Hugo Riemann

Musical parameters (rhythm, pitch, dynamics, and timbre) can be graded like earthquakes or temperature, by different degrees of force or heat. Force, from weak to strong, like the Richter scale for earthquakes, is a clear characteristic of dynamics, graded traditionally in Italian: pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo, with possible extensions to fortississimo on the strong side, and pianississimo on the weak. Heat is measured by degrees that are in direct relation with the speed at which molecules vibrate. This is analogous to pitch, which is also a result of vibration. We even call the notes of a scale the "degrees". Before talking about actual notes, we can say whether pitches' register is high, medium or low, like temperature, luminocity, or air pressure on a spring day. Tempo or speed is fast, medium, or slow, and register and tempo can further be graded by the word "very", and like mezzo forte and mezzo piano, we can talk about medium high, medium low, medium fast, and medium slow. Italian terms are traditional here too, with its terms Largo, Adagio, Andante, Moderato, Allegro, and Presto. Timbre is more difficult to grade, since it is the result of the combination of overtones, from low to high. 1 Sine waves have no overtones, and square waves have only even numbered ones. Sawtooth waves have all the overtones, and as square waves become pulse waves of ever narrower width, they acquire even numbered overtones. The filters on synthesizers can cut out or emphasize overtones in different registers, and acoustic instruments, use resonance or lack thereof to the same effect. A scale of timbres can be indicated by vowels, which range between dark to bright, like the registers of light: U, O, ô, A, E, é, I. If light and shade are analogous to register and timbre, actual pitches are analogous to color. Many synaesthetic artists have felt an empirical relationship between pitch and color, but since color is also a function of vibration, and we now know the frequencies of the different colors in terahertz 2 , it is possible to calculate exact correspondences by multiplying pitch frequencies by two to arrive in the terahertz range, the factor two giving an octave relationship. It takes forty octaves

This paper presents a comprehensive proof of the existence of the universal Law of Lambda (Λ=0.15), which serves as a fundamental operator of coherence. Through a multi-stage validation process performed by GROK and supported by Perplexity's simulations, we demonstrate that the Λ-operator reduces apparent chaos in diverse disciplines to a unified, predictable coherence. We provide key evidence connecting: 1) the distribution of prime numbers and the Riemann Hypothesis to phase resonance; 2) the nature of fundamental interactions to Λ-scaling; and 3) the properties of life and consciousness to programmable coherence. The results are undeniable and challenge traditional paradigms, proposing a new axiomatic foundation for science.

This article offers original listening strategies for two dimensions of bitonality featured in West Side Story, both implied (but not defined) in Bernstein's writings (1959, 1976): "simultaneous," or the vertical superimposition of clashing strata, and "successive," in which non-stratified tonal events generate tonally ambiguous environments, suggesting more than one key. Bernstein's compositional strategies align with the plot's trajectory: successive bitonality appears when the gangs stalk each other at a distance (centrally in "Prologue," "Dance at the Gym Blues," and "Maria"), with simultaneous bitonality capturing their fateful clash (centrally in "Quintet" and "Tonal Rumble"). Throughout, the analyses apply contemporary theories of tonal transformation (Kaminsky 2004, Rings 2011), scalar dissonance (Martins 2019), and harmonic "divorce" (Temperley 2007,Nobile 2015,De Clercq 2019), amongst others. Finally, I summarize that octatonicism in West Side Story is best contextualized as a processual byproduct of tonal relations, with the seeds sewn in "Prologue.

