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Electronic dance music (EDM) is a genre where thousands of new songs are released every week. The list of EDM subgenres considered is long, but it also evolves according to trends and musical tastes. With this in view, we have retrieved two sets of over 2000 songs separated by more than a year. Songs belong to the top 100 list of an EDM website taxonomy of more than 20 subgenres that changed in the period considered. We test the effectiveness of automatic classification on these sets and delve into the results to determine, for example, which subgenres perform better and worse, how the performance of some subgenres change in the two sets, or how some subgenres are often confused with one another. We illustrate confusion among subgenres by a graph and interpret it as a taxonomic map of EDM. We also assess the deterioration of the performance of the classifier of the first set when used to classify the second one. Finally, we study how the new subgenres that appear in the second set relate to the old ones with the help of the classifier of the first set. As a result, this work illustrates the main challenges that EDM poses to automatic classification and provides insights into where are the limits of this approach. [ABSTRACT FROM AUTHOR]

In the absence of a concrete code for the critical appraisal of the structures of electroacoustic music, classical approaches were undertaken to construct coherent musical discourses which would eventually increase perception of musical expression. Electroacoustic pieces of music were selected to be analysed, in order to locate rhetoric elements and practices in them, as well as how these practices apply to electroacoustic form and musical expression. Several pieces were found to include rhetoric structure or philosophical approaches in composition based on rhetoric, while other pieces were proven to follow different modes of utterances. In order to create a concrete mode of utterance, emphasizing musical expression, rhetoric methods were used and applied in analysing electroacoustic pieces of music, which incorporate either philosophical approaches, or rhetoric structure, or both. The degree of musical expression accomplished depends on subjective perception and understanding of the musical outcome. [ABSTRACT FROM AUTHOR]

The automatic classification of music fragments into style classes is one challenging problem within the music information retrieval (MIR) domain and also for the understanding of music style perception. This has a number of applications, including the indexation and exploration of musical databases. Some technologies employed in text classification can be applied to this problem. The key point here is to establish the music equivalent to the words in texts. A number of works use the combination of intervals and duration ratios for this purpose. In this paper, different statistical text recognition algorithms are applied to style recognition using this kind of melody representation, exploring their performance for different word sizes. [ABSTRACT FROM AUTHOR]

Software tools for computer-aided analysis and performance of musical material offer many new opportunities for musicologists, composers and performers. The article gives an overview of Classic RUBATO and its implementation of performance theory. It discusses limitations of Classic RUBATO and presents the architecture of Distributed RUBATO, a collaborative multimedia environment for music research. Particulars focus is put on the PerformanceRubette, a unit for computer-aided musical performance. It has support for complex instrument parameter spaces and can perform musical gestures. The calculated performances can be used for modeling virtual artists performing in an audio-visual environment. [ABSTRACT FROM AUTHOR]