Relevant bibliographies by topics / Harmonic analysis (Music)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Harmonic analysis (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Harmonic analysis (Music)"

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Nataraja, Dionysius Arya. "Encounter with The Other: The Serialists and The Spectralists." Jurnal Kajian Seni 7, no. 1 (January 18, 2021): 20. http://dx.doi.org/10.22146/jksks.57953.

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Musik kontemporer di Paris pada tahun 1970an didominasi oleh musik serial, dan spektralisme hadir memberi alternatif. Di tulisan ini, saya berargumen bahwa fenomena naiknya musik spektral ini bukan hanya sekedar masalah domestik musik kontemporer Eropa, tetapi fenomena ini berkaitan erat dengan masalah hubungan dengan yang “Liyan”, termasuk dengan budaya musik non-Barat. Dalam analisis saya, saya menemukan tendensi pada komposer musik serial untuk menjadi eksklusif melalui apa yang saya sebut mekanisme Othering, yang muncul pada tulisan-tulisan Schoenberg dan Boulez. Sebaliknya, komposer spektral menunjukkan sikap yang lebih inklusif terhadap musik di luar musik kontemporer Eropa. Musik spektral menawarkan terobosan dalam cara pandang terhadap musik, baik dalam ranah teknis mau pun kultural. Sebagai contoh, menggunakan spektrum inharmonik untuk basis komposisi daripada spektrum harmonik—spektrum harmonik sering digunakan sebagai landasan teori untuk membingkai musik non-Barat sebagai “alami” dan “belum tersentuh”. Contoh lain adalah memblurkan perbedaan antara warnanada dan harmoni, di mana konsep ini memperluas konsep harmoni, hingga tidak terbatas pada definisi harmoni klasik Eropa. Musik spektral membuka jalan baru untuk menghadapi pertanyaan-pertanyaan tentang inklusivitas. The Parisian contemporary music scene was dominated by serial music in the 1970s, and spectral music came to provide a musical alternative. In this essay, I argue that the rise of spectral music is not merely a domestic phenomenon within the European contemporary music scene, but that it is deeply tied with the issues of Othering, including the relationship with non-Western musical cultures. My analysis points out the tendency of exclusivity of the serialists via what I call mechanisms of Othering, as appears in the writings of Schoenberg and Boulez. On the contrary, the view and approach of the spectral composers tend to be more inclusive towards various musical system. Spectral music proposes viewpoints that are groundbreaking on the technical and cultural level. For example, putting the focus on the inharmonic spectra as a compositional basis, which negates the obsession towards the harmonic spectra, as it is often used as a theoretical justification to frame non-Western music as being “natural” and “untouched”. Another example, blurring the distinction between timbre
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Sun, Xiangwen, and Ligong Sun. "Harmonic Frequency Estimation Based on Modified-MUSIC Algorithm in Power System." Open Electrical & Electronic Engineering Journal 9, no. 1 (February 19, 2015): 38–42. http://dx.doi.org/10.2174/1874129001509010038.

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This paper presents a new harmonics frequency estimation method. Unlike the conventional harmonic frequency estimation method (fast Fourier transform), the new algorithm is based on spectrum analysis techniques often used to estimate the direction of angle; the most popular is the multiple signal classification (MUSIC) algorithm. The drawbacks of MUSIC algorithm are concluded. Improved-MUSIC approximation algorithm is introduced and compared with FFT based on algorithm for harmonic frequency estimation. Theoretical analysis and simulations show this algorithm is a super- resolution algorithm with small data length.
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Temperley, David. "An Algorithm for Harmonic Analysis." Music Perception 15, no. 1 (1997): 31–68. http://dx.doi.org/10.2307/40285738.

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An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths"; this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed.
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Ewert, Sebastian, Meinard Muller, Verena Konz, Daniel Mullensiefen, and Geraint A. Wiggins. "Towards Cross-Version Harmonic Analysis of Music." IEEE Transactions on Multimedia 14, no. 3 (June 2012): 770–82. http://dx.doi.org/10.1109/tmm.2012.2190047.

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Whittall, Arnold. "Review: Harmonic Rhythm: Analysis and Interpretation." Music and Letters 85, no. 1 (February 1, 2004): 140–41. http://dx.doi.org/10.1093/ml/85.1.140.

