retains those features finding genuine expression in "the classical style" (as defined by the instrumental works of Haydn, Mozart, and Beethoven), and investigates problematic ideas that have the potential of producing theoretical and analytical confusion. It is argued that cadence effects formal closure only at middle-ground levels of structure; a cadential progression is highly constrained in its harmonic content; cadential function precedes the moment of cadential arrival, whereas the music following this arrival may be postcadential in function; cadential content must be distinguished from cadential function; cadence represents a formal end, not a rhythmic or textural stop; and cadential strength can be distinguished in its syntactical and rhetorical aspects. An analysis of selected musical passages demonstrates that an accurate identification of cadence has a major impact on the interpretation of musical form and phrase structure.

@InCollection{     cook2004-computational,
    author       = {Cook, Nicholas},
    year         = {2004},
    title        = {Computational and comparative musicology},
    booktitle    = {Empirical musicology: Aims, methods, prospects},
    chapter      = {6},
    editor       = {Clarke, Eric and Cook, Nicholas},
    keywords     = {20: Western art music -- Musicology as discipline},
    pages        = {103--126},
    publisher    = {Oxford University Press},
    url          = {http://search.ebscohost.com/login.aspx?direct=true&db=rih&AN=2004-11424&site=ehost-live}
}

@InProceedings{    gentil-nunes.ea2004-densidade,
    author       = {Gentil-Nunes, Pauxy and Carvalho, Alexandre},
    year         = {2004},
    title        = {Densidade e linearidade na configura{\c{c}}{\~{a}}o de
                   texturas musicais},
    address      = {Rio de Janeiro},
    booktitle    = {Anais do 4° Col{\'{o}}quio de Pesquisa do PPGM-UFRJ},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {40--49},
    url          = {https://www.academia.edu/4393959/GENTIL_NUNES_Pauxy_e_CARVALHO_Alexandre_2003_Densidade_e_linearidade_na_configura{\c{c}}{\~{a}}o_de_texturas_musicais_In_Anais_do_IV_Col{\'{o}}quio_de_Pesquisa_do_Programa_de_P{\'{o}}s_Gradua{\c{c}}{\~{a}}o_da_Escola_de_M{\'{u}}sica_da_UFRJ_Rio_de_Janeiro_UFRJ_2003}
}

@InProceedings{    grachten.ea2004-melodic,
    author       = {Grachten, Maarten and Arcos, Josep Lluis and
                   M{\'{a}}ntaras, Ramon L{\'{o}}pez De},
    year         = {2004},
    title        = {Melodic Similarity: Looking for a Good Abstraction
                   Level},
    abstract     = {Computing melodic similarity is a very general problem
                   with diverse musical applications ranging from music
                   analysis to content-based retrieval. Choosing the
                   appropriate level of representation is a crucial issue and
                   depends on the type of application. Our research interest
                   concerns the development of a CBR system for expressive
                   music processing. In that context, a well chosen distance
                   measure for melodies is a crucial issue. In this paper we
                   propose a new melodic similarity measure based on the I/R
                   model for melodic structure and compare it with other
                   existing measures. The experimentation shows that the
                   proposed measure provides a good compromise between
                   discriminatory power and ability to recognize phrases from
                   the same song.},
    booktitle    = {Proceedings of the 5th International Society for Music
                   Information Retrieval},
    isbn         = {84-88042-44-2},
    keywords     = {music similarity},
    mendeley-tags= {music similarity}
}

Computing melodic similarity is a very general problem with diverse musical applications ranging from music analysis to content-based retrieval. Choosing the appropriate level of representation is a crucial issue and depends on the type of application. Our research interest concerns the development of a CBR system for expressive music processing. In that context, a well chosen distance measure for melodies is a crucial issue. In this paper we propose a new melodic similarity measure based on the I/R model for melodic structure and compare it with other existing measures. The experimentation shows that the proposed measure provides a good compromise between discriminatory power and ability to recognize phrases from the same song.

@InProceedings{    kranenburg.ea2004-musical,
    author       = {Kranenburg, Peter Van and Backer, Eric},
    year         = {2004},
    title        = {Musical style recognition - a quantitative approach},
    booktitle    = {Proceedings of the Conference on Interdisciplinary
                   Musicology},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    pages        = {1--10}
}

@Article{          mackay2004-musical,
    author       = {Mackay, James S.},
    year         = {2004},
    title        = {Musical Proportion and Formal Function in Classical
                   Sonata Form: Three Case Studies from Late Haydn and Early
                   Beethoven},
    journal      = {Theory and Practice},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {2004},
    pages        = {39--67},
    volume       = {29}
}

@Article{          larson2003-recapitulation,
    author       = {Larson, Steve},
    year         = {2003},
    title        = {Recapitulation Recomposition in the Sonata-Form First
                   Movements of Haydn ' s String Quartets : Style Change and
                   Compositional Technique},
    journal      = {Music Analysis},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1/2},
    pages        = {139--177},
    volume       = {22}
}

@Book{             stowell2003-cambridge,
    year         = {2003},
    title        = {The Cambridge Companion to the String Q},
    address      = {Cambridge, UK},
    doi          = {10.1192/bjp.112.483.211-a},
    editor       = {Stowell, Robin},
    issn         = {0007-1250},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Cambridge University Press}
}

@Article{          straus2003-uniformity,
    author       = {Straus, Joseph Nathan},
    year         = {2003},
    title        = {Uniformity, Balance, and Smoothness in Atonal Voice
                   Leading},
    abstract     = {[Unedited] Presents a broadly applicable model for atonal
                   voice leading, a model of pitch-class counterpoint to
                   connect any two harmonies. Voice leadings are evaluated by
                   three criteria: (1) uniformity, the extent to which the
                   voices move by the same interval distance and thus
                   approach traditional transposition; (2) balance, the
                   extent to which the voices move by the same index number
                   and thus approach traditional inversion; and (3)
                   smoothness, the extent to which the voices travel the
                   shortest possible distance. The most uniform, most
                   balanced, or smoothest way of moving from one set to
                   another in pitch-class space, or from one set class to
                   another in a proposed voice-leading space, provides a
                   standpoint from which to assess any specific compositional
                   realization in pitch space.},
    doi          = {10.1525/mts.2003.25.2.305},
    isbn         = {0195-6167},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {2},
    pages        = {305--352},
    volume       = {25}
}

[Unedited] Presents a broadly applicable model for atonal voice leading, a model of pitch-class counterpoint to connect any two harmonies. Voice leadings are evaluated by three criteria: (1) uniformity, the extent to which the voices move by the same interval distance and thus approach traditional transposition; (2) balance, the extent to which the voices move by the same index number and thus approach traditional inversion; and (3) smoothness, the extent to which the voices travel the shortest possible distance. The most uniform, most balanced, or smoothest way of moving from one set to another in pitch-class space, or from one set class to another in a proposed voice-leading space, provides a standpoint from which to assess any specific compositional realization in pitch space.