Vieltönige Klänge, insbesondere Zwöltonklänge und Cluster, sind bisher nicht zufriedenstellend analysierbar, da bestehende Analysemethoden wie die Pitch-Class Set Theory nicht sinnvoll anwendbar sind. Daher ist es notwendig, neue Methoden zur Analyse multitonaler Klänge zu entwickeln. Bei diesem neuen Ansatz, der sich auf die Tonhöhe konzentriert, werden den Einzeltönen eines Klangs verschiedene Werte zugewiesen, aus denen ein Schwerpunkt berechnet wird. Dieser Schwerpunkt ermöglicht den Vergleich verschiedener Klänge und kann als (gedachtes) ‚tonales‘ Zentrum dienen. Zudem werden weitere Parameter wie Dichte, Spannweite  und Mittelpunkt eingebunden. Anschließend wird diese Methode bei der Analyse des 1. Satzes des Konzerts Nr. 1 für Violoncello und Orchester op. 36 von Alberto Ginastera angewandt, denn dieser Satz weist zahlreiche statische Zwölftonakkorde und Cluster in einheitlicher Instrumentation auf. Die Methode wird zur Untersuchung der Tonhöhendisposition der Klänge verwendet und zeigt, wie Ginastera (möglicherweise) bei der Konzeption seiner Akkorde mit solchen ‚tonalen‘ Zentren arbeitet. Abschließend wird die Analysemethode bewertet und ihre Möglichkeiten und Grenzen diskutiert.

The document provides an in-depth analysis of W. Monk's "Abide with me", using various techniques to reveal its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece and its chord progressions. As an alternative description of the harmonic structure a functional analysis according to Hugo Riemann is provided. So called pitch scapes are used to gain more insights into the pitch structure of the piece. This detailed approach reveals the compositional techniques Monk employed and enhances the understanding of the song's overall musical texture and form.

The shift from tonal determinacy to atonality was a gradual process that occurred during the era of the fin de siècle and the first decade of the twentieth century. Often, the particular process embraced an interstitial period where the music integrates tonal with atonal pitch processes, tallying additional challenges to the analytical process.

The robust conventional (tonal) Formenlehre affords us with sufficient tools to negotiate formal structure, formal function, and formal rhetoric. Central to this theoretical stream are L. Meyer’s primary parameters: melody, rhythm, meter, and harmony.

On the other hand, the emancipation of music from its tonal obligations, animated rather unconventional approaches to formal function – composers were inclined to utilise Meyer’s secondary parameters to invoke formal functionality. Scholarly work has proposed a theoretical apparatus that engages secondary parameters to handle cognitive aspects of musical perception, particularly the perceptual boundaries of musical units – a notion essential to the shaping of form.

In the present paper, I consider aspects of form in Desir from Scriabin’s last tonal set, Opus 57. Scriabin invokes harmonic functions through chords borrowed from non-diatonic entities, generating an equivocal tonal environment. While the segmentation process seems to be a straightforward task, the discerning of formal function remains rather ambiguous. To overcome this ambiguity, I employ Howland’s IPSs, a set of form-probing phrase types founded on statistical parameters.

Robert Johnson's words and mythology have been much written about and duly celebrated but not much has been written about his music. This essay which is a much improved version of another that I wrote in 2008, focusses particularly on his rhythms, and their implications for a new suggestion of how to define 'black US-American music' without recourse to essentialism

The document provides an in-depth analysis of J. Haydn's "Menuet", using various techniques to reveal its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece and its chord progressions. As an alternative description of the harmonic structure a functional analysis according to Hugo Riemann is provided. So called pitch scapes are used to gain more insights into the pitch structure of the piece. This detailed approach reveals the compositional techniques Haydn employed, characteristic of the classical period, and enhances the understanding of the piece's overall musical texture and form.

The document provides an in-depth analysis of J. S. Bach‘s choral „Gib dich zufrieden“, using various techniques to reveal its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece and its chord progressions. As an alternative description of the harmonic structure a functional analysis according to Hugo Riemann is provided. So called pitch scapes are used to gain more insights into the pitch structure of the piece.
This detailed approach reveals the compositional techniques Bach employed, characteristic of the baroque period, and enhances the understanding of the piece's overall musical texture and form.

