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The article discusses Philip Ewell's book, "On Music Theory," which has generated both positive and negative reactions. The author praises Ewell's ability to engage readers with his storytelling and provocative style. The article focuses on Ewell's claims about the racist views of Heinrich Schenker and their influence on his music theory. The author refrains from commenting on broader cultural and political contexts and instead examines the "infection thesis" proposed by Ewell. The article aims to provide a balanced assessment of Ewell's arguments and their implications for music theory. [Extracted from the article]

David Temperley's book, "The Musical Language of Rock," explores the conventions and language of rock music. Temperley argues that experienced rock listeners unconsciously understand these conventions and can detect deviations from them. The book combines theory and analysis, using musical examples to develop theoretical models. Temperley examines various aspects of rock music, including harmony, emotion, complexity, melody, rhythm, and form. He also considers the historical development of rock and its formal functions. The book offers new insights and perspectives on the musical language of rock. [Extracted from the article]

7 Hasty, Christopher F., 1999: ' Just in Time for More Dichotomies: a Hasty Response ', Music Theory Spectrum, 21/ii, pp. 275 - 93. 8 Husserl, Edmund, 1970: The Crisis of European Sciences and Transcendental Phenomenology: an Introduction to Phenomenological Philosophy, trans. David Carr (Chicago: Northwestern University Press). 9 London, Justin, 1999: ' Hasty's Dichotomy ', Music Theory Spectrum, 21/ii, pp. 260 - 74. 10 London, Justin, [ 2004 ] 2012: Hearing in Time: Psychological Aspects of Musical Meter, 2nd rev. edn (Oxford and New York: Oxford University Press). The animating claim of Christopher Hasty's I Meter as Rhythm i is that meter is a phenomenon which is produced as it goes along. [Extracted from the article]

10 Hasty, Christopher, 2020: Meter as Rhythm, 20th anniversary edition (Oxford and New York: Oxford University Press). In my work on musical interaction in jazz improvisation (Michaelsen [14] and [15]), I have grappled with the nature of the connections occurring between musicians in what Chris Stover ([17]) calls the "improvisational moment".[1] By what process can I propose a hearing of the relationships that emerge from a moment of interaction? Hasty considers numerous contexts, from a single sound's becoming to the projective play of many sounds over longer time spans, but he always foregrounds the I experience i of those sounds at precise moments in time. [Extracted from the article]

The Formenlehre (theory of the musical form), inaugurated by Adolf Bernhard Marx after Beethoven's death and witnessed by several treatises at the end of the nineteenth and the beginning of the twentieth centuries, has left traces in the writings and works of Béla Bartók, Alban Berg, Paul Hindemith, Arnold Schoenberg and Anton Webern. Chamber music (especially string quartets) is the area in which the dialogue with the past is most tangible. The adoption of traditional concepts is associated with significant changes of thematic structures and developmental techniques. Thus, the transformations of the harmonic thinking are paralleled by the way the composers dealt with phrase organisation and syntactic functions. [ABSTRACT FROM AUTHOR]

How might artificial neural networks (ANNs) inform cognitive science? Often cognitive scientists use ANNs but do not examine their internal structures. In this paper, we use ANNs to explore how cognition might represent musical properties. We train ANNs to classify musical chords, and we interpret network structure to determine what representations ANNs discover and use. We find connection weights between input units and hidden units can be described using Fourier phase spaces, a representation studied in musical set theory. We find the total signal coming through these weighted connection weights is a measure of the similarity between two Fourier structures: the structure of the hidden unit's weights and the structure of the stimulus. This is surprising because neither of these Fourier structures is computed by the hidden unit. We then show how output units use such similarity measures to classify chords. However, we also find different types of units—units that use different activation functions—use this similarity measure very differently. This result, combined with other findings, indicates that while our networks are related to the Fourier analysis of musical sets, they do not perform Fourier analyses of the kind usually described in musical set theory. Our results show Fourier representations of music are not limited to musical set theory. Our results also suggest how cognitive psychologists might explore Fourier representations in musical cognition. Critically, such theoretical and empirical implications require researchers to understand how network structure converts stimuli into responses. [ABSTRACT FROM AUTHOR]

