Difference between revisions of "Music 254"

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=Introduction=
 
=Introduction=
Music 254 has evolved over more than a decade from a seminar in music representation system to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data. (Music 252 offers an introduction to easily available notation software; Music 253 delves into the details of the professional notation program SCORE, the internal format of MIDI files, and issues in interchanging data between notation and sound.)  It has been an incubator for software applications in such forward-looking areas as polyphonic query, the visualization of tonal harmony, and music query in non-Western (as well as Western) repertories.
 
  
Students in Music 254, having acquired skills in notation, MIDI, and data interchange in Music 253, explore the <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] to design their own research in areas appropriate to their background and interests. Previous programming experience is not necessary, but a working knowledge of musical notation and elementary concepts of music theory is.  
+
==Overview==
 +
Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data.  
  
The potential list of topics that <i>may</i> be covered in Music 254 is substantial, but in any given year those most salient to the skills and interests of the class are emphasized. The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Lab time is emphasized over the later six weeks of the quarter. Individual help with projects is available.  
+
The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter.  
  
Arranging meeting times convenient for students from multiple schools and disciplines is a chronic problem. Those with an interest in Music 254 should contact Eleanor Selfridge-Field (esfield // at \\ stanford.edu) at their earliest convenience.
+
==Project topics==
 +
Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval).  
  
==Definitions==
+
==Prerequesites==
Ultimately, all the application areas covered in Music 254 depend on <b>music analysis</b>. In the analogue world, most analytical techniques are applied to the elaborate explication of single works. Digital tools enable the analysis of whole repertories, but they require two things: (a) encoded music and (b) tools designed to process articulate queries.
+
Successful completion of Music 253/CS 275A, Symbolic Musical Information and graduate status or evidence of equivalent preparation.
  
<b>Music query</b>, or music search, is a specific instance of music analysis. Query can be specified musically in any number of ways--melodic search, harmonic search, rhythmic search, compositional pattern search, and so forth.
+
Previous programming experience is not necessary but is an asset. A  working knowledge of musical notation and elementary concepts of music theory is essential.  
  
<b>Style evaluation</b>, or style simulation, seeks to define those musical features that constitute a particular style of composition and differentiate it from all others. Feature sets, once defined, can serve as a springboard to the generation of new music in the style of an existing repertory.
+
Familiarity with other recent work in the chosen project area is essential.
  
==The <i>MuseData</i>, <i>KernScores</i>, and Josquin Databases==
+
==Historical background==
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications. The Center for Computer Assisted Research in the Humanities (CCARH)[http://www.ccarh.org], which hosts it, originated the [[<b>MuseData</b>]] encoding format [http://www.ccarh.org/publications/books/beyondmidi/online/musedata/] and has encoded approximately 1,200 complete classical works.  
+
Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data.  
  
The <b><i>Humdrum Toolkit</i></b>, initiated by David Huron and officially hosted at Ohio State University, is complemented by additional tools and an extensive collection of music encoded in the <b>**kern</b> format (KernScores [http://kern.ccarh.org]). Craig Stuart Sapp is also the developer of the KernScores website [http://ismir2005.ismir.net/proceedings/3123.pdf].
+
Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are [http://wiki.ccarh.org/wiki/Music_253 here].
  
Both of these resources contain extensive amounts of data. The best way to become acquainted with them is to explore them systematically.  <b>KernScores</b> will be the more useful for many projects in Music 254/CS 275B, but significant differences in data profiles should be noted.  <b>MuseData</b> originates as part-by-part encodings. The data format is intended to support editing, printing, MIDI, and various kinds of re-purposing (re-use). <b>Kern</b> data is through-encoded (all parts are entered at once). <b>MuseData</b> principally contains large-multi-movement works (symphonies, string quartets, ensemble sonatas, operas, oratorios). <b>KernScores</b> principally contains keyboard music. <b>MuseData</b> emphasizes music composed between 1680 and 1850. <b>KernScores</b> has a broader reach, with small quantities of data from the Renaissance, from the early twentieth century, and from folksong repositories.
+
==Labs==
 +
Labs are focused on learning selected features of the <i>Humdrum Toolkit</i> [http://csml.som.ohio-state.edu/Humdrum/talks/Humdrum.Toolkit/index.html] to design their own research in areas appropriate to their background and interests. As the course progresses, users can focus on the tools relevant to their projects. They are also welcome to write new ones. 
  