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Kaestri, Veronica Yoni, and Tri Wahyu Widodo. "Konstruksi Aransemen Bagimu Negeri Melalui Penerapan Ilmu Harmoni dan Kontrapung Dasar." PROMUSIKA 9, no. 1 (September 7, 2021): 27–38. http://dx.doi.org/10.24821/promusika.v1i1.5776.

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Artikel ini mengungkapkan proses aktivitas belajar mahasiswa dalam memahami ilmu harmoni dan kontrapung dasar dalam membentuk sebuah aransemen musik. Ilmu harmoni dan kontrapung merupakan ilmu dasar dalam memperlajari penyusunan nada. Dalam proses penyusunan nada terdapat pengetahuan akur, yang terbagi dalam empat suara yaitu sopran, alto, tenor dan bass tersusun secara horisontal. Unsur empat suara memiliki aturan-aturan yang berlaku dalam ilmu harmoni, sedangkan kontrapung dalam proses pembelajaran mempelajari kontrapung instrumental dengan tanganada diatonik dan termasuk dalam musik gaya polifonik. Artikel ini merupakan hasil penelitian proses aplikasi ilmu harmoni dan kontrapung dengan cara mempraktikan membuat aransemen lagu Bagimu Negeri. Tujuan dari penelitian adalah mengajak mahasiswa dan memahami dalam mengaplikasikan ilmu harmoni dan kontrapung. Melalui cara eksperimen merupakan kegiatan dari proses membuat aransemen lagu Bagimu Negeri dengan pendekatan musikologi. Konstruksi aransemen musik melalui penerapan ilmu harmoni dan kontrapung dengan pendekatan musikologi bermanfaat untuk memberikan pengetahuan pada mahasiswa bagaimana mengaransemen lagu. Hasil akhir penelitian yaitu bagaimana mahasiswa praktik mengaransemen lagu menggunakan ilmu harmoni dan kontrapung yang mengkolaborasi antara ilmu harmoni dan kontrapung. Keterbatasan dalam penelitian ini belum mengungkap kontur dan tekstur harmoni dalam aplikasi aransemen musik. Oleh karena itu memerlukan studi yang lebih jauh kembali dalam memahami aplikasi harmoni dan kontrapung dalam proses aransemen.AbstractThe construction of the music arrangement Bagimu Negeri for the application of harmony and basic counterpunch. This article reveals the learning activity process of students of the S-1 Music Study Program of the Faculty of Performing Arts, Yogyakarta Indonesian Institute of Arts, in understanding the science of harmony and contra punt in forming a musical arrangement. The science of harmony and contra punt is a basic science in learning the preparation of tone. There is knowledge of getting along in composing the tone, divided into four sounds: soprano, alto, tenor, and bass arranged horizontally. Element four sounds have rules that apply in the science of harmony. At the same time, contra punt in the learning process learns instrumental contra punt with diatonic hands and in polyphonic style music. This article results from research in the application process of harmonic and counter punt science by making arrangements for songs for the country. The study aims to invite students and understand in applying the science of harmony and contra punt. The way of experimentation is to make arrangements of songs for the country with a musical approach. Construction of music arrangements through the application of harmonic science and contra punt with a musicology approach is helpful for students to arrange songs. The final result of the study is how students practice arranging songs using the science of harmony and contra punt that collaborate between the science of harmony and contra punt. Limitations in this study have not revealed the contours and textures of harmony in musical arrangement applications. It, therefore, requires a further analysis back in understanding the application of harmony and contra punt in the arrangement process.Keywords: the science of harmony and contra punt; musical arrangements; Bagimu Negeri; Harmonic texture
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Hadiprayitno, Kasidi. "Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta." Dance and Theatre Review 4, no. 1 (June 13, 2021): 21–35. http://dx.doi.org/10.24821/dtr.v4i1.4923.

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ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis, sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan. Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.
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De Haas, W. Bas, José Pedro Magalhães, Frans Wiering, and Remco C. Veltkamp. "Automatic Functional Harmonic Analysis." Computer Music Journal 37, no. 4 (December 2013): 37–53. http://dx.doi.org/10.1162/comj_a_00209.