Footnotes 1 The challenge extends well beyond Hepokoski and Darcy's sonata types or MC defaults. If these compositions are part of Hepokoski and Darcy's corpus, then we have to assume that including them does not change the models for which sonata theory advocates. One of the most significant achievements of James Hepokoski and Warren Darcy's I Elements of Sonata Theory i (2006) is its reduction of the vast diversity of sonata practice to five overarching types. In all, sonata theory's typology allows us to survey the wide domain of sonata practices with fresh clarity. [Extracted from the article]

Atkinson suggests that the problem was that, apart from being extremely expensive and not very reliable, guitar synths were essentially different instruments, which could not be played like a normal guitar - and few guitarists were willing to make the effort to learn to play them from scratch. "Iconic" is a grossly over-used term; yet the electric guitar genuinely is iconic, held in high reverence by many musicians and fans, and instantly evoking a strong set of cultural associations. Also, discussed is the guitar-synth - electronic guitars (or guitar-like instruments) designed to control a synthesiser. [Extracted from the article]

The ekphrasis dates back to Antiquity and is firmly established as a concept in literary criticism. In 1994 W. J. T. Mitchell outlined the modern interpretation of ekphrasis as the 'verbal representation of visual representation'. This article discusses a similar intermedial occurrence that is largely overlooked in literary theory: melophrasis, which could be defined as the 'verbal representation of musical representation'. Using the main arguments of ekphrasis theory, the article engages in a critical dialogue with existing word and music research by Werner Wolf in particular. Instead of focusing on the mediality and formality of music in literature, this article is interested in the reading experience: the musicality evoked by melophrases. The purpose is to propose an analytical framework for literary scholars, and the article thus suggests two broad melophrastic categories inspired by film music theory and narratology: diegetic (the level of the plot/characters) and non‐diegetic (the level of the text/reader). This is demonstrated in two canonical works: a diegetic melophrasis that is the Vinteuil Sonata in Marcel Proust's In Search of Lost Time (1913–1927), and the non‐diegetic fugue chapter 'Sirens' in James Joyce's Ulysses (1922). The article argues that melophrases create aesthetic intermedial reading experiences with a significant musical quality: a feeling of hearing. [ABSTRACT FROM AUTHOR]

This critical commentary surveys some of the now‐canonical literature that redefined the relationship between analysis and performance after Wallace Berry. While efforts have been made to give performance a place at the analytical table, I maintain that our current conceptions of what counts as musical structure have remained overly indebted to music theory, stifling any balanced dialogue with performance, and I suggest one possible way forward by probing an unusual structural moment in a Mozart quartet movement. [ABSTRACT FROM AUTHOR]

The article focuses on Chinese philosopher Mozi's criticism of development of Confucian music theory. Topics discussed include Confucian discourse on ritual music inspired by the emergence of new music, the performance of court music and conflicts between the Confucian music ideal and the music in vogue.

Hans Keller described his 'functional analysis' (FA) as 'the musical analysis of music'. Heavily influenced by his studies in Freudian psychology, he believed that his method would reveal 'the latent unity behind manifest contrasts' without using any labels or descriptive prose. In an effort to make explicit to his listeners what he believed to have been the composer's own unified perception of the work, he composed sets of between‐movement interludes that extracted, juxtaposed and modified prominent themes; he also included intervals of silence during which listeners were to reflect on what they had just heard. This article explores Keller's first functional analysis, of Mozart's Quartet in D minor, K. 421, which reveals his interest in the relationships between the motives and themes of a given movement, and in the motivic connections and thematic transformations across movements. Through Keller's re‐arrangements of motives and themes, the listener is meant to hear one motive gradually transforming into another. The FA is thus revealed as a style of analysis whose form – a musical performance – mirrors its content: a mediation between the listening experience and the non‐linear temporality of compositional labour. [ABSTRACT FROM AUTHOR]

Summary: Based on research identifying relations between math and music, we aimed to identify the group of cognitive and affective factors related to math and music theory that best explained undergraduate music theory achievement. Using dominance analysis, we predicted the music theory course grades of 230 undergraduate music majors. Potential predictors were narrowed from measures of knowledge, aptitude, experience, confidence, and anxiety in both music theory and math as well as spatial skills and reading test scores. Results suggested that ACT math scores and music theory confidence were important predictors for Music Theories I and II grades. Music Theory I was also predicted by aptitude‐based music theory skills, and Music Theory II was also predicted by math course experience. These findings provide evidence for a relation between math and music theory and support the use of several readily available measures for college‐level music instructors to identify students who may struggle in music theory. [ABSTRACT FROM AUTHOR]

