musen: atonal analysis project carat/rackham fellows meeting 10/17/01 erica schattle advisors: mary...

MusEn: Atonal Analysis Project

CARAT/Rackham Fellows Meeting10/17/01

Erica SchattleAdvisors: Mary SimoniWilliam P. Birmingham

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

Presentation Overview

I. Project Overview

II. Introduction to Atonal Music

III. Introduction to Atonal Analysis

IV. Project Specifics

V. Project Status and Semester Goals


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


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



I. Project overview






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”

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

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

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

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

Tonal: Atonal:



I. Project Overview






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


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


Segmentation Example

A few ways to segment:• rest delimited vertical sonorities• < > dynamics within one part• vertical sonorities with same duration• contiguous instances of fdyn.• 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


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!


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


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)



I. Project Overview






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


System Architecture II

Generate Query Interpret Results Browse History

Need to: • view results in context of score• listen to MIDI• annotate with text or drawings• easily reformat query

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


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 . 4rp<[ 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


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

music1 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;


A Sample Query

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

P4 P5 m6 M6


Query: Interface Prototype Format



Query: Command Line View


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



I. Project Overview






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


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


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


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

Any Questions?

musen: atonal analysis project carat/rackham fellows meeting 10/17/01 erica schattle advisors: mary...

Documents

atonal analysis iv

erica schattle analysis

project overview

project status

erica schattle advisors

project specifics v

birmingham slide

musical style slide