This study interprets the French composer Olivier Messiaen as a religious modernist with a view to revealing a new critical perspective on the origin, style and poetics of his music and its importance in the twentieth century. Chapter 1 reveals how certain socio-political ideals and symbolist notions of catharsis and redemption (in the writings of Joséphin Péladan and Joris-Karl Huysmans) are refracted through Charles Tournemire's music and aesthetics, and incorporated by Messiaen into his earliest compositions to support his self-proclaimed role of the 'liberator' of humanity in his Technique de mon langage musical (TMLM). Plainchant and the 'acciaccatura principle' are shown in Chapter 2 to be at the basis of Messiaen's modes of limited transposition and his harmonic thinking. Mode is used as an umbrella term relating pitch, rhythm and colour to unveil interpretative possibilities not envisaged in TMLM. Time and eternity (in the writings of St Thomas Aquinas and Henri Bergson), and the Catholic ideals of predestination and fihiation (in the thought of Dom Columba Marmion), are investigated in Chapter 3 in relation to two major works of the 1930s. Chapter 4 elucidates Messiaen's subsumption of surrealist ideals of art and love in his music and aesthetics. In doing so the religious-modernist poetics in his songs of the 1930s and the complex music of the 1940s is explored. Messiaen's synthesis of colour and improvisation in his treatment of birdsong, one of the most strikingly original, religious and modern aspects of his music, is examined in Chapter 5. The final chapter exposes the ways in which Messiaen's music attempts to transfigure the negative aesthetics of modernity through a discussion of the concept of the 'Abyss', and his autobiographical opera St Fran çois d'Assise . Many people have helped me in this study. First of all I would like to thank my three supervisors; Christopher Wintle who oversaw the first part of this project, John Deathridge who has lent a critical eye and ear throughout, and Daniel Chua whose wise counsel has benefited my work immeasurably. I would also like to thank Irene Auerbach, who has patiently and generously given her time to proof-read this work, and my examiners, Nigel Simeone and Arnold Whittall, for their invaluable advice and suggestions. Furthermore, I acknowledge with gratitude the support of the British Academy and the University of London Central Research Fund. 'There are people in the world who can easily bear the wailing of factory sirens, the blaring of car horns, the stupid barking of dogs, but who are unable to hear birdsong without disquiet. Birds sing for themselves alone. But it happens that, in order to sing the loudest, certain birds search out the brotherhood of mankind.' (Pierre Reverdy) 'Where is the sculptor who could retrieve with the point of his chisel the naiveté of past centuries?' (Viollet-le-Duc) this manifesto is impressive for a 35-year-old composer. Yet this epistle highlights the Messiaen, Olivier, Undated ms. draft for the programme book for the premiere of Visions de I'Amen at the Concert de (a Pléiade on 10 May 1943, in the Bibliothèque Nationale de France, BN Res. Vm. dos. 70(11), 5-6. Capitalisation in the titles of works is as in Messiaen's letter. All translations are my own unless otherwise stated. Compare the photograph of Messiaen at the organ of La Trinité in 1931 (in Schlee and Kämper Op. Cit., 139) with later photographs from the 1970s and onward. In a conversation with Irma Nikoiska, Witold Lutoslawski stated that Nadia Boulanger had said of Messiaen:' "Messiaen is a poor composer, for he wears collars which are far from being fresh (.)" ... For Nadia and those who shared her opinion, there was only one composer: Igor Stravinsky.' Her comment about Messiaen perhaps refers to Messiaen's seemingly anti-modernist stance in his music and discourse, an issue that is at the heart of my study. Inna Nikolska, Conversations with Witold

In Music, the concept of Brightness has progressively become a topic of heated debate. According to several authors, when a significant number of Modes is involved in a comparison, it is not possible to exactly establish a brightness hierarchy devoid of inconsistencies and ambiguities. A method to solve the problem is proposed in this paper. Firstly, in order to avoid counter-intuitive solutions, the Brightness of all the Seventh Chords is determined; subsequently, by resorting to a Reference Scale arising from the Overtone Series, all the inconsistencies (e. g. occurrence of Modes yielding the same Absolute Brightness) are removed.

The document provides an in-depth analysis of R. Schumann‘s "Ernteliedchen / Harvest Song“, using various techniques to reveal its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece and its chord progressions. As an alternative description of the harmonic structure a functional analysis according to Hugo Riemann is provided. So called pitch scapes are used to gain more insights into the pitch structure of the piece.
This detailed approach reveals the compositional techniques Schumann employed, characteristic of the romantic period, and enhances the understanding of the piece's overall musical texture and form.