Beyond these differences in holdings, <b>KernScores</b> offers several paths through its hoildings. The composer and genre lists on the homepage are self-explanatory. At the top of the page, under the search window, the <i>Guided Tour</i> provides useful information on navigation.  <i>Data Collection Highlights</i> shows some of the larger constellations of holdings. The <i>Online Humdrum Editor</i> is useful for becoming familiar with the **kern data format used in the database and also for producing short musical examples for print or online use. For full particulars on formats see the <i>CCARH Humdrum Portal</i>. 
+
==Data Contents==
 +
Data repositories of verified symbolic encodings include three that have been created locally:
  
<b>KernScores</b> has a large number of pre-defined analytical capabilities at the individual work level. Some generate graphical, others alphanumeric displays. The buttons to the left of title listings employ these codes:  <b>S</b>=Score, <b>H</b>=Humdrum code, <b>M</b>=MIDI, <b>K</b>=keyscape.  A <b>Z</b>, when encountered at the head of a listing, refers to a zip file containing all of the following listings.
+
* <b>The Josquin Research Project</b> contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.
  
On individual work pages, e.g. [http://kern.ccarh.org/cgi-bin/ksdata?location=users/craig/classical/chopin/prelude&file=prelude28-01.krn&format=info Chopin's Prelude in C Major, Op. 67, No. 1 (Quasi improvisazione)], the user can find translations of Humdrum data ("Data Formats Translation") to notation via several different pieces of software.  Of these [http://kern.ccarh.org/cgi-bin/ksdata?l=users/craig/classical/chopin/prelude&file=prelude28-01.krn&f=abcpdf ABC+ code] is among the most robust, [http://kern.ccarh.org/cgi-bin/ksdata?l=users/craig/classical/chopin/prelude&file=prelude28-01.krn&f=xml MusicXML] the most useful for import to <i>Finale</i> and <i>Sibelius</i>. Some of the other formats offer evaluate and/or weigh certain musical features for expressive performance, metrical weighting, and so forth.
+
* <b><i>KernScores</i></b> contains scores of Western European music--mainly for piano--(classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.
  
The lower portion of individual work pages contains links to produce "[http://kern.ccarh.org/cgi-bin/ksanalysis-mkeyscape?url=http%3A%2F%2Fkern.ccarh.org%2Fcgi-bin%2Fksdata%3Fl%3Dusers%2Fcraig%2Fclassical%2Fchopin%2Fprelude%26file%3Dprelude28-01.krn%26f%3Dkern&format=png keyscape]" visualizations of harmonic structure ("keyscapes"), [http://kern.ccarh.org/cgi-bin/ksanalysis-proll?options=H&url=http%3A%2F%2Fkern.ccarh.org%2Fcgi-bin%2Fksdata%3Fl%3Dusers%2Fcraig%2Fclassical%2Fchopin%2Fprelude%26file%3Dprelude28-01.krn piano-roll] views depicting individual voices in relation to each other and showing overall changes of texture, can detect chord roots, and can append them, event by event, to the preceding **kern file.
+
* <b><i>MuseData</i></b> contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats.  
  
The <b><i>[http://jrp.ccarh.org/ Josquin Research Project]</i></b>, directed by Jesse Rodin, contains more than 1,000 pieces of music from the early RenaissanceIt was started with the intention of differentiating real Josquin from false attributions to Josquin.  The music it contains in in [https://en.wikipedia.org/wiki/Mensural_notation mensural notation]. It is designed for musicological queries, which are facilitated through the use of a search panel on the left of the home screenMusic by the composers [https://en.wikipedia.org/wiki/Guillaume_Dufay Dufay], [https://en.wikipedia.org/wiki/Pierre_de_la_Rue de la Rue], [https://en.wikipedia.org/wiki/Pierre_de_la_Rue Obrecht], and [https://en.wikipedia.org/wiki/Ockeghem Ockeghem] are included in the data pool.
+
* <b>Tasso in Music</b> contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.
 +
 
 +
==Links and credits==
 +
The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.).
 +
 
