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MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle Advisors: Mary Simoni William P. Birmingham. Presentation Overview. Project Overview Introduction to Atonal Music Introduction to Atonal Analysis Project Specifics Project Status and Semester Goals.

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MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting10/17/01Erica SchattleAdvisors: Mary SimoniWilliam P. Birmingham

presentation overview
Presentation Overview
  • Project Overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

presentation overview1
Presentation Overview
  • Project Overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

what is musen
What is MusEn
  • Interdisciplinary research group that combines UofM School of Music and College of Engineering
  • Aim is to use computers to both assist and independently execute many musical tasks
  • Current projects include classification and retrieval by musical style

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

atonal analysis project goals
Atonal Analysis Project Goals
  • Automate processes that aid analysis of atonal music while preserving salient aspects of hand analysis
  • Develop more sophisticated forms of music information retrieval
  • Provide a framework for collaborative music analysis

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

presentation overview2
Presentation Overview
  • Project overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

what is atonal music
What is atonal music?
  • A genre of Western “classical” art music that developed in early 20th-century Europe
  • New musical grammars, new sounds, new musical structures
  • “Emancipation of the dissonance”

Tonal:

Atonal:

Beethoven String Quartet op. 18 no. 5 III (1798-1800)

Brahms Symphony No. 4, I (1884-5)

Webern String Quartet Op. 28, III (1936-8)

Wolpe Symphony No. 1, I (1955-6)

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

presentation overview3
Presentation Overview
  • Project Overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

hand analysis of atonal music
Hand analysis of atonal music
  • Primary methods to describe structures developed out of mathematical set theory
  • Groups of notes are often related by transposition, inversion, complement, or complex relations
  • In addition to notes, other elements of the music can make important contributions to the structure, e.g. dynamics, beaming

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

analysis as pattern searching
Analysis as pattern searching
  • Analysis can be seen as a series of queries sparked and reinforced by listening
    • For example: Find all chords that are the same set class as the opening chord
  • Segmentation—dividing a work into structural components—can be accomplished by diverse methods

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

segmentation example
Segmentation Example
  • A few ways to segment:
  • rest delimited vertical sonorities
  • < > dynamics within one part
  • vertical sonorities with same
  • duration
  • contiguous instances of ffdyn.
  • notes grouped by slurs or phrase
  • markings
  • groups of three contiguous notes
  • with same rhythmic pattern
  • And a few concerns:
  • dynamics subject to interpretation
  • hard to find all valid query
  • results, even in 6 measures
  • at this micro level, many more
  • segmentation possibilities—
  • scaling to 112 meas. is hard!
  • our segmentation criteria did not
  • include segments of aural
  • significant

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

segementation then what
Segementation…. then what?
  • Could determine set-class for each segment
  • Could determine interval content/generate interval vector for each segment
  • Could compare segments aurally
  • Could transform segments by transposition, inversion, retrograde, or retrograde inversion

For all of these options, an analytic framework is necessary to determine what information is of significance!

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

challenges of hand analysis
Challenges of Hand Analysis
  • Immediate hearing of specific parts at specific measures requires piano skills
  • Playback is not heard on appropriate instrument
  • Only results considered significant would be recorded on the score or elsewhere, often without context of why they seemed important
  • Analytic framework or intent may change over time and necessitate repeating “lost” searches
  • Many possible sources of error

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

how will this project help
How will this project help?
  • Automated searching
  • Automated assignment of pc-set, interval vectors, etc. for given segments
  • Automated MIDI generation/transposition etc.
  • Automatic generation of search history and option to annotate search results
  • Results presented visually (on score) and aurally (MIDI)

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

presentation overview4
Presentation Overview
  • Project Overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

system architecture
System Architecture
  • Built upon two music software programs for analysis and display
  • Humdrum – for encoding, manipulating, and analyzing music
  • Mup – for music publication
  • Basic Humdrum to Mup translator developed by Humdrum research group

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

system architecture ii
System Architecture II

Generate Query

Interpret Results

Browse History

  • Browse by:
  • query title
  • query author
  • piece title/
  • composer/ mvmt.
  • measure numbers
  • instruments
  • date and time
  • MIDI content
  • comments/
  • annotations
  • Provide for:
  • well-formed queries
  • different levels of
  • specificity
  • Need to:
  • view results in
  • context of score
  • listen to MIDI
  • annotate with
  • text or drawings
  • easily reformat
  • query

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

example of kern encoding
Example of kern Encoding

**dyn **kern **dyn **kern **dyn **kern **dyn **kern

*staff1 *staff1 *staff2 *staff2 *staff3 *staff3 *staff4 *staff4

*clefG2 *clefG2 *clefG2 *clefG2 *clefC3 *clefC3 *clefF4 *clefF4

*M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8

=1 =1 =1 =1 =1 =1 =1 =1

. 8r . 4r . 4r . 4r

p<[ 8d-~ . . . . . .