@InCollection{     caplin2002-theories,
    author       = {Caplin, William Earl},
    year         = {2002},
    title        = {Theories of musical rhythm in the eighteenth and
                   nineteenth centuries},
    abstract     = {Everyone agrees: it is di√cult to talk about rhythm in
                   music, or, for that matter, the temporal experience in
                   general. Compared with spatial relations, which appear to
                   us as fixed and graspable, temporal ones seem fleeting and
                   intangible. As a result, the lan-guage of time and rhythm
                   is complex, contentious, and highly metaphorical.
                   Considering that theorists today continue to have
                   di√culty dealing with the metrical and durational
                   organization of music from the eighteenth and nineteenth
                   centuries – our most familiar music – it should come
                   as no surprise that theoretical writings from those
                   centuries often present themselves as perplexing and in
                   need of explication. Though their manner of formulation
                   may at times seem odd or convoluted, these theo-rists
                   nonetheless ask many of the same questions about musical
                   rhythm that underlie current concerns: What is a metrical
                   accent? How do the profusion of time signatures relate to
                   each other? Do the groupings of measures create a sense of
                   larger-scale rhythm? Can various durational patterns be
                   organized according to some scheme or another? How does
                   our understanding of musical rhythm a◊ect performance,
                   espe-cially tempo, phrasing, and articulation? Like many
                   other domains of music theory, rhythmic theories are
                   largely formulated in relation to a distinct compositional
                   practice. Thus when compositional styles change, theorists
                   respond by modifying their conceptions and formulating new
                   ones in order better to reflect such transformations in
                   practice. The high Baroque style, with its motoric pulses,
                   regularized accentuations, and dance-derived rhythms,
                   induced early eighteenth-century theorists to focus in
                   detail on the classification of various metrical and
                   durational patterns and to begin accounting for that most
                   elusive concept – metrical accent. Later in the century,
                   the emergence of the galant and Classical styles, with
                   their emphasis on formal articulations, melodic
                   prominence, and balanced phras-ings, stimulated theorists
                   to consider the rhythms projected by phrase groupings and
                   cadential goals. And some nineteenth-century Romantic
                   idioms, whose phrase rhythms are even more regularized and
                   symmetrical, encouraged theorists to promote varying (and
                   often competing) schemes of hypermetrical organization.
                   Though changes in musical style certainly prompted
                   theoretical refinement and innovation, a strong conceptual
                   inertia is evident in these writings. Thus early
                   eigh-teenth-century rhythmic theory continued to be highly
                   influenced by elements of the Renaissance mensural system,
                   and it was not until much later in that century that an
                   657 Cambridge Histories Online {\textcopyright} Cambridge
                   University Press, 2008 entirely modern conception of
                   musical meter found systematic expression. This notion of
                   meter then functioned as the basis for most
                   nineteenth-century approaches. So, despite significant
                   changes in compositional style, the sense of a " common
                   prac-tice " of rhythmic organization is reflected through
                   strong conceptual continuities in the theoretical thought
                   of both centuries. Eighteenth-century theories:
                   transition, innovation},
    address      = {Cambridge, UK},
    booktitle    = {The Cambridge History of Western Music Theory},
    chapter      = {21},
    doi          = {10.1017/chol9780521623711.023},
    keywords     = {music history,music theory},
    mendeley-tags= {music history,music theory},
    pages        = {657--694},
    publisher    = {Cambridge University Press}
}

Everyone agrees: it is di√cult to talk about rhythm in music, or, for that matter, the temporal experience in general. Compared with spatial relations, which appear to us as fixed and graspable, temporal ones seem fleeting and intangible. As a result, the lan-guage of time and rhythm is complex, contentious, and highly metaphorical. Considering that theorists today continue to have di√culty dealing with the metrical and durational organization of music from the eighteenth and nineteenth centuries – our most familiar music – it should come as no surprise that theoretical writings from those centuries often present themselves as perplexing and in need of explication. Though their manner of formulation may at times seem odd or convoluted, these theo-rists nonetheless ask many of the same questions about musical rhythm that underlie current concerns: What is a metrical accent? How do the profusion of time signatures relate to each other? Do the groupings of measures create a sense of larger-scale rhythm? Can various durational patterns be organized according to some scheme or another? How does our understanding of musical rhythm a◊ect performance, espe-cially tempo, phrasing, and articulation? Like many other domains of music theory, rhythmic theories are largely formulated in relation to a distinct compositional practice. Thus when compositional styles change, theorists respond by modifying their conceptions and formulating new ones in order better to reflect such transformations in practice. The high Baroque style, with its motoric pulses, regularized accentuations, and dance-derived rhythms, induced early eighteenth-century theorists to focus in detail on the classification of various metrical and durational patterns and to begin accounting for that most elusive concept – metrical accent. Later in the century, the emergence of the galant and Classical styles, with their emphasis on formal articulations, melodic prominence, and balanced phras-ings, stimulated theorists to consider the rhythms projected by phrase groupings and cadential goals. And some nineteenth-century Romantic idioms, whose phrase rhythms are even more regularized and symmetrical, encouraged theorists to promote varying (and often competing) schemes of hypermetrical organization. Though changes in musical style certainly prompted theoretical refinement and innovation, a strong conceptual inertia is evident in these writings. Thus early eigh-teenth-century rhythmic theory continued to be highly influenced by elements of the Renaissance mensural system, and it was not until much later in that century that an 657 Cambridge Histories Online © Cambridge University Press, 2008 entirely modern conception of musical meter found systematic expression. This notion of meter then functioned as the basis for most nineteenth-century approaches. So, despite significant changes in compositional style, the sense of a " common prac-tice " of rhythmic organization is reflected through strong conceptual continuities in the theoretical thought of both centuries. Eighteenth-century theories: transition, innovation

@Book{             gil2002-como,
    author       = {Gil, Ant{\^{o}}nio Carlos},
    year         = {2002},
    title        = {Como elaborar projetos de pesquisa},
    address      = {S{\~{a}}o Paulo},
    isbn         = {8522431698},
    keywords     = {research},
    mendeley-tags= {research},
    publisher    = {Atlas}
}

@Misc{             antonicek.ea2001-vienna,
    author       = {Antonicek, Theophil and Beales, Derek and Botstein, Leon
                   and Klein, Rudolf and Goertz, Harald},
    year         = {2001},
    title        = {Vienna},
    booktitle    = {Grove Music Online},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Oxford University Press}
}

@Misc{             eisen.ea2001-mozart,
    author       = {Eisen, Cliff and Rieger, Eva and Eisen, Cliff and Sadie,
                   Stanley and Angerm{\"{u}}ller, Rudolph and Oldman, C B and
                   Stafford, William},
    year         = {2001},
    title        = {Mozart},
    booktitle    = {Grove Music Online},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    publisher    = {Oxford University Press},
    url          = {https://doi.org/10.1093/gmo/9781561592630.article.40258}
}

@Article{          grave2001-concerto,
    author       = {Grave, Floyd K.},
    year         = {2001},
    title        = {Concerto Style in Haydn's String Quartets},
    journal      = {The Journal of Musicology},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    number       = {1},
    pages        = {76--97},
    url          = {https://www.jstor.org/stable/10.1525/jm.2001.18.1.76},
    volume       = {18}
}

@Article{          la-rue2001-haydn-dedication,
    author       = {{La Rue}, Jan},
    year         = {2001},
    title        = {The Haydn-Dedication Quartets: Allusion or Influence?},
    abstract     = {ETHICAL DECISION-MAKING ABOUT TRAUMA-RELATED STUDIES
                   requires a flexible approach that counters assumptions and
                   biases about victims, assures a favorable ethical
                   cost-benefit ratio, and pro- motes advancement of
                   knowledge that can benefit sur- vivors of traumatic
                   stress. This paper reviews several ethical issues in the
                   field of traumatic stress: benefit and risks in
                   trauma-related research, whether trauma-related research
                   poses unique risks and if so what those might be, informed
                   consent and mandatory reporting, and supervision of
                   trauma-related research. For each topic, we review
                   potential ethical issues, summarize the research conducted
                   thus far to inform ethical practice, and recommend future
                   practice, research questions and policies to advance the
                   field so that research on trauma can continue to be a
                   win-win situation for all stakeholders in the research
                   enterprise.},
    doi          = {10.1525/jm.2001.18.2.361},
    issn         = {0277-9269},
    journal      = {Journal of Musicology},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    month        = {apr},
    number       = {2},
    pages        = {361--373},
    url          = {http://jm.ucpress.edu/cgi/doi/10.1525/jm.2001.18.2.361},
    volume       = {18}
}

ETHICAL DECISION-MAKING ABOUT TRAUMA-RELATED STUDIES requires a flexible approach that counters assumptions and biases about victims, assures a favorable ethical cost-benefit ratio, and pro- motes advancement of knowledge that can benefit sur- vivors of traumatic stress. This paper reviews several ethical issues in the field of traumatic stress: benefit and risks in trauma-related research, whether trauma-related research poses unique risks and if so what those might be, informed consent and mandatory reporting, and supervision of trauma-related research. For each topic, we review potential ethical issues, summarize the research conducted thus far to inform ethical practice, and recommend future practice, research questions and policies to advance the field so that research on trauma can continue to be a win-win situation for all stakeholders in the research enterprise.