ABSTRACT: Schoenberg's Piano Piece Op. 33b can be interpreted fruitfully using the composer's notion of ‘musical idea’, in which a problem or conflict is introduced at the beginning, elaborated during the piece and resolved near the end. Previous studies of the piece disagree about whether bars 5b–11a should be understood as the continuation of the first theme's sentence or as a second theme, because of differences between the tetrachordal row partitions of bars 1–5a and the trichordal partitions of bars 5b–11a, and the marked dissimilarities in set‐class content, interval successions (including <−2, −2> in the trichordal partitions), rhythm and heard metre that result. These differences introduce the work's ‘problem’, which the piece then elaborates in bars 21–28 by taking an element from the transitional bars following the ‘continuation’, <+2, +2> and <−2, −2> interval successions paired together in vertical symmetry, and further developing that element to create hexachords that are not equivalent to contiguous hexachords of the source row. The solution to the problem occurs gradually after bar 32, in two ways: first, the set classes, interval successions, pitches and rhythms associated with each kind of partition are shown to be generable by the other partition; second, after bar 57 both kinds of partition project themselves simultaneously on a single row form, demonstrating intervallic, pitch and rhythmic similarities between the elements of the contrasting partitions. [ABSTRACT FROM AUTHOR]

ABSTRACT: This article examines specific narrative connotations associated with chromatic mediant motions in film music. Following the neo‐Riemannian work of theorists such as David Kopp and Richard Cohn, and film‐music theorists such as Scott Murphy and Frank Lehman, I propose a lexicon of harmonic motions and associative connotations. The article provides a survey of both major‐mode and minor‐mode chromatic mediant relationships in as many different genres of film as possible, with science‐fiction and fantasy films being most common. Through this survey I aim to demonstrate not only the extent to which chromatic mediants have become staple devices of film‐scoring harmonic practice, with meanings so consistent that they can be subverted for ironic and satirical purposes, but also to lay out a speculative path for future film‐music theorists to use these connotations in additional film contexts. [ABSTRACT FROM AUTHOR]

Abstract: Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. [ABSTRACT FROM AUTHOR]

ABSTRACT One of the leading theories of Scriabin's late music is that his collections are chords that are related through invariant transposition. Whereas this theory is effective in relating symmetrical collections such as the octatonic, it cannot relate asymmetrical collections such as Scriabin's mystic chord. In order to overcome this issue, I explore Scriabin's own understanding of his harmonic language and interpret it through his personal statements, philosophical beliefs and theoretical training. I reveal that Scriabin thought of his collections not as chords, but as closely related keys ( tonalnosti). Although close key relationships are tonal in nature, this relationship can be transferred to post-tonal music when defined as a maximally invariant transposition. Accordingly, this operation accounts for transpositional relationships between symmetrical and asymmetrical collections in Scriabin's late music, suggesting that his late harmonic language equates to a rapid succession of closely related keys. This theory is applied to excerpts spanning the late period, from Op. 58 to Op. 74, with extended applications to Op. 63 No. 2 and Op. 73 No. 2. [ABSTRACT FROM AUTHOR]

The melodic alarm sound set for medical electrical equipment that was recommended in the International Electrotechnical Commission's IEC 60601-1-8 standard has proven difficult for clinicians to learn and remember, especially clinicians with little prior formal music training. An alarm sound set proposed by Patterson and Edworthy in 1986 might improve performance for such participants. In this study, 31 critical and acute care nurses with less than one year of formal music training identified alarm sounds while they calculated drug dosages. Sixteen nurses used the IEC and 15 used the Patterson-Edworthy alarm sound set. The mean (SD) percentage of alarms correctly identified by nurses was 51.3 (25.6)% for the IEC alarm set and 72.1 (18.8)% for the Patterson-Edworthy alarms (p = 0.016). Nurses using the Patterson-Edworthy alarm sound set reported that it was easier to distinguish between alarm sounds than did nurses using the IEC alarm sound set (p = 0.015). Principles used to construct the Patterson-Edworthy alarm sounds should be adopted for future alarm sound sets. [ABSTRACT FROM AUTHOR]