=2 =2 =2 =2 =2 =2 =2 =2

. 16r . 4r . 8r p< 4B-~

. (16ccnL . . . . [ .

>] 8ee-J) . . p<[ 8gn~ >] .

*M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8

* * * * * * * *clefC4

=3 =3 =3 =3 =3 =3 =3 =3

. 8r p< 4en~ . 16r . 8r

. . [ . . (16F#L . .

p 8ddn~ > . > 8AnJ) > (8bnL

. 8r ) 8r ) 8r ] 16g#J)

. ] . ] . . 16r

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

example of mup encoding
Example of Mup Encoding

music

1 1: 8r; [with "\(leg)"] 8d&4;

2 1: mr;

3 1: mr;

4 1: mr;

boldital (12) below 1: 1.75 "p";

< below 1: 1.9 til 2.5;

bar reh "2"

1 1: 16r; 16cn5 bm; 8e&5 ebm;

2 1: mr;

3 1: 8r; [with "\(leg)"] 8gn4;

4 1: [with "\(leg)"] 4b&3;

phrase 1: 1.5 til 2;

boldital (12) below 4: 1 "p";

> below 1: 2 til 3;

< below 3: 2.3 til 2.8;

< below 4: 1.2 til 1.8;

> below 4: 1.9 til 2.5;

bar reh "3"

boldital (12) below 3: 2 "p";

score

time=3/8

beamstyle=8,8,8

music

1 1: 8r; [with "\(leg)"] 8dn5; 8r;

2 1: [with "\(leg)"] 4en4; 8r;

3 1: 16r; 16f#3 bm; 8an3 ebm; 8r;

4 1: 8r; 8bn4 bm; 16g#4 ebm; 16r;

phrase 3: 1.5 til 2;

phrase 4: 2 til 3;

boldital (12) below 1: 2 "p";

boldital (12) below 2: 1 "p";

< below 2: 1 til 1.5;

> below 2: 2 til 3;

> below 3: 2.3 til 3;

> below 4: 2 til 3;

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

a sample query
A Sample Query

What are the intervals (non-compound) between the violin I and violin II parts in measure 5?

P4 P5 m6 M6

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

query interface prototype format
Query: Interface Prototype Format

What are the intervals (non-compound) between the violin I and violin II parts in measure 5?

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

query command line view
Query: Command Line View

What are the intervals (non-compound) between

the violin I and violin II parts in measure 5?

extract –f 2,4 283d.krn > 283d_ex.krn

ditto –s ^= 283d_ex.krn > 283d_ex.ditto

hint –cu –s r 283d_ex.ditto > 283d_ex.hnt

paste 283d_ex.hnt 283d.krn > 283d_hnt.krn

yank –n ^= -r 5 283d_hnt.krn > 283d_hnt5.krn

ms 283d_hnt5.krn > 283d_hnt5.ps

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

presentation overview5
Presentation Overview
  • Project Overview
  • Introduction to Atonal Music
  • Introduction to Atonal Analysis
  • Project Specifics
  • Project Status and Semester Goals

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

victory and challenge
Victory and challenge
  • Victory: Finding an extensible ASCII representation that captures significant aspects of the score and generates MIDI output
  • Challenge: Hand encoding of scores is labor intensive—need an automated process that converts scores (sheet music) to Humdrum representation

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

victory and challenge ii
Victory and Challenge II
  • Victory: System preserves salient aspects of hand analysis and presents them in a multimedia setting
  • Challenge: Make the system even better!
    • Direct manipulation of the score
    • Embed levels of intelligence into the system: “Find me things that sound like … and why”
    • Improve MIDI options

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

status
Status
  • Working on a web prototype that replaces command line interface with graphic interface
  • Developing a protocol for collaborative analysis project using Worktools
  • Modifying encoding scheme for humdrum dynamics and analysis to improve display

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

semester goals
Semester Goals:
  • Develop and refine web interface
  • Conduct experimental group analyses
  • Evaluate usability and functionality
  • Explore issues raised by collaborative analysis
  • Explore compositional and educational applications

MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

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