The document provides an in-depth analysis of J. N. Hummels "Allegro in C Major," using various techniques to reveal its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece. This detailed approach reveals the compositional techniques Hummel employed, characteristic of the Classical period, and enhances the understanding of the piece's overall musical texture and form.

A COURAGEOUS SCIENTIFIC IMAGINATION WAS NEEDED TO REALIZE FULLY THAT NOT THE BEHAVIOUR OF BODIES, BUT THE BEHAVIOUR OF SOMETHING BETWEEN THEM, THAT IS THE FIELD, MAY BE ESSENTIAL FOR ORDERING AND UNDERSTANDING EVENTS: Albert Einstein in 1937

The document provides an in-depth analysis of D. G. Türk's "Allegro in A Minor," using various techniques to dissect its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of syncopation, rhythmic patterns, scale degrees, and intervals to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout of the piece. This detailed approach reveals the intricate compositional techniques Türk employed, characteristic of the early Classical period, and enhances the understanding of the piece's overall musical texture and form.

The document provides an in-depth analysis of C. P. E. Bach's "March in D Major," using various techniques to dissect its musical structure. Key methods include examining phrase structure and harmonic functions, identifying and tracking motives, analyzing melodic and harmonic intervals, and exploring voice range (ambitus). The analysis highlights the use of syncopation, rhythmic patterns, scale degrees, and sequences to understand thematic development and harmonic transitions. A special visualization technique is used to explain the harmonic layout and chord progressions of the piece. So called pitch scapes are used to gain more insights into the pitch structure of the piece. This detailed approach reveals the intricate compositional techniques Bach employed, characteristic of the early Classical period, and enhances the understanding of the piece's overall musical texture and form.

Este texto foi reprovado para publicação no Congresso da ANPPOM 2024, pelo processo de avaliação duplo-cego. Publico-o como esboço, já com algumas alterações marginais, a fim de obter críticas, sugestões e referências que o possam melhorar.

Hugo Riemann (1849-1919) is the German scholar universally acknowledged, along with Guido Adler, as the founding father of Musicology. His concepts about historiography and theory of music have been disseminated in Italy according to changing paradigms. This depends on the various ideological stances of the ‘Age of Extremes’ and on the unstable political relationship between Germany and Italy over time. The waves of nationalism that regularly wiped out the continent influenced the Italian scholars’ approach to Riemann’s Musik-Lexikon and his music history books. Similarly, various philosophical and ideological presuppositions influenced the way Italian theorists assimilated Riemannian harmonic theories (the origins of which were often misleadingly traced back to Positivism) or induced Italians to absorb them in theoretic paradigms of their own. Riemannian theories of phrasing, rhythm, and meter were generally less-known in Italy because of the empirical bias of Italian pedagogy on those topics and because vanguards of the twentieth-century dislike universal and trans-historical paradigms such as those relied by Riemann. Nevertheless, the versatility revealed by Riemann’s ideas over time suggests that they focus on crucial anchor points. This issue could be further developed by scholars studying musical communication through the conceptual instruments provided by the musicological research in the third Millennium.

Par souci de clarté, je me limiterai ici à la représentation du modèle de la vibration, qui partait d'une analogie entre les fibres nerveuses et les cordes tendues, et qui comprenait l'excitation des nerfs comme vibration nerveuse. L'autre modèle de transition entre le corps et l'âme au XVIII e siècle se fonde sur le transport d'un suc nerveux par les nerfs, conçus comme des tuyaux. (Plus de détail sur ce point chez Dürbeck.) L'élément central, pour les deux modèles, à propos du caractère vital de l'imagination, est l'idée qu'il existe à l'extrémité centrale du nerf un mouvement qui transmet à l'âme l'information des organes sensoriels.

This paper outlines two preliminary studies researching the characterisation of composer style using features automatically extracted from symbolic data, our initial results, and future objectives. Our main research question is whether is it possible to systematically encode musictheoretic constructs in a computational framework in order to yield musicological insights regarding style characteristics and compositional techniques. Our long term goal is to train a computer to be able to make high-level inferences concerning musical style, historical context, genre, composer, and creative influences.