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Music scholars have been studying tonal harmony intensively for centuries, yielding numerous theories and models. Unfortunately, a large number of these theories are formulated in a rather informal fashion and lack mathematical precision. In this article we present HarmTrace, a functional model of Western tonal harmony that builds on well-known theories of tonal harmony. In contrast to other approaches that remain purely theoretical, we present an implemented system that is evaluated empirically. Given a sequence of symbolic chord labels, HarmTrace automatically derives the harmonic relations between chords. For this, we use advanced functional programming techniques that are uniquely available in the Haskell programming language. We show that our system is fast, easy to modify and maintain, robust against noisy data, and that its harmonic analyses comply with Western tonal harmony theory.
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Ligong, Sun Ligong, Sun Xiangwen, and Xiang Fei. "Harmonic Estimation Algorithm for Power System Based on Improved MUISC and Linear Neural Networks." Open Electrical & Electronic Engineering Journal 9, no. 1 (September 30, 2015): 445–51. http://dx.doi.org/10.2174/1874129001509010445.

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The paper proposes harmonic estimation algorithm for power system based on Multiple Signal Classification (MUSIC) and linear neural network because of the insufficiency of harmonic frequency estimation algorithm. The conventional MUSIC algorithm has the advantage of higher estimation accuracy, while the disadvantage is that the computational complexity is high and it cannot estimate the harmonic phase and amplitude. In the paper, a new harmonic estimation algorithm for power system is constructed with combining the MUSIC algorithm, the multistage Wiener filter (MSWF) and linear neural network. Theoretic analysis and simulation experiments show that the requirement to data is relatively low, and has good harmonic estimation accuracy and reliability.
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Zhe, Cao, Sun Xiangwen, and Niu Xinwen. "Harmonic Frequency Estimation Algorithm Based on MSWF in Power System." Open Electrical & Electronic Engineering Journal 9, no. 1 (October 28, 2015): 524–29. http://dx.doi.org/10.2174/1874129001509010524.

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This paper pointed out the disadvantage of harmonic frequency estimation algorithm in current power system, presented the MUSIC (multiple signal classification)-based harmonic frequency estimation algorithm in power system, and analyzed the computational complexity of the MUSIC algorithm. In order to reduce the computational complexity of conventional MUSIC algorithm and to increase the real-time characteristic of harmonic frequency estimation algorithm, we combined the multi-stage wiener filter (MSWF) recursive algorithm and MUSIC algorithm so as to avoid the subspace decomposition process of the conventional MUSIC algorithm, thus realizing the purpose of significantly reducing the computational complexity of the MUSIC algorithm. Through theoretical analysis and simulation experiments, we find that the algorithm proposed in this paper is of excellent resolution characteristic, and less dependent on data volume.
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Dissertations / Theses on the topic "Harmonic analysis (Music)"

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Granroth-Wilding, Mark Thomas. "Harmonic analysis of music using combinatory categorial grammar." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8019.

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Various patterns of the organization of Western tonal music exhibit hierarchical structure, among them the harmonic progressions underlying melodies and the metre underlying rhythmic patterns. Recognizing these structures is an important part of unconscious human cognitive processing of music. Since the prosody and syntax of natural languages are commonly analysed with similar hierarchical structures, it is reasonable to expect that the techniques used to identify these structures automatically in natural language might also be applied to the automatic interpretation of music. In natural language processing (NLP), analysing the syntactic structure of a sentence is prerequisite to semantic interpretation. The analysis is made difficult by the high degree of ambiguity in even moderately long sentences. In music, a similar sort of structural analysis, with a similar degree of ambiguity, is fundamental to tasks such as key identification and score transcription. These and other tasks depend on harmonic and rhythmic analyses. There is a long history of applying linguistic analysis techniques to musical analysis. In recent years, statistical modelling, in particular in the form of probabilistic models, has become ubiquitous in NLP for large-scale practical analysis of language. The focus of the present work is the application of statistical parsing to automatic harmonic analysis of music. This thesis demonstrates that statistical parsing techniques, adapted from NLP with little modification, can be successfully applied to recovering the harmonic structure underlying music. It shows first how a type of formal grammar based on one used for linguistic syntactic processing, Combinatory Categorial Grammar (CCG), can be used to analyse the hierarchical structure of chord sequences. I introduce a formal language similar to first-order predicate logical to express the hierarchical tonal harmonic relationships between chords. The syntactic grammar formalism then serves as a mechanism to map an unstructured chord sequence onto its structured analysis. In NLP, the high degree of ambiguity of the analysis means that a parser must consider a huge number of possible structures. Chart parsing provides an efficient mechanism to explore them. Statistical models allow the parser to use information about structures seen before in a training corpus to eliminate improbable interpretations early on in the process and to rank the final analyses by plausibility. To apply the same techniques to harmonic analysis of chord sequences, a corpus of tonal jazz chord sequences annotated by hand with harmonic analyses is constructed. Two statistical parsing techniques are adapted to the present task and evaluated on their success at recovering the annotated structures. The experiments show that parsing using a statistical model of syntactic derivations is more successful than a Markovian baseline model at recovering harmonic structure. In addition, the practical technique of statistical supertagging serves to speed up parsing without any loss in accuracy. This approach to recovering harmonic structure can be extended to the analysis of performance data symbolically represented as notes. Experiments using some simple proof-of-concept extensions of the above parsing models demonstrate one probabilistic approach to this. The results reported provide a baseline for future work on the task of harmonic analysis of performances.
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McKee, David Frank. "ALABAMA SUMMER: SUITE FOR ORCHESTRA WITH STRUCTURAL AND HARMONIC ANALYSIS." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/776.