Gross-motor impairments are common after stroke, but efficacious and motivating therapies for these impairments are scarce. We present a novel musical sonification therapy especially designed to retrain gross-motor functions. Four stroke patients were included in a clinical pre-post feasibility study and were trained with our sonification training. Patients' upper-extremity functions and their psychological states were assessed before and after training. The four patients were subdivided into two groups, with both groups receiving 9 days of musical sonification therapy (music group, MG) or a sham sonification training (control group, CG). The only difference between these training protocols was that, in the CG, no sound was played back. During the training the patients initially explored the acoustic effects of their arm movements, and at the end of the training the patients played simple melodies by moving their arms. The two patients in the MG improved in nearly all motor function tests after the training. They also reported in the stroke impact scale, which assesses well-being, memory, thinking, and social participation, to be less impaired by the stroke. The two patients in the CG did benefit less from the movement training. Taken together, musical sonification may be a promising therapy for impairments after stroke. [ABSTRACT FROM AUTHOR]

Theories of entrainment assume that spontaneous entrainment emerges from dynamic laws that operate via mediators on interactions, whereby entrainment is facilitated if certain conditions are fulfilled. In this study, we show that mediators can be built that affect the entrainment of human locomotion to music. More specifically, we built D-Jogger, a music player that functions as a mediator between music and locomotion rhythms. The D-Jogger makes it possible to manipulate the timing differences between salient moments of the rhythms (beats and footfalls) through the manipulation of the musical period and phase, which affect the condition in which entrainment functions. We conducted several experiments to explore different strategies for manipulating the entrainment of locomotion and music. The results of these experiments showed that spontaneous entrainment can be manipulated, thereby suggesting different strategies on how to embark. The findings furthermore suggest a distinction among different modalities of entrainment: finding the beat (the most difficult part of entrainment), keeping the beat (easier, as a temporal scheme has been established), and being in phase (no entrainment is needed because the music is always adapted to the human rhythm). This study points to a new avenue of research on entrainment and opens new perspectives for the neuroscience of music. [ABSTRACT FROM AUTHOR]

Adolescents and adults commonly use music for various forms of affect regulation, including relaxation, revitalization, distraction, and elicitation of pleasant memories. Mothers throughout the world also sing to their infants, with affect regulation as the principal goal. To date, the study of maternal singing has focused largely on its acoustic features and its consequences for infant attention. We describe recent laboratory research that explores the consequences of singing for infant affect regulation. Such work reveals that listening to recordings of play songs can maintain 6- to 9-month-old infants in a relatively contented or neutral state considerably longer than recordings of infant-directed or adult-directed speech. When 10-month-old infants fuss or cry and are highly aroused, mothers' multimodal singing is more effective than maternal speech at inducing recovery from such distress. Moreover, play songs are more effective than lullabies at reducing arousal in Western infants. We explore the implications of these findings along with possible practical applications. [ABSTRACT FROM AUTHOR]

The first movement of Schubert's String Quintet, D. 956, is among the early nineteenth-century repertoire's clearest examples of what Janet Schmalfeldt has called 'form as the process of becoming'. In this article we show how the governing formal principle of the movement's exposition is the conflation of distinct and typically consecutive formal functions. The result is an extraordinary chain of form-functional overlaps, requiring the analyst to engage in a process of constant retrospective reinterpretation that ends only with the unambiguous closing group. Our aim is not only to revisit some familiar analytical questions about Schubert's Quintet from a form-functional perspective, but also to provide a test case showing the applicability of form-functional thinking to early nineteenth-century music. We begin by presenting a form-functional overview and cadential plan of the exposition and then home in on three passages that pose particular analytical challenges: the introduction/main-theme/transition complex (bars 1-59), the transition/subordinate-theme complex (bars 60-100) and the closing-group/subordinate theme complex (bars 100-138). The article concludes by proposing certain ways in which Schmalfeldt's idea of retrospective reinterpretation may be further refined. [ABSTRACT FROM AUTHOR]

This chapter describes the use of contemplative practice and curriculum design in teaching and learning music. [ABSTRACT FROM AUTHOR]