Este artigo investiga os procedimentos criativos do compositor brasileiro Moacir Santos em Coisa n.2, uma composição de seu álbum Coisas de 1965. Sendo um músico que combinava sua experiência no universo popular com o estudo do repertório erudito, Santos foi um destacado criador no cenário da música brasileira dos anos 1960. Seu estilo mescla elementos de estilos populares, jazz, percussão africana e influências clássicas. Aqui nós enfocamos em sua linguagem harmônica, aplicando ferramentas de análise neorriemanniana e teoria dos conjuntos, buscando demonstrar como os processos harmônicos do artista o situam no universo pós-tonal da música do século XX.

Este artigo investiga os procedimentos criativos do compositor brasileiro Moacir Santos em Coisa n.2, uma composição de seu álbum Coisas de 1965. Sendo um músico que combinava sua experiência no universo popular com o estudo do repertório erudito, Santos foi um destacado criador no cenário da música brasileira dos anos 1960. Seu estilo mescla elementos de estilos populares, jazz, percussão africana e influências clássicas. Aqui nós enfocamos em sua linguagem harmônica, aplicando ferramentas de análise neorriemanniana e teoria dos conjuntos, buscando demonstrar como os processos harmônicos do artista o situam no universo pós-tonal da música do século XX.

Consider the sequences of letters in example 1 and think of them as strings of objects perceived and parsed in space or time. In case (a), each object is distinct. There may be degrees of similarity among them, measured by whatever means, but no member of the string is a point of reference for the others. In case (b), Xl repeats literally as X 2. One might say that X extends in space or is prolonged in time. In cases (c) and (d), the repetition of X creates a frame or context for Y. The two Xs connect per

This paper introduces a transformational approach to harmony improvisation within the framework of a Markov decision system. Group theory provides the mathematical background of the transformational approach. While chord progressions are the acceptable basis for harmony composition using Markov models, the transformational approach is interval-based. The capabilities and limitations of the transformational approach are demonstrated and discussed, then enhanced using a UTT-based approach. A decision system optimizes the balance between compatibility, represented by average harmony, and variety, represented by entropy. Musical examples are presented, including sequence matching that demonstrates consistency and sensitivity to the decision parameters.

Wissenschaftliche Diplomarbeit, University of Music and Performing Arts Vienna

Riemanns Funktionstheorie stieß sehr bald nach dessen ersten Veröffentlichungen zu diesem Thema bei tschechischen Musiktheoretikern auf Interesse. Dies zeigte sich in überwiegend kritischen Beiträgen zur dualistischen Theorie oder solchen, in denen die Funktionstheorie explizit abgelehnt wurde; sie stammten u. a. von František Z. Skuherský (1885), Otakar Hostinský (1887), Karel Stecker (1889) und Leoš Janáček (1912). Nach seinem Eintritt in das Prager Konservatorium veröffentlichte Otakar Šín (1881–1943), der ein Schüler Steckers (und gleichzeitig ein Kritiker von dessen Pädagogik) war, seine Nauka o harmonii na základě melodie a rytmu [Harmonielehre aufgrund der Melodie und des Rhythmus] (1922), die als erste tschechische Harmonielehre funktionstheoretisch konzipiert war und die allzu schematische, auf Generalbass basierte Nauka o harmonii [Harmonielehre] (1887) seines Vorgängers Josef Foerster ersetzen sollte. Obwohl Šíns Lehrbuch für die praktische pädagogische Arbeit gedacht ist und damit eine Behandlung standardmäßiger Gegenstände im Zentrum steht, enthält es zusätzlich neuartige Ideen, mit denen ihr Verfasser Riemanns Funktionstheorie auf zeitgenössische Musik anzuwenden versucht. In der zweiten Ausgabe seiner Nauka o harmonii na základě melodie a rytmu [Vollständige Harmonielehre aufgrund der Melodie und des Rhythmus] (1933) ersetzt Šín die Riemannschen Zeichen für Nebendreiklänge durch Kombinationen von Zeichen für Hauptfunktionen, gefolgt von Zeichen für Akkordkombinationen, mit denen die Musik seiner Gegenwart erklärt werden sollte.