@Misc{             manning.ea2001-computers,
    author       = {Manning, Peter and Selfridge-Field, Eleanor and Reily,
                   Suzel Ana and Pople, Anthony},
    year         = {2001},
    title        = {Computers and music},
    booktitle    = {Grove Music Online},
    doi          = {10.1093/gmo/9781561592630.article.40583},
    isbn         = {9781561592630},
    keywords     = {computer and music},
    mendeley-tags= {computer and music},
    pages        = {1--37},
    publisher    = {Oxford University Press},
    url          = {http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040583},
    volume       = {1}
}

@Article{          oliveira2001-musica,
    author       = {Oliveira, Alda de Jesus},
    year         = {2001},
    title        = {M{\'{u}}sica na Escola Brasileira. Frequ{\^{e}}ncia de
                   elementos musicais em can{\c{c}}{\~{o}}es vern{\'{a}}culas
                   da Bahia utilizando an{\'{a}}lise manual e por computador:
                   sugest{\~{o}}es para aplica{\c{c}}{\~{a}}o na
                   Educa{\c{c}}{\~{a}}o Musical},
    address      = {Porto Alegre},
    journal      = {Teses na Educa{\c{c}}{\~{a}}o Musical},
    keywords     = {music education},
    mendeley-tags= {music education},
    number       = {2},
    publisher    = {Associa{\c{c}}{\~{a}}o Brasileira de Educa{\c{c}}{\~{a}}o
                   Musical}
}

@Misc{             webster.ea2001-haydn,
    author       = {Webster, James and Feder, Georg},
    year         = {2001},
    title        = {Haydn, (Franz) Joseph},
    booktitle    = {Grove Music Online},
    doi          = {10.1093/gmo/9781561592630.article.44593},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Oxford University Press},
    url          = {http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000044593}
}

@Book{             drabkin2000-readers,
    author       = {Drabkin, William},
    year         = {2000},
    title        = {A reader's guide to Haydn's early string quartets},
    address      = {Wesport, CT},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    publisher    = {Greenwood Press}
}

@Misc{             eisen.ea2000-string,
    author       = {Eisen, Cliff and Baldassare, Antonio and Griffiths,
                   Paul},
    year         = {2000},
    title        = {String quartet},
    booktitle    = {Grove Music Online},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Oxford University Press},
    url          = {http://www.oxfordmusiconline.com/subscriber/article/grove/music/40899}
}

@Book{             haydn2000-string,
    author       = {Haydn, Joseph},
    year         = {2000},
    title        = {String Quartets Op 17, Complete},
    address      = {Mineola, NY},
    editor       = {Altmann, Wilhelm},
    keywords     = {music score},
    mendeley-tags= {music score},
    publisher    = {Dover Publications, Inc}
}

@Misc{             kerman.ea2000-beethoven,
    author       = {Kerman, Joseph and Tyson, Alan and Burnham, Scott G. and
                   {Douglas Johnson} and Drabkin, William},
    year         = {2000},
    title        = {Beethoven, Ludwig van},
    booktitle    = {Grove Music Online},
    doi          = {10.1093/gmo/9781561592630.article.40026},
    isbn         = {9781561592630},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    publisher    = {Oxford University Press},
    url          = {http://www.oxfordmusiconline.com/subscriber/article/grove/music/40026}
}

@PhDThesis{        moran2000-techniques,
    author       = {Moran, John Gregory},
    year         = {2000},
    title        = {Techniques of expression in Viennese string music
                   (1780-1830) : reconstructing fingering and bowing
                   practices},
    abstract     = {Though Viennese classical music for strings is central to
                   the standard repertory and is steadily attracting more
                   performances by 'historically informed' players, awareness
                   of the practices of the Viennese players amongst whom
                   Haydn and Beethoven worked remains limited. Studies of the
                   string playing practices ostensibly appropriate to
                   Beethoven have generally been based on instrumental
                   treatises representative of other traditions, either later
                   in time or geographically remote. This thesis attempts to
                   reconstruct the unique traits of the fingering and bowing
                   practices surrounding Haydn and Beethoven in Vienna
                   through the surviving evidence most closely connected with
                   them and the players for whom they composed. The sources
                   include Haydn's and Beethoven's string fingerings and
                   slurs; the music of players with whom these composers were
                   associated, including Krumpholz, Wranitzky, Schuppanzigh,
                   Mayseder, the Krafts, and Linke; and the rarely considered
                   technical studies and string treatises of Vienna,
                   including those by Kauer, Pith!, Pirlinger, and Schweigl.
                   This thesis begins with a survey of the string players in
                   the circles of Haydn, Mozart, Schubert, and especially
                   Beethoven, discussing their significance and playing
                   styles, contrasting Viennese practices with the more
                   progressive approaches of Paris. The diversity of Viennese
                   fingering practices forms the basis for the second
                   chapter's examination of the wealth of information which
                   can be conveyed by apparently simple fingerings. Haydn's
                   and Beethoven's original fingerings, together accounting
                   for approximately three hundred passages, are the subjects
                   of chapters three and four. The fifth chapter considers
                   tone production and the myth of the 'phrasing' slur in
                   string writing, while the sixth is an investigation of
                   what constituted the basic repertory of bow strokes. The
                   final chapter, a case study of a set of marked parts to
                   Beethoven's op. 59, no. 3 quartet, shows how the various
                   methods of reconstruction developed in this thesis can be
                   brought together in the context of a complete work.},
    keywords     = {music performance},
    mendeley-tags= {music performance},
    school       = {University of London},
    type         = {Ph.D. Thesis}
}

Though Viennese classical music for strings is central to the standard repertory and is steadily attracting more performances by 'historically informed' players, awareness of the practices of the Viennese players amongst whom Haydn and Beethoven worked remains limited. Studies of the string playing practices ostensibly appropriate to Beethoven have generally been based on instrumental treatises representative of other traditions, either later in time or geographically remote. This thesis attempts to reconstruct the unique traits of the fingering and bowing practices surrounding Haydn and Beethoven in Vienna through the surviving evidence most closely connected with them and the players for whom they composed. The sources include Haydn's and Beethoven's string fingerings and slurs; the music of players with whom these composers were associated, including Krumpholz, Wranitzky, Schuppanzigh, Mayseder, the Krafts, and Linke; and the rarely considered technical studies and string treatises of Vienna, including those by Kauer, Pith!, Pirlinger, and Schweigl. This thesis begins with a survey of the string players in the circles of Haydn, Mozart, Schubert, and especially Beethoven, discussing their significance and playing styles, contrasting Viennese practices with the more progressive approaches of Paris. The diversity of Viennese fingering practices forms the basis for the second chapter's examination of the wealth of information which can be conveyed by apparently simple fingerings. Haydn's and Beethoven's original fingerings, together accounting for approximately three hundred passages, are the subjects of chapters three and four. The fifth chapter considers tone production and the myth of the 'phrasing' slur in string writing, while the sixth is an investigation of what constituted the basic repertory of bow strokes. The final chapter, a case study of a set of marked parts to Beethoven's op. 59, no. 3 quartet, shows how the various methods of reconstruction developed in this thesis can be brought together in the context of a complete work.