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Thesis (D.M.A.)--University of Kentucky, 2008.
Title from document title page (viewed on May 13, 2008). Document formatted into pages; contains: vii, 114 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 112).
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Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.

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Yie, HyounKyoung. "Harmonic syntax in Delius's late period chamber music (1905-1930)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1206316836.

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Russell, Michael L. "The Phenomenology of Harmonic Progression." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703408/.

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This dissertation explores a method of music analysis that is designed to reflect the phenomenology of the listening experience, specifically in regards to harmony. It is primarily inspired by the theoretical approaches of the music theorist Moritz Hauptmann and by the writings of philosopher Edmund Husserl.
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Faria, Gomes Pedro. "Creating harmonic functionality in post-tonal music : a composer's perspective." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606558.

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The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.
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Castillo, Jorge. "Formal and harmonic analysis of Juan Crisostomo de Arriaga's Symphony in D." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2078.

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The short, and rather intense, life of Juan Crisóstomo de Arriaga represents a great tragedy for Spain's musical history, since, had him lived longer, it is believed that this Spanish composer could have matched the mastery and accomplishments of geniuses such as Bach, Mozart or Beethoven. His sudden death at the young age of nineteen (he died ten days before he turned twenty) voided such promise. The purpose of this paper is mainly the formal and harmonic analysis of his symphony in D, and in addition, to trace the most significant events of Arriaga's life and to provide relevant information about his music, published scores, and available discography.
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Byrne, David A. "The Harmonic Theories of Sigfrid Karg-Elert: Acoustics, Function, Transformation, Perception." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417315389199.

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Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.

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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.
The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Books on the topic "Harmonic analysis (Music)"

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Chailley, Jacques. Historical treatise of harmonic analysis. Paris: A. Leduc, 1986.

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Cameron, David. Basic harmony: Melody writing and analysis for examination candidates. Kingston, Ont: Sarabande Music, 1994.

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Gárdonyi, Zsolt. Harmonik. Wolfenbüttel: Möseler, 2002.

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Hubert, Nordhoff, ed. Harmonik. Wolfenbüttel: Möseler, 1990.

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1942-, Blondel Eric, and Association des amis d'Alain, eds. Petit traité d'harmonie, mars - août 1918. Le Vesinet: Institut Alain, 2008.

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Giovanni, Marzi, Delfino Antonio 1958-, Università di Pavia. Scuola di paleografia e filologia musicale., and Centro di musicologia "Walter Stauffer", eds. Varietà d'harmonia et d'affetto: Studi in onore di Giovanni Marzi per il suo LXX compleanno. Lucca: Libreria Musicale Italiana, 1995.

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Maysonet, Guillermo Menéndez. Sistema y metodo de análisis armonico tonal no ramista. [Puerto Rico?: Guillermo Menéndez Maysonet], 2008.

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Kholopov, I︠U︡ N. Garmonicheskiĭ analiz: V 3-kh chasti︠a︡kh. Moskva: Izd-vo "Muzyka", 1996.