 +
* <b>MuseData</b> (1985--): http://www.musedata.org.  Format and printing system designed and implemented by Walter B. Hewlett.  Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios)Hosted by CCARH (http://www.ccarh.org)
 +
 
 +
* <b>Humdrum Toolkit</b> (1985): https://musiccog.ohio-state.edu/home/index.php/The_Humdrum_ToolkitItinitiated by David Huron. Hosted by the Ohio State University, with additional tools at CCARH.
 +
 
 +
* <b>KernScores</b> (2001): http://kern.ccarh.org and http://kern.humdrum.org. Originated and maintained by Craig Sapp.  Roughly 2,000 works (piano music, German and Chinese folksongs. Related [http://ismir2005.ismir.net/proceedings/3123.pdf literature].
 +
 
 +
* <b>Josquin Research Project</b> (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works.
 +
 
 +
* <b>Tasso in Music Project</b> (2015): http://www.tassomusic.org/.  Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.
  
 
==The <i>Humdrum Toolkit</i>==
 
==The <i>Humdrum Toolkit</i>==
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=Course Topics=
 
=Course Topics=
 +
 +
See also Recent Projects below.
 +
 
==Elements of Musical Style==
 
==Elements of Musical Style==
 
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.
 
What constitutes a musical style? As a classroom subject, <b>style</b> is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.
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* Automatic synchonization of music and movement (CCRMA PhD)
 
* Automatic synchonization of music and movement (CCRMA PhD)
 
* Beat alignment (numerous, mainly CCRMA)
 
* Beat alignment (numerous, mainly CCRMA)
* Contrapuntal analysis using the Hausdorff metric (CS Ms)
+
* Contrapuntal analysis using the Hausdorff metric (CS MS)
 +
* Deep learning for analysis of musical structure (CS MS)
 
* Deep metric structure (visiting German PhD)
 
* Deep metric structure (visiting German PhD)
 
* Electronic composition for animations (visiting master's from Keio University)
 
* Electronic composition for animations (visiting master's from Keio University)
 +
* Encoding system of music by Hildegard con Bingen (PhD visitor)
 
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)
 
* Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)
 
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)
 
* French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)
 
* Generation of new Joplin rags (EE Master's)
 
* Generation of new Joplin rags (EE Master's)
 +
* Geospatial cluster analysis of meter in European folksong (Music PhD)
 
* Harmonic Analysis and its Visualization (CCRMA PhD)
 
* Harmonic Analysis and its Visualization (CCRMA PhD)
 
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)
 
* Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)
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* Music synchronization in virtual reality (CCRMA PhD)
 
* Music synchronization in virtual reality (CCRMA PhD)
 
* Peer-to-peer query by humming (CS master's)
 
* Peer-to-peer query by humming (CS master's)
* Phonology and Music (CCRMA PhD)
+
* Performance analysis: Bach fugues (CCRMA PhD)
 +
* Phonology and music-notation mapping (CCRMA PhD)
 
* Pitch-tracking for South Indian Classical Music (EE PhD)
 
* Pitch-tracking for South Indian Classical Music (EE PhD)
 
* Probabilistic style-simulation using trees (SSP undergraduate)
 
* Probabilistic style-simulation using trees (SSP undergraduate)
* Real-time voice pitch tracking in Humdrum (MST undergrad)
 
* Trumpet acoustics (visiting Taiwanese researcher)
 
 
* Perceptual of timbre (CCRMA PhD)
 
* Perceptual of timbre (CCRMA PhD)
 +
* Real-time voice pitch tracking in Humdrum (MST undergrad)
 +
* Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)
 +
* Drumpfet acoustics (visiting Taiwanese researcher)
 
* Searching lyrics in multimedia databases with  Mandarin and English (CS PhD)
 
* Searching lyrics in multimedia databases with  Mandarin and English (CS PhD)
 
* Style judgment by man and machine (EE PhD)
 
* Style judgment by man and machine (EE PhD)
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* Temporal calibration of <i>gagaku</i> (CCRMA MST)
 
* Temporal calibration of <i>gagaku</i> (CCRMA MST)
 
* Visualization methods for structural analysis (MA mathematics)
 
* Visualization methods for structural analysis (MA mathematics)
 
 
 
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)
 
* XML tools for <i>MuseData</i> and <i>Themefinder</i> (visiting Dutch researcher)
  