@Misc{             huron1999-music,
    author       = {Huron, David},
    year         = {1999},
    title        = {Music Research Using Humdrum: A User's Guide},
    address      = {Stanford, CA},
    publisher    = {Center for Computer Assisted Research in the Humanities}
}

@Misc{             huron1999-new,
    author       = {Huron, David},
    year         = {1999},
    title        = {The New Empiricism: Systematic Musicology in a Postmodern
                   Age},
    abstract     = {A survey of intellectual currents in the philosophy of
                   knowledge and research methodology is given. This survey
                   provides the backdrop for taking stock of the
                   methodological differences that have arisen between
                   disciplines, such as the methods commonly used in science,
                   history or literary theory. Postmodernism and scientific
                   empiricism are described and portrayed as two sides of the
                   same coin we call skepticism. It is proposed that the
                   choice of methodological approach for any given research
                   program is guided by moral and esthetic considerations.
                   Careful assessment of these risks may suggest choosing an
                   unorthodox method, such as quantitative methods in
                   history, or deconstruction in science. It is argued that
                   methodological tools (such as Ockham's razor) should not
                   be mistaken for philosophical world-views. The article
                   advocates a broadening of methodological education in both
                   arts and sciences disciplines. In particular, it advocates
                   and defends the use of quantitative empirical methodology
                   in various areas of music scholarship.},
    booktitle    = {Ernest Bloch Lectures},
    keywords     = {computational musicology,evolution,lecture,music
                   cognition,psychology,theory},
    mendeley-tags= {computational musicology},
    url          = {http://www.musiccog.ohio-state.edu/Music220/Bloch.lectures/2.Origins.html}
}

A survey of intellectual currents in the philosophy of knowledge and research methodology is given. This survey provides the backdrop for taking stock of the methodological differences that have arisen between disciplines, such as the methods commonly used in science, history or literary theory. Postmodernism and scientific empiricism are described and portrayed as two sides of the same coin we call skepticism. It is proposed that the choice of methodological approach for any given research program is guided by moral and esthetic considerations. Careful assessment of these risks may suggest choosing an unorthodox method, such as quantitative methods in history, or deconstruction in science. It is argued that methodological tools (such as Ockham's razor) should not be mistaken for philosophical world-views. The article advocates a broadening of methodological education in both arts and sciences disciplines. In particular, it advocates and defends the use of quantitative empirical methodology in various areas of music scholarship.

@Article{          klein1999-texture,
    author       = {Klein, Michael},
    year         = {1999},
    title        = {Texture, Register, and Their Formal Roles in the Music of
                   Witold Lutos{\l}awski},
    doi          = {10.2307/24044509},
    journal      = {Indiana Theory Review},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    pages        = {37--70},
    url          = {https://www.jstor.org/stable/24044509},
    volume       = {20}
}

@Article{          schmuckler1999-testing,
    author       = {Schmuckler, Mark A.},
    year         = {1999},
    title        = {Testing Models of Melodic Contour Similarity},
    journal      = {Music Perception},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    number       = {3},
    pages        = {295--326},
    volume       = {16}
}

@Article{          suurpaa1999-continuous,
    author       = {Suurpaa, Lauri},
    year         = {1999},
    title        = {Continuous Exposition and Tonal Structure in Three Late
                   Haydn Works},
    doi          = {10.1525/mts.1999.21.2.02a00020},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {2},
    pages        = {174--199},
    volume       = {21}
}

@Article{          temperley1999-whats,
    author       = {Temperley, David},
    year         = {1999},
    title        = {What's Key for Key? The Krumhansl-Schmuckler Key-Finding
                   Algorithm Reconsidered},
    abstract     = {This study examines the Krumhansl-Schmuckler key-finding
                   model, in which the distribution of pitch classes in a
                   piece is compared with an ideal distribution or "key
                   profile" for each key. Several changes are proposed.
                   First, the formula used for the matching process is
                   somewhat simplified. Second, alternative values are
                   proposed for the key profiles themselves. Third, rather
                   than summing the durations of all events of each pitch
                   class, the revised model divides the piece into short
                   segments and labels each pitch class as present or absent
                   in each segment. Fourth, a mechanism for modulation is
                   proposed; a penalty is imposed for changing key from one
                   segment to the next. An implementation of this model was
                   subjected to two tests. First, the model was tested on the
                   fugue subjects from Bach's Well-Tempered Clavier; the
                   model's performance on this corpus is compared with the
                   performances of other models. Second, the model was tested
                   on a corpus of excerpts from the Kostka and Payne harmony
                   textbook (as analyzed by Kostka). Several problems with
                   the modified algorithm are discussed, concerning the rate
                   of modulation, the role of harmony in key finding, and the
                   role of pitch "spellings." The model is also compared with
                   Huron and Parncutt's exponential decay model. The tests
                   presented here suggest that the key-profile model, with
                   the modifications proposed, can provide a highly
                   successful approach to key finding.},
    doi          = {10.2307/40285812},
    issn         = {0730-7829},
    journal      = {Music Perception},
    month        = {oct},
    number       = {1},
    pages        = {65--100},
    url          = {https://online.ucpress.edu/mp/article/17/1/65/62051/Whats-Key-for-Key-The-KrumhanslSchmuckler},
    volume       = {17}
}

This study examines the Krumhansl-Schmuckler key-finding model, in which the distribution of pitch classes in a piece is compared with an ideal distribution or "key profile" for each key. Several changes are proposed. First, the formula used for the matching process is somewhat simplified. Second, alternative values are proposed for the key profiles themselves. Third, rather than summing the durations of all events of each pitch class, the revised model divides the piece into short segments and labels each pitch class as present or absent in each segment. Fourth, a mechanism for modulation is proposed; a penalty is imposed for changing key from one segment to the next. An implementation of this model was subjected to two tests. First, the model was tested on the fugue subjects from Bach's Well-Tempered Clavier; the model's performance on this corpus is compared with the performances of other models. Second, the model was tested on a corpus of excerpts from the Kostka and Payne harmony textbook (as analyzed by Kostka). Several problems with the modified algorithm are discussed, concerning the rate of modulation, the role of harmony in key finding, and the role of pitch "spellings." The model is also compared with Huron and Parncutt's exponential decay model. The tests presented here suggest that the key-profile model, with the modifications proposed, can provide a highly successful approach to key finding.

@Article{          burstein1998-surprising,
    author       = {Burstein, L. Poundie},
    year         = {1998},
    title        = {Surprising Returns: The VII \# in Beethoven's Op. 18 No.
                   3, and Its Antecedents in Haydn},
    isbn         = {9788578110796},
    issn         = {1098-6596},
    journal      = {Music Analysis},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {3},
    pages        = {295--312},
    url          = {http://www.jstor.org/stable/854418},
    volume       = {17}
}

@Book{             caplin1998-classical,
    author       = {Caplin, William Earl},
    year         = {1998},
    title        = {Classical Form: A Theory of Formal Functions for the
                   Instrumental Music of Haydn, Mozart, and Beethoven},
    address      = {New York},
    booktitle    = {Nordamerikanische Musiktheorie},
    isbn         = {0195104803},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {Oxford University Press}
}

@Article{          morris1998-voice-leading,
    author       = {Morris, Robert Daniel},
    year         = {1998},
    title        = {Voice-leading spaces},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {2},
    pages        = {175--208},
    publisher    = {JSTOR},
    url          = {http://www.jstor.org/stable/746047},
    volume       = {20}
}