Aim. This paper presents a discussion of the development of a middle-range nursing theory of the effects of music on physical activity and improved health outcomes. Background. Due to the high rate of physical inactivity and the associated negative health outcomes worldwide, nurses need new evidence-based theories and interventions to increase physical activity. Data sources. The theory of music, mood and movement (MMM) was developed from physical activity guidelines and music theory using the principles of statement and theory synthesis. The concepts of music, physical activity and health outcomes were searched using the CINAHL, MEDLINE, ProQuest Nursing and Allied Health Source, PsycINFO and Cochrane Library databases covering the years 1975-2008. Discussion. The theory of MMM was synthesized by combining the psychological and physiological responses of music to increase physical activity and improve health outcomes. It proposes that music alters mood, is a cue for movement, and makes physical activity more enjoyable leading to improved health outcomes of weight, blood pressure, blood sugar and cardiovascular risk factor management, and improved quality of life. Conclusion. As it was developed from the physical activity guidelines, the middlerange theory is prescriptive, produces testable hypotheses, and can guide nursing research and practice. The middle-range theory needs to be tested to determine its usefulness for nurses to develop physical activity programmes to improve health outcomes across various cultures. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Schenker Project: Culture, Race, and Music Theory in fin-de-siècle Vienna," by Nicholas Cook is presented. It outlines the response use of Nicholas Cook to the secondary literature to construct or confirm the certain images of Heinrich Schenker. It examines contradicting transmission question of Cook in terms of the Hegelian influence in principal motivation about music of Schenker and his theoretical development.

‘Form in the New Music’, which was originally published in a volume of Darmstädter Beiträge zur Neuen Musik devoted to the issue of form, engages with most of Adorno's earlier essays on new music, modifying and developing those ideas. In it, Adorno maintains the important perspective that a focus on technique cannot transcend subjectivity, but he depends less on the achievements of the Second Viennese School than in some earlier articles. He also contemplates contemporary approaches to composition, particularly as expressed by György Ligeti, drawing out the wider aesthetic implications of these ideas. Furthermore, as in many of Adorno's writings in the 1960s, the author explores themes that were to become prevalent in the posthumously published Aesthetic Theory. In general, the essay exhibits the characteristics of Adorno's late style: it returns to ideas located elsewhere in the author's oeuvre, but does so with altered nuances, which create an incremental shift in perspective. [ABSTRACT FROM AUTHOR]

The article discusses the "Form in the New Music," by Theodor W. Adorno and was originally published in "Darmstadter Beitrage zur Neuen Musik." The author explores themes devoted to the issue of form, engages with most of Adorno's earlier essays on new music, modifying and developing ideas. It states that Adorno maintains the important perspective that a focus on technique cannot transcend subjectivity.

The riot that greeted the Rite of Spring only found its analytical counterpart some 70 years after its première, with factions headed by Pieter van den Toorn, Richard Taruskin and Allen Forte. But the analytical tussle was hardly a genuine riot in as much the differing camps subscribed to a premise of authenticity in order to stabilise the work under a universal concept: the result was a Rite unified by theory. The scholars may have battled with each other, but the music was not allowed to have its own riot. This article suggests a more contingent analysis of the Rite, focussing on the rebellion of the particular against the universal. The point is not to champion an anarchic or barbaric reading of the music, which is often attributed to the work because of the ballet's violent content, but to open the possibility of a new order that arises from the rioting particular. [ABSTRACT FROM AUTHOR]

It is well known (from Riemann, Lewin, Cohn and others) that two voices of a triad (set class 3–11) may be held and one moved ‘parsimoniously’ by a tone or semitone to produce another triad; or two voices of a dominant and half-diminished seventh (set class 4–27) may be held while two voices are displaced by a semitone to produce another dominant or half-diminished seventh (Lewin's ‘DOUTH2’ relation). This article takes 4–27 as its starting point and first explores examples of such parsimonious voice-leading between sets of the same class in nineteenth-century music (notably Brahms, Chopin and Musorgsky). The discussion introduces the idea of a diminution existing between forms of 4–27 when the two voices do not proceed simultaneously. The capability of tetrachords of other classes as well as set classes of larger cardinality to engage in parsimonious voice-leading either by semitone or whole tone is then explored (with examples drawn from the music of Bartók, Mahler, Scriabin and Stravinsky). The type and degree of parsimony are indicated by the Pm,n designations developed by Douthett and Steinbach, and the article examines the ways in which the capacity of sets to behave in this manner may be predicted from interval strings and invariant subsets. [ABSTRACT FROM AUTHOR]

The article offers information on the issues of Heinrich Schenker's, musician death and the Schenkerian theory in America. The works of Schenkers continues to evolve in recent literature over centuries after his death. Several analysts and theorists discussed the state of Schenkers death. The Schenkerian theory focuses to determine American music scholarship and shows the state of music theory as self sufficient academic quest. It includes the two books by Brown and Beach is also discussed.