Diplomarbeit, Universität für Musik und darstellende Kunst Wien (2023)
Riemanns Funktionstheorie stieß sehr bald nach dessen ersten Veröffentlichungen zu diesem Thema bei tschechischen Musiktheoretikern auf Interesse. Dies zeigte sich in überwiegend kritischen Beiträgen zur dualistischen Theorie oder solchen, in denen die Funktionstheorie explizit abgelehnt wurde; sie stammten u. a. von František Z. Skuherský (1885), Otakar Hostinský (1887), Karel Stecker (1889) und Leoš Janáček (1912). Nach seinem Eintritt in das Prager Konservatorium veröffentlichte Otakar Šín (1881–1943), der ein Schüler Steckers (und gleichzeitig ein Kritiker von dessen Pädagogik) war, seine Nauka o harmonii na základě melodie a rytmu [Harmonielehre aufgrund der Melodie und des Rhythmus] (1922), die als erste tschechische Harmonielehre funktionstheoretisch konzipiert war und die allzu schematische, auf Generalbass basierte Nauka o harmonii [Harmonielehre] (1887) seines Vorgängers Josef Foerster ersetzen sollte. Obwohl Šíns Lehrbuch für die praktische pädagogische Arbeit gedacht ist und damit eine Behandlung standardmäßiger Gegenstände im Zentrum steht, enthält es zusätzlich neuartige Ideen, mit denen ihr Verfasser Riemanns Funktionstheorie auf zeitgenössische Musik anzuwenden versucht. In der zweiten Ausgabe seiner Nauka o harmonii na základě melodie a rytmu [Vollständige Harmonielehre aufgrund der Melodie und des Rhythmus] (1933) ersetzt Šín die Riemannschen Zeichen für Nebendreiklänge durch Kombinationen von Zeichen für Hauptfunktionen, gefolgt von Zeichen für Akkordkombinationen, mit denen die Musik seiner Gegenwart erklärt werden sollte.

RESUMO Em seu livro “Do belo musical”, de 1854, Eduard Hanslick defende que a arte da música está na contemplação pura da forma sonora e não nos sentimentos do compositor ou do ouvinte. Ainda persiste no âmbito musical uma perspectiva de que as melhores condições para a criação musical serão aquelas desvinculadas de outras linguagens. Por outro lado, há uma clara hegemonia da imagem na constituição e no pensamento do audiovisual, no qual percebe-se uma tendência narrativa centrada nos aspectos visuais e uma demanda para que a música possua, suscite, expresse ou represente uma emoção. Em linhas gerais, este trabalho ambiciona examinar a construção de uma estética da música no cinema baseada em critérios musicais, construídos com enfoque na própria expressão sonora e não na construção de um arcabouço afetivo para as cenas. Igualmente, pretende-se verificar os limites da conexão entre música e drama na construção do filme, examinando através de referências oferecidas pela filosofia da ...

I would like to especially thank my supervisor, Dr. Dorothy de Val, for her countless suggestions, her patient demands for accuracy of detail and linguistic clarity. I would also like to thank the members of my thesis examining committee, Dr. Mark Chambers and Dr. Marina Erechtchoukova, as well as the Graduate Music Program Assistant Tere Tilban-Rios, who provided me with support and critical assistance during the final stage of this project. Many thanks are to the two people who helped me to digitize my musical examples: Nina Soyfer and Mario Morello. I am also grateful to my friends and family in Russia and Germany who helped me locate and obtain rare Scriabin-related documents: Dr. Elena Sawtschenko (Regensburg, Germany) and Sergey Kamyshnikov (Moscow, Russia). Finally, I am deeply grateful to all my Toronto-based colleagues and friends, especially to Dr. Manuela Tatilon, whose cordial companionship and boundless inspiration guided me throughout the years of my graduate studies at York University.