@Book{             sutcliffe1998-haydn,
    year         = {1998},
    title        = {Haydn Studies},
    address      = {Cambridge},
    editor       = {Sutcliffe, W. Dean},
    isbn         = {9780521028356},
    keywords     = {haydn,music history},
    mendeley-tags= {haydn,music history},
    publisher    = {Cambridge University Press}
}

@Book{             weisstein1998-crc,
    author       = {Weisstein, Eric W.},
    year         = {1998},
    title        = {CRC Concise Encyclopedia of Mathematics},
    address      = {Boca Raton, FL},
    keywords     = {Mathematics--Encyclopedias,mathematics},
    mendeley-tags= {mathematics},
    pages        = {1973},
    publisher    = {CRC Press},
    url          = {http://scholar.google.com/scholar?hl=en&btnG=Search&q=intitle:CRC+Concise+Encyclopedia+of+Mathematics#0}
}

@Article{          nettheim1997-bibliography,
    author       = {Nettheim, Nigel},
    year         = {1997},
    title        = {A bibliography of statistical applications in
                   musicology},
    abstract     = {Statistical applications in musicology appear in widely
                   scattered publications. The present bibliography, mainly
                   of English language publications, extends back to the
                   beginning of the present century. The analysis of musical
                   scores is emphasized, but applications in the social
                   sciences arc also touched upon, as well as those to
                   performance studies and algorithmic composition.
                   Statistical techniques include simple summarization,
                   graphical methods, time series analysis, information
                   theory, Zipf's law, Markov chains, fractals, and neural
                   networks. Several cases of misapplication of statistics
                   are noted. Commentary is provided on the field and its
                   sub-fields. {\textcopyright} 1997, Taylor \& Francis
                   Group, LLC. All rights reserved.},
    doi          = {10.1080/08145857.1997.10415974},
    issn         = {1949453X},
    journal      = {Musicology Australia},
    keywords     = {music and mathematics},
    mendeley-tags= {music and mathematics},
    number       = {1},
    pages        = {94--106},
    volume       = {20}
}

Statistical applications in musicology appear in widely scattered publications. The present bibliography, mainly of English language publications, extends back to the beginning of the present century. The analysis of musical scores is emphasized, but applications in the social sciences arc also touched upon, as well as those to performance studies and algorithmic composition. Statistical techniques include simple summarization, graphical methods, time series analysis, information theory, Zipf's law, Markov chains, fractals, and neural networks. Several cases of misapplication of statistics are noted. Commentary is provided on the field and its sub-fields. © 1997, Taylor & Francis Group, LLC. All rights reserved.

@Book{             rosen1997-classical,
    author       = {Rosen, Charles},
    year         = {1997},
    title        = {The Classical Style: Haydn, Mozart, Beethoven},
    address      = {New York, NY},
    edition      = {Expanded e},
    isbn         = {0393040208},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {W. W. Norton \& Company},
    url          = {https://pt.scribd.com/doc/124143289/Charles-Rosen-The-Classical-Style-Haydn-Mozart-Beethoven}
}

@Book{             sisman1997-haydn,
    author       = {Sisman, Elaine},
    year         = {1997},
    title        = {Haydn and his World},
    address      = {Princeton, NJ},
    isbn         = {0691057982},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Princeton University Press}
}

@Book{             grier1996-critical,
    author       = {Grier, James},
    year         = {1996},
    title        = {The Critical Editing of Music: History, Method, and
                   Practice},
    address      = {New York, NY},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    publisher    = {Cambridge University Press}
}

@Article{          huron.ea1996-what,
    author       = {Huron, David and Royal, Mathew},
    year         = {1996},
    title        = {What is melodic accent? Converging evidence from musical
                   practice},
    issn         = {0730-7829},
    journal      = {Music Perception},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {4},
    pages        = {489--516},
    publisher    = {JSTOR},
    url          = {http://www.jstor.org/stable/40285700},
    volume       = {13}
}

@Article{          huron1996-melodic,
    author       = {Huron, David},
    year         = {1996},
    title        = {The Melodic Arch in Western Folksongs},
    issn         = {1057-9478},
    journal      = {Computing in Musicology},
    pages        = {3--23},
    url          = {https://csml.som.ohio-state.edu/Huron/Publications/huron.arch.text.html},
    volume       = {10}
}

@Book{             lerdahl.ea1996-generative,
    author       = {Lerdahl, Fred and Jackendoff, Ray S.},
    year         = {1996},
    title        = {A Generative Theory of Tonal Music},
    isbn         = {9780262621076},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {MIT Press}
}

@Article{          grave1995-metrical,
    author       = {Grave, Floyd K.},
    year         = {1995},
    title        = {Metrical Dissonance in Haydn},
    journal      = {The Journal of Musicology},
    keywords     = {musicology},
    mendeley-tags= {musicology},
    number       = {2},
    pages        = {168--202},
    url          = {https://www.jstor.org/stable/764104?Search=yes&resultItemClick=true&searchText=au%3A&searchText=%22grave%22&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dau%253A%2522grave%2522&ab_segments=0%2Fbasic_SYC-4341%2Ftest&refreqid=search%3Adea0fe7557373c9b7c9f88},
    volume       = {13}
}

@Misc{             huron1995-humdrum,
    author       = {Huron, David},
    year         = {1995},
    title        = {The Humdrum Toolkit: Reference Manual},
    address      = {Menlo Park, CA},
    publisher    = {Center for Computer Assisted Research in the Humanities}
}

@Book{             kostka.ea1995-tonal,
    author       = {Kostka, Stefan M. and Payne, Dorothy},
    year         = {1995},
    title        = {Tonal harmony, with an introduction to twentieth-century
                   music},
    address      = {New York, NY},
    edition      = {3rd},
    isbn         = {0072415703},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {McGraw-Hill}
}

@Book{             duckles.ea1994-music,
    author       = {Duckles, Vincent H and Keller, Michael A},
    year         = {1994},
    title        = {Music Reference and Research Materials: An Annotated
                   Bibliography},
    address      = {New York},
    edition      = {4th},
    keywords     = {music},
    mendeley-tags= {music},
    publisher    = {Schirmer Books}
}

@Book{             winter.ea1994-beethoven,
    year         = {1994},
    title        = {The Beethoven Quartet Companion},
    address      = {Berkeley, CA},
    editor       = {Winter, Robert and Martin, Robert},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {University of California Press}
}

@Article{          camilleri1993-computational,
    author       = {Camilleri, Lelio},
    year         = {1993},
    title        = {Computational Musicology A Survey on Methodologies and
                   Applications},
    abstract     = {Cet article traite de J'utilisation de l'i.nformatique
                   dans les {\'{e}}tudes de musique. Il pr{\'{e}}sente une
                   introduction aux diff{\'{e}}rents aspects de la
                   musicologie computationnelle el aux r{\'{e}}cents
                   d{\'{e}}veloppe- ments dan!'> ce domaine. Il passe en
                   revue les principales applications de l'informatique en
                   musicologie historique ct en analyse quelques exemples et
                   leurs implications. Ensuite sont d{\'{e}}crites les
                   applications de l'ordinateur aux {\'{e}}ludes analytiques
                   en cc qui concerne leurs aspects m{\'{e}}thodologiques.
                   Des exemples de syst{\`{e}}mes d'analyse automatique sont
                   expliqu{\'{e}}s avec les conclusions th{\'{e}}oriques que
                   l'on peut cn tirer. L'article s'ach{\`{e}}ve par une
                   analyse rapide de d{\'{e}}veloppements
                   cn\,jsageablc.$\sim$ dans le futur.},
    journal      = {Revue Informatique et Statistique dans les Sciences
                   humaines},
    keywords     = {computational musicology},
    mendeley-tags= {computational musicology},
    pages        = {51--65},
    volume       = {XXIX}
}

Cet article traite de J'utilisation de l'i.nformatique dans les études de musique. Il présente une introduction aux différents aspects de la musicologie computationnelle el aux récents développe- ments dan!'> ce domaine. Il passe en revue les principales applications de l'informatique en musicologie historique ct en analyse quelques exemples et leurs implications. Ensuite sont décrites les applications de l'ordinateur aux éludes analytiques en cc qui concerne leurs aspects méthodologiques. Des exemples de systèmes d'analyse automatique sont expliqués avec les conclusions théoriques que l'on peut cn tirer. L'article s'achève par une analyse rapide de développements cn\,jsageablc.$∼$ dans le futur.