 
= Ongoing research projects at CCARH =  
 
= Ongoing research projects at CCARH =  
  
* Automatic PDF generation from encoded-score datasets
+
* Automatic PDF generation from encoded-score datasets
* Automatic harmonic visualization of encoded scores
+
* [http://purl.stanford.edu/br237mp4161 Harmonic visualization of musical structure] (Craig Sapp's Keyscapes)
* Bach edition and score projects in collaboration of national and international performing groups  
+
* [http://wiki.ccarh.org/wiki/MuseData:_Johann_Sebastian_Bach Bach edition, score, and analysis projects] in collaboration of national and international performing groups  
* Corelli score, analysis, and visualization projects  
+
* [http://wiki.ccarh.org/wiki/MuseData:_Ludwig_van_Beethoven Beethoven symphony and string quartet edition, score, and analysis projects]
* CPE Bach data translation projects (in cooperation with the Packard Humanities Institute)
+
* [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Corelli score, analysis, and visualization projects]
* Haydn score projects in collaboration of performing groups and style analysis specialists
+
* [http://www.cpebach.org/ CPE Bach data-translation projects] (in cooperation with the Packard Humanities Institute)
* Interactive search tools for the Josquin Research Project (in cooperation with Jesse Rodin)
+
* [http://www.musedata.org/cgi-bin/mdsearch?s=t&keyword=pdf%20haydn Haydn score projects] in collaboration of performing groups and style analysis specialists
* Handel edition and score projects in collaboration of national and international performing groups  
+
* Interactive search tools for the [http://josquin.stanford.edu/ Josquin Research Project] (in cooperation with Jesse Rodin)
* Handel Reference Database (in cooperation with Ilias Chrissochoidis)
+
* [http://wiki.ccarh.org/wiki/Messiah Handel edition and score projects] in collaboration of national and international performing groups  
* Music Encoding Initiative (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)
+
* [http://ichriss.ccarh.org/HRD/ Handel Reference Database] (in cooperation with Ilias Chrissochoidis)
 +
* [http://kern.ccarh.org/ KernScores] website for music analysis
 +
* [http://music-encoding.org/home Music Encoding Initiative] (in cooperation with the the University of Paderborn and the Detmold Hochschule für Musik)
 
* MuseData documentation and development
 
* MuseData documentation and development
 
* Musical data translation (numerous projects and formats)
 
* Musical data translation (numerous projects and formats)
 
* Online implementation of mensural notation  
 
* Online implementation of mensural notation  
* RISM online melodic search (in cooperation with the RISM Zentrum and the Bavarian State Library ViFaMusik project)
+
* [https://opac.rism.info/metaopac/search.do;jsessionid=E8CF7EABC258F4FE86AADE26B4D2311C.touch01?emptyFields=false&SearchType=2&methodToCall=switchSearchPage RISM online melodic search] (in cooperation with the RISM Zentrum, Themefinder, Swiss RISM, and the Bavarian State Library ViFaMusik project)
 
* Telemann edition and score projects in collaboration with the Telemann Zentrum  
 
* Telemann edition and score projects in collaboration with the Telemann Zentrum  
* Vivaldi edition and score projects in collaboration of national and international performing groups (CCARH staff)
+
* [http://www.themefinder.org Themefinder]
 +
* [http://verovio.humdrum.org Verovio] (in cooperation with the [http://music-encoding.org/tools/verovio/ Music Encoding Initiative (MEI)])
 +
* [http://wiki.ccarh.org/wiki/MuseData:_Antonio_Vivaldi#Juditha_triumphans Vivaldi edition and score projects] in collaboration of national and international performing groups (CCARH staff)
  
  
 
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]
 
Previous front page: [http://www.ccarh.org/courses/254 http://www.ccarh.org/courses/254]

Latest revision as of 22:04, 3 April 2018

See also the Music 254/CS 275b Syllabus.

1 Introduction

1.1 Overview

Music 254/CS 275B is a seminar offered to graduate students in music and in computer science in the spring quarter of each year. Its overall aim is to enable projects in computational music analysis using symbolic data.

The first month requires regular class meetings, an introduction and preliminary exercises in the use of Humdrum, and individually assigned readings in an area of mutual interest. Individual weekly meetings replace lab time in the last half of the quarter.