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Firca, Gheorghe. Structuri și funcții în armonia modală. București: Editura Muzicală, 1988.

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Maillart-Lefrancq, Martine. Principes fondamentaux d'analyse harmonique et de transposition. Paris: M. Eschig, 1995.

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Book chapters on the topic "Harmonic analysis (Music)"

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Gilblas, Riccardo C. "Persistent Homology and Harmonic Analysis." In Mathematics and Computation in Music, 195–209. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60638-0_16.

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Prestini, Elena. "Sound, Music, and Computers." In The Evolution of Applied Harmonic Analysis, 113–42. Boston, MA: Birkhäuser Boston, 2004. http://dx.doi.org/10.1007/978-0-8176-8140-1_4.

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Prestini, Elena. "Sound, Music, and Computers." In The Evolution of Applied Harmonic Analysis, 95–120. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4899-7989-6_4.

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Cambouropoulos, Emilios. "The Harmonic Musical Surface and Two Novel Chord Representation Schemes." In Computational Music Analysis, 31–56. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_2.

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Romero-García, Gonzalo, Isabelle Bloch, and Carlos Agón. "Mathematical Morphology Operators for Harmonic Analysis." In Mathematics and Computation in Music, 255–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07015-0_21.

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Burgoyne, John Ashley, Jonathan Wild, and Ichiro Fujinaga. "Compositional Data Analysis of Harmonic Structures in Popular Music." In Mathematics and Computation in Music, 52–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39357-0_4.

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Cambouropoulos, Emilios, and Maximos Kaliakatsos-Papakostas. "Cognitive Musicology and Artificial Intelligence: Harmonic Analysis, Learning, and Generation." In Handbook of Artificial Intelligence for Music, 263–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_10.

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Li, Xiaoquan, Yijun Yan, Jinchang Ren, Huimin Zhao, Sophia Zhao, John Soraghan, and Tariq Durrani. "Knowledge Based Fundamental and Harmonic Frequency Detection in Polyphonic Music Analysis." In Lecture Notes in Electrical Engineering, 591–99. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6571-2_72.

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Bäckman, Mikael. "3. Finding Voice." In Teaching Music Performance in Higher Education, 87–106. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.04.

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This chapter explores how my own artistic research has informed my practice, not only as a musician, but also as a teacher in higher music education (HME). In my ongoing PhD project, I have investigated how a personal expression, or voice, emerges from a process initiated by transcription and imitation. I have used an analytical perspective, informed by embodied cognition, and built around the concepts of voice and affordance to try to clarify these processes. I have transcribed 13 albums by the iconic country harmonica player Charlie McCoy. Based on these transcriptions, I have analyzed McCoy’s playing style, notably charting his musical idiolect. From my analysis, I found a number of licks and strategies which he often employs. The licks are, I argue, important features of McCoy’s idiolect. With McCoy’s licks as a point of departure, I have created my own variations of these. This method of deliberately transforming my voice is my way of finding out who I am, and who I want to be, as an artist. Starting with transcriptions gave me a view of the state of the art of country harmonica playing. The next phase of my PhD project has been to implement the knowledge I gained through artistic research, on my instrumental teaching in HME. In order to investigate this further, I have sought to initiate similar processes of formation of voice in my students. I have created a single subject course for harmonica students, where the aim is to explore the process of transcription leading to a formation of an original, unique voice. In the chapter I will present examples from my own artistic study, as well as examples from my study with my harmonica students in HME.
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Lee, Jeong-Min, Jun-Ho Huh, and Hyun-Suk Kim. "A Study on the Harmony of Music and TV Lighting Through Music Analysis." In Lecture Notes in Electrical Engineering, 487–95. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1328-8_63.

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Conference papers on the topic "Harmonic analysis (Music)"

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De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, and Rocco Zaccagnino. "Evaluation Study of Visualisations for Harmonic Analysis of 4-Part Music." In 2018 22nd International Conference Information Visualisation (IV). IEEE, 2018. http://dx.doi.org/10.1109/iv.2018.00090.

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Kenichi Miyamoto, Hirokazu Kameoka, Takuya Nishimoto, Nobutaka Ono, and Shigeki Sagayama. "Harmonic-Temporal-Timbral Clustering (HTTC) for the analysis of multi-instrument polyphonic music signals." In ICASSP 2008 - 2008 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4517559.