@Article{          morris1993-new,
    author       = {Morris, Robert Daniel},
    year         = {1993},
    title        = {New Directions in the Theory and Analysis of Musical
                   Contour},
    doi          = {10.1525/mts.1993.15.2.02a00040},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    month        = {oct},
    number       = {2},
    pages        = {205--228},
    url          = {http://caliber.ucpress.net/doi/abs/10.1525/mts.1993.15.2.02a00040},
    volume       = {15}
}

@Book{             lockwood1992-beethoven,
    author       = {Lockwood, Lewis},
    year         = {1992},
    title        = {Beethoven: studies in the creative process},
    address      = {Cambridge, MA; London},
    isbn         = {0674063627 (acid-free paper)},
    publisher    = {Harvard University Press}
}

@Book{             sutcliffe1992-haydn,
    author       = {Sutcliffe, W. Dean},
    year         = {1992},
    title        = {Haydn: String Quartets, Op. 50},
    address      = {Cambridge},
    editor       = {Rushton, Julian},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Cambridge University Press}
}

@Article{          yudkin1992-beethovens,
    author       = {Yudkin, Jeremy},
    year         = {1992},
    title        = {Beethoven's "Mozart" Quartet},
    journal      = {Journal of the American Musicological Society},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    pages        = {30--74},
    volume       = {45}
}

@Article{          wheelock1991-engaging,
    author       = {Wheelock, Gretchen A.},
    year         = {1991},
    title        = {Engaging Strategies in Haydn's Opus 33 String Quartets},
    journal      = {Eighteenth-Century Studies},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    pages        = {1--30},
    volume       = {25}
}

@Article{          gerling1989-teoria,
    author       = {Gerling, Cristina Capparelli},
    year         = {1989},
    title        = {A Teoria de Heinrich Schenker: uma breve
                   introdu{\c{c}}{\~{a}}o},
    journal      = {Em Pauta},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {22--34},
    volume       = {1}
}

@InProceedings{    rabiner1989-tutorial,
    author       = {Rabiner, Lawrence R.},
    year         = {1989},
    title        = {A Tutorial on Hidden Markov Models and Selected
                   Applications in Speech Recognition},
    booktitle    = {Proceedings of the IEEE},
    doi          = {10.1016/b978-0-08-051584-7.50027-9},
    keywords     = {computer},
    mendeley-tags= {computer},
    pages        = {257--286}
}

@Article{          drabkin1988-fingering,
    author       = {Drabkin, William},
    year         = {1988},
    title        = {Fingering in haydn's string quartets},
    doi          = {10.1093/earlyj/XVI.1.50},
    issn         = {03061078},
    journal      = {Early Music},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {1},
    pages        = {50--57},
    volume       = {16}
}

@Book{             landon.ea1988-haydn,
    author       = {Landon, Howard Chandler Robbins and Jones, David Wyn},
    year         = {1988},
    title        = {Haydn: his life and music},
    address      = {Bloomington \& Indianapolis},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    publisher    = {Indiana University Press}
}

@PhDThesis{        marvin1988-generalized,
    author       = {Marvin, Elizabeth West},
    year         = {1988},
    title        = {A generalized theory of musical contour: its application
                   to melodic and rhythmic analysis of non-tonal music and
                   its perceptual and pedagogical implications},
    abstract     = {This dissertation proposes the thesis that abstract
                   theories of pitch- and set-class structure do not reflect
                   listeners' aural perception of sounding music as
                   effectively as theories modelling the articulation of
                   these underlying structures on the musical surface. This
                   position is supported by a review of pertinent
                   music-theoretical and music-psychological research. Based
                   upon the data collected by various music-psychologists,
                   published elsewhere but compared and critiqued here, this
                   study concludes that listeners generally use figural cues
                   drawn from musical context --- for example, melodic
                   shapes, changes of direction, relative durationnal
                   patterns, and so on --- to retain and recognize musical
                   ideas in short-term memory. These figural cues may be
                   represented in precise notation and compared with one
                   another by application and generalization of Robert
                   Morris's contour theories. Morris's comparison matrix and
                   contour equivalence relations are introduced here,
                   followed by this author's generalization of the thwory to
                   duration space and development of similarity relations for
                   melodic contours of relative pitch height and rhythmic
                   contours of relative suration successions. The similarity
                   relations for musical contours build upon previous wort of
                   Dabid Lewin, Robert Morris, and John Rahn. While the
                   efficacy of these theories for modelling perceivable
                   patterns in musical contexts cannot be proven without
                   further psychological testing, their applicability to
                   musical analysis is demonstrated. Analyses drawn form the
                   music of Bartok, Webern, Berg, and Var{\`{e}}se illustrate
                   ways in which melodic and rhythmic contour relationships
                   may be used to shape a formal scheme to differentiate
                   melody from accompaniment, to associate musical ideas that
                   belong to different set classes, and to create unity
                   throuth varied repetition. The concluding chapter explores
                   avenues for future work. A section on music-psychological
                   experimentation offers a critical overview of research in
                   this area and proposes ideas for future experimentation.
                   Second, the implications of music-psychological research
                   for the pedagogy of non-tonal music theory are considered
                   and a model curriculum for non-tonal music theory
                   proposed. The dissertation concludes by proposing a number
                   of ways in which contour theory might be generalized to
                   other domains and illustrates the application of one such
                   generalization to the analysis of chord spacing in a piano
                   work of Luigi Dallapiccola.},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    school       = {University of Rochester},
    type         = {PhD Dissertation},
    url          = {http://www.mendeley.com/research/a-generalized-theory-of-musical-contour-its-application-to-melodic-and-rhythmic-analysis-of-nontonal-music-and-its-perceptual-and-pedagogical-implications/}
}

This dissertation proposes the thesis that abstract theories of pitch- and set-class structure do not reflect listeners' aural perception of sounding music as effectively as theories modelling the articulation of these underlying structures on the musical surface. This position is supported by a review of pertinent music-theoretical and music-psychological research. Based upon the data collected by various music-psychologists, published elsewhere but compared and critiqued here, this study concludes that listeners generally use figural cues drawn from musical context — for example, melodic shapes, changes of direction, relative durationnal patterns, and so on — to retain and recognize musical ideas in short-term memory. These figural cues may be represented in precise notation and compared with one another by application and generalization of Robert Morris's contour theories. Morris's comparison matrix and contour equivalence relations are introduced here, followed by this author's generalization of the thwory to duration space and development of similarity relations for melodic contours of relative pitch height and rhythmic contours of relative suration successions. The similarity relations for musical contours build upon previous wort of Dabid Lewin, Robert Morris, and John Rahn. While the efficacy of these theories for modelling perceivable patterns in musical contexts cannot be proven without further psychological testing, their applicability to musical analysis is demonstrated. Analyses drawn form the music of Bartok, Webern, Berg, and Varèse illustrate ways in which melodic and rhythmic contour relationships may be used to shape a formal scheme to differentiate melody from accompaniment, to associate musical ideas that belong to different set classes, and to create unity throuth varied repetition. The concluding chapter explores avenues for future work. A section on music-psychological experimentation offers a critical overview of research in this area and proposes ideas for future experimentation. Second, the implications of music-psychological research for the pedagogy of non-tonal music theory are considered and a model curriculum for non-tonal music theory proposed. The dissertation concludes by proposing a number of ways in which contour theory might be generalized to other domains and illustrates the application of one such generalization to the analysis of chord spacing in a piano work of Luigi Dallapiccola.