The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co-ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation. [ABSTRACT FROM AUTHOR]

In Part I of this article, we gave an outline of the devotional and musical life in the confraternity of the Archangel Raphael emphasizing how the most recent developments in areas such as poetics and music theory were absorbed and brought into a synthesis both with the current musical practices and with the understanding of the religious ceremonies as they are manifested in the preserved ricordi of the confraternity. In Part II, a laude manuscript (arch. mus. II, 55) of unknown provenance that was introduced in Part I will be discussed with respect to its relevance to the musical, aesthetic and religious sensibilities of the Archangel Raphael confraternity in the seventeenth century. [ABSTRACT FROM AUTHOR]

The article presents a comparison of large-scale music-theoretical reference books in English and German. The books compared are "Handwörterbuch der musikalischen Terminologie," "Die Musik in Geschichte und Gegenwart," "The New Grove Dictionary of Music and Musicians," and "Cambridge History of Western Music Theory."

This article provides a review of studies conducted by the author within the framework of the research project entitled "The Application of Artificial Intelligence Methods to the Analysis and Processing of Data in Acoustics." The research pursues a variety of topics, such as data representation in musical acoustics, automatic music information retrieval, automatic classification of musical instrument sounds, automatic recognition of musical phrases, music prediction, and others. These problems were analyzed using soft computing techniques. The term soft computing combines various aspects of new computing techniques such as neural networks, fuzzy and rough sets, genetic algorithms, and others. The motivation for this kind of research study is closely related to real-life problems. Due to the development of multimedia technology and digital transmission of signals, there is a rapid growth of audio data stored on various computer sites. However, there exists a gap between more powerful storage and retrieval systems and their ability to analyze information contained in databases.

The article provides information about Online Music Retrieval and Searching (OMRAS) project. It received its funding from the joint Joint Information Systems Committee/National Science Foundation International Digital Library Initiative. A key objective of this initiative has been to make existing digital collections more accessible, and the primary motivation of OMRAS has been to investigate the issues involved in providing content-based music searching to music collections. One aspect of OMRAS is to look at the conversion of formats moving along this spectrum. Converting from symbolic notations to audio is fairly straightforward but this is to be expected because the role of the symbolic notation is to describe how to enact a performance of the music. A second aspect of OMRAS has been to consider the searching of music by content. A final aspect that has emerged during the project is the application of these approaches in real applications. Within the project, authors' have devised a generic framework of how a Music Information Retrieval system may look.

The article discusses an architecture for effective music information retrieval. Specific techniques tested and developed by authors include: Melody extraction yielding single note sequences from arbitrary MIDI data and Melody standardization to allow matching across keys and scales. Authors approached the problem of Music Information Retrieval (MIR) by adapting ideas from classic information retrieval. However, content-based MIR has distinct differences from other information retrieval tasks, leading to the need for a different approach to processing music queries. Matching a query melody against polyphonic music is difficult with most sources of polyphonic music data---the melody component of the music is not defined, and the vast majority of notes in complex music do not contribute to the perceived melody. Authors work, therefore, has two threads: One is collection of test data and development of methods for measuring MIR systems and the other is development of the MIR systems themselves.

This article describes Music Information Retrieval research at the University of Waikato, Hamilton, New Zealand. This is an integral part of a digital music library project, which in turn is part of the larger New Zealand Digital Library project. The article details the software workbench that is at the heart of authors' research efforts. Designed with flexibility in mind, this software tool allows researchers to experiment with different algorithms, comparing and contrasting particular aspects: recall and precision, computational cost, memory use, and so on. Next, they describe the datasets they work with, which are based around symbolic notation reflecting their interest in this form of music information retrieval. Researchers conclude by describing their Web-based digital music library service melody index, which takes advantage of both researchers' experimentation and digital library components developed elsewhere in the larger project. Authors also presented two applets developed in Java that provide better user interface support,

This article describes the research and development of a multi-modal Music Information Retrieval (MIR) engine for commercial applications in East Asia. The focus is mainly on MIR that employs acoustic input, which authors refer to as MIRAI (Music Information Retrieval via Acoustic Input). Authors MIRAI engine has a multi-modal interface that allows the user to specify a query by singing, humming, tapping, speaking or writing. Authors constructed the multimodal interface based on the feedback of users, and it has proven to be a useful design because a single query mode cannot satisfy all users. The most interesting way of query is by singing/humming, so authors focus on MIRAI that allows query by singing/humming. However, different applications have different requirements for such a MIRAI engine. Variations in applications also depend on locality. For instance, karaoke is a very popular entertainment in East Asia, including China, Japan, Korea, and Taiwan. Most people would conclude that a MIRAI system would be a desirable add-on for karaoke systems.