Digital tools offer many ways to find musical patterns with machines. But the task of formulating digital-musical queries systematically, interpreting the results, and refining our methods to yield intelligent insights about musical practice is far more difficult. In this presentation, a team of musicologists and data scientists will share our experiences in developing CRIM Intervals, a Python-Pandas toolkit designed to support Citations: The Renaissance Imitation Mass, modeling human expertise in terms that can be used by computers to analyze encoded musical scores, and presenting the results of automated score-reading in forms that scholars can interrogate and refine. This presentation explains how we developed these tools, from understanding the constraints that define a given musical event, to the development of the tools needed to model those constraints, and in turn to the stages of refinement needed to eliminate false negatives and positives.

Elle a des airs bleus, roses, gris et verts Das Farbenspiel in Debussys La mer est plus belle Matthias Ningel ABSTRACT: Die folgende Analyse von La mer est plus belle verfolgt eine multiperspektivische Strategie, um vorrangig die einheitsstiftenden Elemente der Komposition aufzuzeigen. Zentral hierbei erscheinen die Analyseparadigmen des ›klanglichen Dreitakts‹, der ›Zentralklangkompo-sition‹, der Tonnetzanalyse und der Funktionsharmonik. Debussys Musikauffassung Claude Debussy schätzte jegliche Kompositionslehre gering. Sein gesamtes Leben hindurch untermauern Selbstzeugnisse seine negative Einstellung gegenüber musikalischen Regeln, denen er eine korsetthafte Wirkung auf den Musikschaffenden nachsagte. Im Jahre 1902 bekundet Debussy in der Zeitschrift Musica: Was der französischen Musik am dringlichsten zu wünschen wäre, ist die Abschaffung des Studiums der Harmonielehre, wie man es an den Hochschulen betreibt. Eine pompösere und lächerlichere Art, Klänge zusammenzufügen, läßt sich nicht denken. Und auch in einem 1911 geführten Interview formuliert er es direkt und unmissverständlich: Ich kann die Doktrinäre und ihre Impertinenz auf den Tod nicht leiden. 1 Debussy muss als Komponist in einem sehr hohen Maße seiner Intuition gefolgt sein. Nicht das bewusste Befolgen einer Regel, sondern schlicht sein eigenes Gefühl von Stimmigkeit ist Debussys Maßstab. Jede Analyse sollte versuchen, dem gerecht zu werden. Albert Jakobik bringt diese Prämisse auf den Punkt, wenn er vorschlägt »einen Debussy ›von Debussy aus‹ zu entwerfen«. 2 Debussys kompositorisches Denken ist geprägt durch den Glauben an ein intuitives und ewiges Wissen über Harmonie, das in der Natur zu finden sei. Mit Debussys eigenen Worten:

Este estudo busca compreender a questao do interpretar, discutindo a articulacao dialetica entre os aspectos objetivos e subjetivos da interpretacao musical, refletindo sobre a interferencia destes na interpretacao. Nesta perspectiva, o dividimos em duas partes: na primeira explicitaremos a problematica da interpretacao musical, utilizando por referencia autores como Luigi Pareyson e Theodor Adorno. Na segunda parte tomaremos por base a obra  L’Histoire du Soldat e as gravacoes de 1932, 1954 e 1961 realizadas por Igor Stravinsky, confrontando-os com sua defesa da objetividade interpretativa. A analise comparativa destas informacoes nos leva a evidenciar que o ato de execucao objetiva, defendida por Stravinsky, nao constitui uma verdade inquestionavel.

The project began when Richard asked me to respond to his scientific approach to consonance and dissonance, which we abbreviate to C/D, from my point of view as a composer, performer and occasional theorist. Scientific approaches to C/D include those of Helmholtz, Stumpf, Cazden, Leonard Meyer, Terhardt and Krumhansl. We compare these with the composer’s viewpoint of James Tenney in his 1988 book “The history of consonance and dissonance”. We will also consider relevant writings of Heinrich Schenker and Arnold Schoenberg, and more recently of Karol Berger, Lawrence Dreyfus, and Pieter van der Merwe.