1.2 Project topics

Projects and applications can be developed on the basis of any well documented encoding scheme and may draw on machine-readable information from an additional domain (gesture, audio, et al.). Music 254/CS 275B has been an incubator for software applications in such areas as melodic search in Western and non-Western repertories, polyphonic query, harmonic visualization, real-time analysis of pre-tonal and tonal music, generation of compositions based on specified styles and/or genres, and AI techniques in author/composer profiling, structural dissection of polyphonic scores, and feature-weighting approaches to MIR (music information retrieval).

1.3 Prerequesites

Successful completion of Music 253/CS 275A, Symbolic Musical Information and graduate status or evidence of equivalent preparation.

Previous programming experience is not necessary but is an asset. A working knowledge of musical notation and elementary concepts of music theory is essential.

Familiarity with other recent work in the chosen project area is essential.

1.4 Historical background

Music 254/CS 275B has evolved over more than two decades from a seminar in music representation systems to a project-oriented sandbox for applications involving the use of symbolic (discrete) musical data.

Music 253/CS 275A, offered in the winter quarter, delves into the details of representation schemes and code content for programs in music typesetting (SCORE, Finale, MuseScore), MIDI, interchange codes (MusicXML, MEI), and related methods of data acquisition including optical music recognition. A recent syllabus and description are here.

1.5 Labs

Labs are focused on learning selected features of the Humdrum Toolkit [1] to design their own research in areas appropriate to their background and interests. As the course progresses, users can focus on the tools relevant to their projects. They are also welcome to write new ones.

1.6 Data Contents

Data repositories of verified symbolic encodings include three that have been created locally:

  • The Josquin Research Project contains scores--mainly choral repertories composed by Josquin and his contemporaries. No lyrics. Encoded by humans for use with **kern and MuseData. Conversions to other formats include MIDI, MEI, et al.
  • KernScores contains scores of Western European music--mainly for piano--(classical period through early twentieth-century, with broad edges for earlier and later music. Optically recognized. Humdrum kern format native, with on-the-fly conversions to numerous other formats for notation and analysis.
  • MuseData contains scores of Western European music--mainly for orchestra, ensemble, quartet, or mixed group--from 1700 to 1850 (e.g. Bach, Corelli, Vivaldi, Haydn, Beethoven, et al.) fully encoded by humans (with lyrics when pertinent) in the MuseData format, with conversions to several other formats.
  • Tasso in Music contains literary texts by Torquato Tasso and musical settings by diverse composers through the year 1640.

1.7 Links and credits

The CCARH Lab (Braun Music Center #128) provides support for a wide range of notation and analysis applications, some of which may be useful for auxiliary tasks (scanning, printing, generating MIDI files, etc.).

  • MuseData (1985--): http://www.musedata.org. Format and printing system designed and implemented by Walter B. Hewlett. Currently holds 1,200 classical works (symphonies, chamber music, operas, oratorios). Hosted by CCARH (http://www.ccarh.org)
  • Josquin Research Project (2010): http://jrp.stanford.edu. Initiated by Jesse Rodin, website developed and maintained by Craig Sapp. Currently contains c. 400 of a project 500 polyphonic works.
  • Tasso in Music Project (2015): http://www.tassomusic.org/. Initiated and directed by Emiliano Ricciardi, with technical implementation by Craig Sapp. Forty works of a prospective 600+ currently online. Entries organized by literary genres.

1.8 The Humdrum Toolkit

The Unix-based Humdrum Toolkit originated in the mid-1980s as a small set of commands that can be chained into series to produce concise information about changes inside an encoded musical score. Although the rudiments seem simple, the diversity of questions that can be posed and answered is potentially immense. Because Humdrum is now supported on three continents, CCARH recently constructed a Humdrum portal [2] to link tools and documentation at diverse locations.

2 Course Topics

See also Recent Projects below.

2.1 Elements of Musical Style

What constitutes a musical style? As a classroom subject, style is often used as a lens through which to differentiate the work of different composers, genres, historical periods, places, schools of pedagogy, and so forth. It is an umbrella term to which almost any aspect of music can be related. While no one denies that the term is vague in its meaning, two individuals who have defined and articulated specific elements of musical style have also provided taxonomies that are inordinately useful in the development of computer programs for musical analysis.