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Mao, Yuqian, Gong Zhang, Cenyang Xu, and Ziyi Xiao. "Root-Music Harmonic Analysis Joint Multiple Regression: DOA Estimation Applied to Millimeter Wave FMCW Radar." In 2022 14th International Conference on Signal Processing Systems (ICSPS). IEEE, 2022. http://dx.doi.org/10.1109/icsps58776.2022.00109.

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Seipelt, Agnes. "Digitale Edition und Harmonische Analyse mit MEI von Anton Bruckners Studienbuch." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.100.

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The poster shows the results obtained in the project “Digital Music Analysis with the Techniques of the Music Encoding Initiative (MEI) using Anton Bruckner’s compositional studies as an example” (2017 to 2019). On the one hand, the project had the goal of presenting a digital edition of Anton Bruckner’s study book, which he produced during his lessons with Otto Kitzler from 1861 to 1863. An edition of the music in the textbook encoded with MEI and displayed using Verovio and the facsimile can be displayed simultaneously. On the other hand, an automated harmonic analysis of this music was to be designed. For this purpose, keys are recognized using the Krumhansl-Schmuckler algorithm that is based on a resource of pitch classes which are compared with reference values and thus their similarity is calculated. Based on this, chord recognitions are carried out, which are then linked to the keys in the last step and converted to a roman numeral analysis.
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Karystinaios, Emmanouil, Francesco Foscarin, and Gerhard Widmer. "Perception-Inspired Graph Convolution for Music Understanding Tasks." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/850.

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We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification, link prediction, and graph classification. Our experiments demonstrate that MusGConv improves the performance on three of the aforementioned tasks while being conceptually very simple and efficient. We interpret this as evidence that it is beneficial to include perception-informed processing of fundamental musical concepts when developing graph network applications on musical score data. All code and models are released on https://github.com/manoskary/musgconv.
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Noshahr, Javad Behkesh, and Belal Mohamadi Kalesar. "Harmonic spectrum estimation and analysis of the voltage at the PCC of the distribution network connected to solar plant based on parametric algorithm (Music)." In 2017 IEEE International Conference on Environment and Electrical Engineering and 2017 IEEE Industrial and Commercial Power Systems Europe (EEEIC / I&CPS Europe). IEEE, 2017. http://dx.doi.org/10.1109/eeeic.2017.7977417.

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Neuwirth, Markus, Johannes Hentschel, and Martin Rohrmeier. "Perspectives of Musical Corpus Studies: The Annotated Mozart Sonatas." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.96.

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This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.
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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
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Kodag, Rahul B., Mukesh D. Patil, and Chandrakant J. Gaikwad. "Harmonic Product Spectrum based approach for tonic extraction in Indian music." In 2016 International Conference on Computing, Analytics and Security Trends (CAST). IEEE, 2016. http://dx.doi.org/10.1109/cast.2016.7915042.

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Carnovalini, Filippo, Alessandro Pelizzo, Antonio Rodà, and Sergio Canazza. "Harmonization and evaluation. Tweaking the parameters on human listeners." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.36.

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Kansei models were used to study the connotative meaning of music. In multimedia and mixed reality, automatically generated melodies are increasingly being used. It is important to consider whether and what feelings are communicated by this music. Evaluation of computer-generated melodies is not a trivial task. Considered the difficulty of defining useful quantitative metrics of the quality of a generated musical piece, researchers often resort to human evaluation. In these evaluations, often the judges are required to evaluate a set of generated pieces along with some benchmark pieces. The latter are often composed by humans. While this kind of evaluation is relatively common, it is known that care should be taken when designing the experiment, as humans can be influenced by a variety of factors. In this paper, we examine the impact of the presence of harmony in audio files that judges must evaluate, to see whether having an accompaniment can change the evaluation of generated melodies. To do so, we generate melodies with two different algorithms and harmonize them with an automatic tool that we designed for this experiment, and ask more than sixty participants to evaluate the melodies. By using statistical analyses, we show harmonization does impact the evaluation process, by emphasizing the differences among judgements.
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Reports on the topic "Harmonic analysis (Music)"

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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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