@Book{             rosen1988-sonata,
    author       = {Rosen, Charles},
    year         = {1988},
    title        = {Sonata Forms},
    address      = {New York and London},
    edition      = {Rev. Ed.},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {W. W. Norton \& Company}
}

@Book{             berry1987-structural,
    author       = {Berry, Wallace},
    year         = {1987},
    title        = {Structural functions in music},
    address      = {New York},
    isbn         = {0486253848},
    keywords     = {music theory,musical analysis},
    mendeley-tags= {music theory},
    publisher    = {Dover Publications, Inc},
    url          = {http://books.google.com/books?hl=en&lr=&id=J4iXm-uoSRUC&oi=fnd&pg=PR11&dq=Structural+Functions+in+Music&ots=k-2Zkuqv_I&sig=gDaGMcfIa7GyNE2CzlOvrS19w2Q}
}

@Article{          marvin.ea1987-relating,
    author       = {Marvin, Elizabeth West and Laprade, Paul A.},
    year         = {1987},
    title        = {Relating musical contours: Extensions of a Theory for
                   Contour},
    issn         = {0022-2909},
    journal      = {Journal of Music Theory},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    number       = {2},
    pages        = {225--267},
    publisher    = {JSTOR},
    url          = {http://www.jstor.org/stable/843709},
    volume       = {31}
}

@Book{             morris1987-composition,
    author       = {Morris, Robert Daniel},
    year         = {1987},
    title        = {Composition with pitch-classes: A theory of compositional
                   design},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    publisher    = {Yale University Press},
    url          = {http://www.getcited.org/pub/102618473}
}

@Book{             berry1986-form,
    author       = {Berry, Wallace},
    year         = {1986},
    title        = {Form in music: an examination of traditional techniques
                   of musical form and their applications in historical and
                   contemporary styles},
    address      = {Englewood Cliffs, N.J},
    edition      = {2nd},
    isbn         = {0133292851},
    keywords     = {Musical form,music theory},
    mendeley-tags= {music theory},
    pages        = {439},
    publisher    = {Prentice-Hall}
}

@Book{             keller1986-great,
    author       = {Keller, Hans},
    year         = {1986},
    title        = {The Great Haydn Quartets: Their interpretation},
    address      = {London},
    archiveprefix= {arXiv},
    arxivid      = {arXiv:1011.1669v3},
    edition      = {1},
    eprint       = {arXiv:1011.1669v3},
    isbn         = {9788578110796},
    issn         = {1098-6596},
    keywords     = {History,Music,haydn},
    mendeley-tags= {haydn},
    pmid         = {25246403},
    publisher    = {J. M. Dent \& Sons Ltd}
}

@Article{          friedmann1985-methodology,
    author       = {Friedmann, Michael L.},
    year         = {1985},
    title        = {A Methodology for the Discussion of Contour: Its
                   Application to Schoenberg's Music},
    doi          = {10.2307/843614},
    issn         = {00222909},
    journal      = {Journal of Music Theory},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    number       = {2},
    pages        = {223--248},
    url          = {http://links.jstor.org/sici?sici=0022-2909(198523)29:2%3C223:AMFTDO%3E2.0.CO;2-E&origin=crossref},
    volume       = {29}
}

@Book{             andrews1984-theory,
    author       = {Andrews, George},
    year         = {1984},
    title        = {The theory of Partitions},
    publisher    = {Cambridge University Press},
    address      = {Cambridge}
}

@Article{          caplin1983-tonal,
    author       = {Caplin, William Earl},
    year         = {1983},
    title        = {Tonal function and metrical accent: A historical
                   perspective},
    doi          = {10.2307/746092},
    issn         = {15338339},
    journal      = {Music Theory Spectrum},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {1--14},
    volume       = {5}
}

@Article{          thomassen1983-erratum,
    author       = {Thomassen, Joseph M.},
    year         = {1983},
    title        = {Erratum: "melodic accent: experiments and a tentative
                   model" [J. Acoust. Soc. Am. 71, 1596-1605 (1982)].},
    issn         = {0001-4966},
    journal      = {The Journal of the Acoustical Society of America},
    keywords     = {Humans,Models,Music,Probability,Psychoacoustics,Psychological,music
                   theory},
    mendeley-tags= {music theory},
    month        = {jan},
    number       = {1},
    pages        = {373},
    pmid         = {6826904},
    url          = {http://www.ncbi.nlm.nih.gov/pubmed/6826904},
    volume       = {73}
}

@Article{          levy1982-texture,
    author       = {Levy, Janet M.},
    year         = {1982},
    title        = {Texture as a Sign in Classic and Early Romantic Music},
    doi          = {10.2307/830985},
    issn         = {0003-0139},
    journal      = {Journal of the American Musicological Society},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    month        = {oct},
    number       = {3},
    pages        = {482--531},
    url          = {https://online.ucpress.edu/jams/article/35/3/482/49237/Texture-as-a-Sign-in-Classic-and-Early-Romantic},
    volume       = {35}
}

@Article{          thomassen1982-melodic,
    author       = {Thomassen, Joseph M.},
    year         = {1982},
    title        = {Melodic accent: Experiments and a tentative model},
    doi          = {10.1121/1.387814},
    issn         = {00014966},
    journal      = {The Journal of the Acoustical Society of America},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {6},
    pages        = {1596},
    url          = {http://link.aip.org/link/JASMAN/v71/i6/p1596/s1&Agg=doi},
    volume       = {71}
}

@InProceedings{    andrews1981-submediant,
    author       = {Andrews, Harold L.},
    year         = {1981},
    title        = {The Submediant in Haydn's Development Sections},
    address      = {Washington, DC},
    booktitle    = {Haydn Studies: Proceedings of the International Haydn
                   Conference},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    pages        = {465--471},
    publisher    = {W. W. Norton \& Company}
}

@Article{          cleveland1981-lowess,
    author       = {Cleveland, William S.},
    year         = {1981},
    title        = {{LOWESS}: A Program for Smoothing Scatterplots by Robust
                   Locally Weighted Regression},
    volume       = {35},
    issn         = {00031305},
    shorttitle   = {LOWESS},
    url          = {https://www.jstor.org/stable/2683591?origin=crossref},
    doi          = {10.2307/2683591},
    language     = {en},
    number       = {1},
    urldate      = {2023-04-12},
    journal      = {The American Statistician},
    month        = feb,
    pages        = {54}
}

@Book{             larsen.ea1981-proceedings,
    year         = {1981},
    title        = {Proceedings of the International Haydn Conference},
    address      = {New York and London},
    booktitle    = {Haydn Studies},
    editor       = {Larsen, Jens Peter and Serwer, Howard and Webster,
                   James},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    publisher    = {W. W. Norton \& Company}
}

@InProceedings{    levy1981-gesture,
    author       = {Levy, Janet M.},
    year         = {1981},
    title        = {Gesture, Form and Syntax in Haydn's Music},
    address      = {Washington, DC},
    booktitle    = {Haydn Studies: Proceedings of the International Haydn
                   Conference},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    pages        = {355--363},
    publisher    = {W. W. Norton \& Company}
}

@InProceedings{    moe-jr-1981-significance,
    author       = {{Moe Jr.}, Orin},
    year         = {1981},
    title        = {The Significance of Haydn's Op. 33},
    address      = {Washington, DC},
    booktitle    = {Haydn Studies: Proceedings of the International Haydn
                   Conference},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    pages        = {445--450},
    publisher    = {W. W. Norton \& Company}
}