2.1.1 LaRue's Rubrics of Style Analysis

The noted musicologist Jan LaRue (1918-2003)[3] took a top-down approach to the musical work. His taxonomy of musical features embraces a wide range of musical phenomena, most of which are frequently pertinent to classical music of the past four centuries. In his Guidelines for Style Analysis: A Comprehensive Outline of Basic Principals for the Analysis of Musical Style (New York: W.W. Norton, 1970), LaRue fleshes out his 9-part skeleton into three layers of detail.

3 Humdrum Lab Pages

Go to the Humdrum Lab portal for a list of exercises to get up to speed with using the Humdrum Toolkit and other programs/environments to work with Humdrum data files.

4 Recent and current subjects of student and visitor research

Topic ideas and technological tools vary considerably from year to year. The wide scope of projects emerging from Mus 254/CS 275B is best represented by subjects pursued over the past decade.

Degree candidacy and program indicated by initials [CS = computer science, CCRMA = Center for Computer Research in Music and Acoustics, DMA = Doctor of Musical Arts, EE = Electrical Engineering, MST = Music, Science, and Technology program]

  • A geometric approach to content-based retrieval (CS Master's)
  • A database for chord recognition (CCRMA PhD)
  • A keyboard query system for Themefinder (MBA business)
  • A notation system for gesture (DMA)
  • A steel-drum teaching app for calypso (CS Master's)
  • A tabla transcription system (CCRMA PhD)
  • A transcription system for Turkish music (PhD physics)
  • Algorithmic realization of basso continuo using partimento theory (PhD medicine)
  • Analysis of ryoka (CCRMA MST)
  • Automatic accompaniment (CCRMA MST)
  • Automatic reduction from full to piano-vocal score (DMA)
  • Automatic score alignment, audio-symbolic data alignment (EE Master's)
  • Automatic synchonization of music and movement (CCRMA PhD)
  • Beat alignment (numerous, mainly CCRMA)
  • Contrapuntal analysis using the Hausdorff metric (CS MS)
  • Deep learning for analysis of musical structure (CS MS)
  • Deep metric structure (visiting German PhD)
  • Electronic composition for animations (visiting master's from Keio University)
  • Encoding system of music by Hildegard con Bingen (PhD visitor)
  • Encoding Zarlino's treatises with interactive music and sound (visiting Dutch PhD)
  • French chant in the Norman conquest of Southern Italy (visiting PhD from Italy in music/art history)
  • Generation of new Joplin rags (EE Master's)
  • Geospatial cluster analysis of meter in European folksong (Music PhD)
  • Harmonic Analysis and its Visualization (CCRMA PhD)
  • Harpsichord tuning systems in the Italian Baroque (Co-term Music/Math)
  • Interactive Leitmotif analysis tools with integrated score display and sound output (German CS master's)
  • Implementation of Themefinder search tools in the RISM search engine (visiting Swiss PhD in Music/CS)
  • Koto score software (visiting PhD candidate, Keio University)
  • Mapping of drum gesture (PhD CS)
  • Melodic analysis (PhD mathematics)
  • Metrical weights following Neumann, Lerdahl, and Volk (visiting German PhD)
  • Music synchronization in virtual reality (CCRMA PhD)
  • Peer-to-peer query by humming (CS master's)
  • Performance analysis: Bach fugues (CCRMA PhD)
  • Phonology and music-notation mapping (CCRMA PhD)
  • Pitch-tracking for South Indian Classical Music (EE PhD)
  • Probabilistic style-simulation using trees (SSP undergraduate)
  • Perceptual of timbre (CCRMA PhD)
  • Real-time voice pitch tracking in Humdrum (MST undergrad)
  • Rhythmic pattern sort in RISM OPAC data (1.3 million incipits) (PhD collaborator)
  • Drumpfet acoustics (visiting Taiwanese researcher)
  • Searching lyrics in multimedia databases with Mandarin and English (CS PhD)
  • Style judgment by man and machine (EE PhD)
  • Stylistic traits of Pierre de la Rue's motets (Mus undergraduate)
  • Temporal calibration of gagaku (CCRMA MST)
  • Visualization methods for structural analysis (MA mathematics)
  • XML tools for MuseData and Themefinder (visiting Dutch researcher)

5 Ongoing research projects at CCARH


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