14 articles in this issue
Daniel Shanahan
No abstract available
Tuomas Eerola
The present study assesses two types of models for melodic complexity: one based on expectancy violations and the other one related to an information-theoretic account of redundancy in music. Seven different datasets spanning artificial sequences, folk an... see more
Elizabeth Hellmuth Margulis
Eerola (2016) evaluates models of musical complexity based on expectancy violation and information theory. This commentary notes the deep relationship between these two phenomena, and argues for a more active partnership between computational and psycholo... see more
Joshua Albrecht
In his paper, “Expectancy violation and information-theoretic models of melodic complexity,” Eerola compares a number of models that correlate musical features of monophonic melodies with participant ratings of perceived melodic complexity. He finds that ... see more
Roger Thornton Dean,Marcus Thomas Pearce
We investigate whether pitch sequences in non-tonal music can be modeled by an information-theoretic approach using algorithmically-generated melodic sequences, made according to 12-tone serial principles, as the training corpus. This is potentially usefu... see more
Joseph Plazak
By combining two distinct research tools, algorithmically generated musical corpora and computational models of music perception, Dean & Pearce (this volume) report a novel methodology and results that might be of interest to both composers and theorists ... see more
Christopher William White,Ian Quinn
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 represent... see more
Trevor de Clercq
This paper responds to the article by Christopher White and Ian Quinn, in which these authors introduce the Yale-Classical Archives Corpus (YCAC). I begin by making some general observations about the corpus, especially with regard to ramifications of the... see more
Klaus Frieler,Martin Pfleiderer,Jakob Abeßer,Wolf-Georg Zaddach
The metaphor of storytelling is widespread among jazz performers and jazz researchers. However, little is known about the precise meaning of this metaphor on an analytical level. The present paper attempts to shed light on the connected semantic field of ... see more
Yuri Broze
Theoretical and methodological perspectives are offered. Perceived personal involvement, variety of improvisational tools, and dramaturgy might be attributed to multimodal signals and cues of emotion, implicit learning of motor routines and musical tenden... see more
There are many practical reasons why experiences of a given musical work tend to be heard repeatedly at the same pitch transposition level, especially recordings of musical works. Yet here, a corpus study is presented that challenges this very basic... see more
Kris Shaffer
Joseph Plazak argues for a more nuanced representation of the environment in which listeners encounter music ? in particular, questioning the assumption that listeners who engage with music repeatedly do so at the same absolute pitch level. Whil... see more
Gary K. Yim
Responding to Plazak's corpus study on pitch and tempo transpositions in user-created music videos on YouTube, I suggest that such transpositions may have musically communicative intentions. Besides the nominal changes designed to defeat copyright infring... see more
Hubert Léveillé Gauvin
Mauch, MacCallum, Levy, and Leroi (2015) carried out a large-scale study of changes in American popular music between 1960 and 2010. Using signal processing methods, they found evidence suggesting a decreasing use of the dominant seventh chord and increas... see more