@InProceedings{    saslav1981-alla,
    author       = {Saslav, Isidor},
    year         = {1981},
    title        = {The alla breve “March”: Its Evolution and Meaning in
                   Haydn's String Quartets},
    address      = {Washington, DC},
    booktitle    = {Haydn Studies: Proceedings of the International Haydn
                   Conference},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    pages        = {308--314},
    publisher    = {W. W. Norton \& Company}
}

@InProceedings{    sisman1981-haydns,
    author       = {Sisman, Elaine},
    year         = {1981},
    title        = {Haydn's Hybrid Variations},
    address      = {Washington, DC},
    booktitle    = {Haydn Studies: Proceedings of the International Haydn
                   Conference},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    pages        = {509--515},
    publisher    = {W. W. Norton \& Company}
}

@Book{             ratner1980-classic,
    author       = {Ratner, Leonard G},
    year         = {1980},
    title        = {Classic Music: Expression, Form and Style},
    address      = {New York},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Schirmer Books}
}

@Article{          cleveland1979-robust,
    author       = {Cleveland, William S.},
    year         = {1979},
    title        = {{Robust} Locally Weighted Regression and Smoothing
                   Scatterplots},
    volume       = {74},
    issn         = {0162-1459, 1537-274X},
    url          = {http://www.tandfonline.com/doi/abs/10.1080/01621459.1979.10481038},
    doi          = {10.1080/01621459.1979.10481038},
    language     = {en},
    number       = {368},
    urldate      = {2023-04-12},
    journal      = {Journal of the American Statistical Association},
    month        = dec,
    pages        = {829--836}
}

@Book{             kerman1979-beethoven,
    author       = {Kerman, Joseph},
    year         = {1979},
    title        = {The Beethoven Quartets},
    address      = {New York, NY},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {WW Norton \& Company}
}

@Article{          webster1977-bass,
    author       = {Webster, James},
    year         = {1977},
    title        = {The Bass Part in Haydn's Early String Quartets},
    issn         = {0264-1615},
    journal      = {The Musical Quarterly},
    keywords     = {music history},
    mendeley-tags= {music history},
    number       = {3},
    pages        = {390--424},
    url          = {https://www.jstor.org/stable/pdf/741433.pdf},
    volume       = {63}
}

@Book{             andrews1976-theory,
    author       = {Andrews, George E.},
    year         = {1976},
    title        = {The {Theory} of {Partitions}},
    address      = {London},
    series       = {Encyclopedia of {Mathematics} and its {Applications}},
    volume       = {2},
    language     = {en},
    publisher    = {Addison-Wesley Publishing Company},
    editor       = {Turán, Paul}
}

@Book{             kohs1976-musical,
    author       = {Kohs, Ellis Bonoff},
    year         = {1976},
    title        = {Musical Form: Studies in analysis and synthesis},
    address      = {Boston},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    publisher    = {Houghton Mifflin}
}

@Article{          webster1975-chronology,
    author       = {Webster, James},
    year         = {1975},
    title        = {The Chronology of Haydn's String Quartets},
    journal      = {The Musical Quarterly},
    keywords     = {haydn,music history},
    mendeley-tags= {haydn,music history},
    number       = {1},
    pages        = {17--46},
    volume       = {61}
}

@Book{             barrett-ayres1974-joseph,
    author       = {Barrett-Ayres, Reginald},
    year         = {1974},
    title        = {Joseph Haydn and the String quartet},
    address      = {New York},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    publisher    = {Schirmer Books}
}

@Book{             hughes1974-haydn,
    author       = {Hughes, Rosemary},
    year         = {1974},
    title        = {Haydn},
    address      = {London},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    publisher    = {J. M. Dent \& Sons Ltd}
}

@InCollection{     geiringer1973-rise,
    author       = {Geiringer, Karl},
    year         = {1973},
    title        = {The Rise of Chamber Music},
    address      = {Oxford},
    booktitle    = {The New Oxford history of music. Vol. 7, Age of
                   enlightenment 1745-1790},
    chapter      = {IX},
    editor       = {Wellesz, Egon and Sternfeld, Frederick W},
    isbn         = {0 19 316307 1},
    keywords     = {music history},
    mendeley-tags= {music history},
    pages        = {515--573},
    publisher    = {Oxford University Press}
}

@InCollection{     pauly1973-chamber,
    author       = {Pauly, Reinhard G.},
    year         = {1973},
    title        = {Chamber Music, Divertimento, Serenade},
    address      = {Englewood Cliffs, NJ},
    booktitle    = {Music in the classic period},
    chapter      = {9},
    keywords     = {music history},
    mendeley-tags= {music history},
    pages        = {140--158},
    publisher    = {Prentice-Hall}
}

@Article{          mann1970-beethovens,
    author       = {Mann, Alfred},
    year         = {1970},
    title        = {Beethoven's Contrapuntal Studies with Haydn},
    journal      = {The Musical Quarterly},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {4},
    pages        = {711--726},
    url          = {http://www.jstor.org/stable/740934},
    volume       = {56}
}

@Article{          bartha1969-thematic,
    author       = {Bartha, D{\'{e}}nes},
    year         = {1969},
    title        = {Thematic Profile and Character in the Quartet-Finales of
                   Joseph Haydn (A Contribution to the Micro-Analysis of
                   Thematic Structure)},
    doi          = {10.2307/901267},
    issn         = {00393266},
    journal      = {Studia Musicologica Academiae Scientiarum Hungaricae},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1/4},
    pages        = {35--62},
    volume       = {11}
}

@Article{          oster1961-register,
    author       = {Oster, Ernst},
    year         = {1961},
    title        = {Register and the Large-Scale Connection},
    doi          = {10.2307/842870},
    issn         = {00222909},
    journal      = {Journal of Music Theory},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {54},
    volume       = {5}
}

@Book{             hoboken1957-joseph,
    author       = {van Hoboken, Anthony},
    year         = {1957},
    title        = {Joseph Haydn: thematisch-bibliographisches
                   Werkverzeichnis},
    address      = {Mainz},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {Schott \& Co., Ltd.},
    url          = {https://archive.org/details/JosephHaydnThematisch-bibliographischesWerkverzeichnis}
}

@Article{          silbert1950-ambiguity,
    author       = {Silbert, Doris},
    year         = {1950},
    title        = {Ambiguity in the string quartets of Joseph Haydn},
    doi          = {10.1093/mq/XXXVI.4.562},
    journal      = {Musical Quarterly},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {562----573},
    url          = {http://mq.oxfordjournals.org/content/XXXVI/4/562.extract},
    volume       = {36}
}

@Book{             geiringer1946-haydn,
    author       = {Geiringer, Karl},
    year         = {1946},
    title        = {Haydn: a creative life in Music},
    address      = {New York},
    keywords     = {music history},
    mendeley-tags= {music history},
    publisher    = {W. W. Norton \& Company}
}

@Article{          fisher.ea1928-limiting,
    author       = {Fisher, R. A. and Tippett, L. H.C.},
    year         = {1928},
    title        = {Limiting forms of the frequency distribution of the
                   largest or smallest member of a sample},
    doi          = {10.1017/S0305004100015681},
    issn         = {14698064},
    journal      = {Mathematical Proceedings of the Cambridge Philosophical
                   Society},
    keywords     = {mathematics},
    mendeley-tags= {mathematics},
    number       = {2},
    pages        = {180--190},
    volume       = {24}
}

@Book{             sapp-kern,
    title        = {Kern Scores},
    editor       = {Sapp, Craig},
    publisher    = {Center for Computer Assisted Research in the Humanities
                   at Stanford University},
    note         = {Available at \url{https://kern.ccarh.org}. Accessed on:
                   Jun. 2, 2023}
}