The article describes the research study in Music Information Retrieval (MIR) that has been carried out at the University of Padova, Italy. The study defined architecture, technology, and search functions for a music digital library (DL), and it investigated the interrelationships of all the typical aspects of a real, effective DL distributed databases, preservation, wide-area networking, security, image and sound representation and storage, and data management. As music is one of the most important repositories of cultural heritage, contents based search functions allow for the access to music documents that are stored in DLs with different formats, from notation to recording, which meet different aims. Content-based approaches take into account the music document content and automatically extract some features, which are used as content descriptors. Among the different dimensions of music documents, a main focus is given to the melody. The typical methodology extracts note strings from the full-score music document.

Focuses on Anthony Pople's Tonalities software project which aim is to use complex set theory for tonal analysis. Development of an applicable tonal set theory; Central operational role of segmentation in set-class analysis; Discrimination between chord notes and non-chord notes; Characteristic of inflexible notions of tonality.

Provides an insight into the analytical output of Anthony Pople's Tonalities software project which aim is to allow subtly different tonal systems to be defined in theory and applied in musical analysis. Configuration of the critical nature of language settings; Conception of tonality based on Baroque music of the Vivaldian kind; Distinction between root movement and chord progression.

Traces the indication of the influence exerted by national socialism in German music theory. Use of the term Tonsatz instead of Musiktheorie which pertains to music theory; Methodology of music education in German universities; Description of German composition and musicology.

Attempts to restore a vision of music analysis that stresses its affinities with performance and composition without denying its autonomy. Background on the history of music theory; Parallels between analysis and performance; Claim that analysis is an aid to perception; Appreciation of the music's organic growth; Challenges and rewards of exploring the truth content of a composition.

Considers the question about analytical entities in musical analysis. Theory on the relationship between hermeneutics and analysis; Descriptive power gained by objectifying musical entities; Categories of musical entities; Difference between hermeneutic complexity and formal complexity.

Examines the concept of harmonic mode, the musical mode with a lowered sixth degree. Relationship between music theory and compositional practice; Musical extracts used to illustrate the advantages, disadvantages and implications of invoking mode as an analytical tool; Measurement of the sequence of intervals.

We have created a system for music search and retrieval. A user sings a theme from the desired piece of music. The sung theme (query) is converted into a sequence of pitch-intervals and rhythms. This sequence is compared to musical themes (targets) stored in a data-base. The top pieces are returned to the user in order of similarity to the sung theme. We describe, in detail, two different approaches to measuring similarity between database themes and the sung query. In the first, queries are compared to database themes using standard string-alignment algorithms. Here, similarity between target and query is determined by edit cost. In the second approach, pieces in the database are represented as hidden Markov models (HMMs). In this approach, the query is treated as an observation sequence and a target is judged similar to the query if its HMM has a high likelihood of generating the query. In this article we report our approach to the construction of a target database of themes, encoding, and transcription of user queries, and the results of preliminary experimentation with a set of sung queries. Our experiments show that while no approach is clearly superior to the other system, string matching has a slight advantage. Moreover, neither approach surpasses human performance. [ABSTRACT FROM AUTHOR]

Focuses on the role of speeds in the music "A Mirror on Which to Dwell," by composer Elliott Carter in Great Britain. Aspects of the compositional style of the composer; Analysis of the music; Composition of large-scale rhythmic form and control small-scale rhythmic activity.

Focuses on the role of triadic harmony in the recent music of composer György Ligeti in Great Britain. Analysis of the music; Treatment of the triad charts similar territory; Distinction between structural and non-structural pitches.

Analyzes the music composition "The Sayings of Péter Bornemisza," by György Kurtaacute;g in Great Britain. Discussion of the relationship between music and text; Limitations of ascribing fixed signification for motives over large expanses; Useful insight yielded from identifying intertextual links.