Resumo As relações entre volição artística e meios técnicos são o ponto de partida para as reflexões apresentadas neste artigo. Tomando como referências as obras de Immanuel Kant, Max Weber e Theodor Adorno, discutiremos essas relações visando construir uma ...

It is recognized that non-temporal MPEG-7 based MIR systems are both state-ofthe-art and diametrically unconducive to pitch analysis. Music patterns contain particular scales and chords that affect human emotion. Recognition of chordal patterns has a direct empirical association with tension in a song and how pretty, melodic or dark the song may be. Finding the scale and root of a musical piece is the prerequisite to finding chords and patterns and up until the authors' recent research, scale and root mining was not possible. Until scale ...

Der Beitrag untersucht die für romantische Formensprache etablierte Theorie der ›organischen Form‹ (›organic metaphor‹). ›Organische Form‹ wird implizit wie explizit mit metaphorischen Konnotationen verwendet, die in der Anwendung auf die Werkanalyse Voreinstellungen mit sich bringen. Damit einher geht eine unscharfe Überblendung von Produktions-und Rezeptionsästhetik sowie eine seit den Anfängen klassisch-romantischer Formenlehre fast selbstverständliche Abkehr des Interesses von kontrapunktischen Techniken, die der Illusion spontaner Einfälle und natürlicher Prozesse zuwiderlaufen können. An Hand dreier Einzelanalysen aus Werken von Schumann, Brahms und Mendelssohn unter der begleitenden kritischen Lektüre von Johann Christian Lobes Lehrbuch der musikalischen Komposition werden Fälle von Prozessualität herausgearbeitet, deren Verlauf und Dramaturgie sich der herkömmlichen Metaphorik von ›organischer Form‹ entziehen, obwohl sie als musikalischer Funktionszusammenhang vollkommen intakt sind. This article discusses 'organic metaphor', a well-established theory of form with regard to the Romantic idiom. 'Organic form' is implicitly and explicitly used with metaphorical connotations that imply a preselection when applied to musical analysis. This goes hand in hand with a diffuse blending of the aesthetics of production and reception, as well as with an almost matter of course renunciation of contrapuntal techniques, typical of the Classic-Romantic Formenlehre, which could conflict with the illusion of spontaneous inspiration and natural processes. Analyses of three works by Schumann, Brahms and Mendelssohn together with a critical reading of Johann Christian Lobe's Lehrbuch der musikalischen Komposition are used to demonstrate cases of processuality, whose development and dramaturgy defy the conventional imagery of 'organic form' despite remaining completely intact as musically functional contexts.

Resumo: O rubato sempre esteve vinculado à expressividade performática musical, mas nos últimos 150 anos, o ensino da música erudita tem exigido um rigor métrico nas execuções de músicas anteriores ao romantismo, porém esta prática não é consensual. Esta pesquisa é uma análise descritiva interdisciplinar apoiada em trabalhos desenvolvidos nos campos da musicologia, psicologia e na neurociência que visam explicar ou dar sentido à polêmica relacionada à função da rigidez métrica na expressividade interpretativa musical. Encontramos dados na psicologia cognitiva que sustentam a relação rubato e a expressão musical, assim como encontramos na neurociência, evidências de que a rigidez métrica pode realmente inibir a expressividade, e que a inibição estaria relacionada ao grau de dificuldade que a pessoa tem em manter o tempo. Apesar do componente inibidor, observações no aprendizado musical indicam que a prática do rigor rítmico é um instrumento imprescindível para uma interpretação musical expressiva mais elaborada. Portanto este trabalho pretende analisar a importância dessa prática para o desenvolvimento da expressividade musical.

A textura homofônica predominante na música popular estabelece num plano a melodia e em outro o acompanhamento. Muitas vezes não é dada a devida importância ao acompanhamento diante a soberania da melodia, porém ele tem papel essencial na música popular. Apresento aqui parte do capítulo teórico da dissertação de mestrado intitulada Acompanhamento e contrametricidade, descrevendo as ferramentas que foram usadas nas análises dos acompanhamentos das peças escolhidas.

The purpose of this investigation was to create a chromatic function analysis which can help to guide and give other viewpoints to harmonic relations and to be an instrument for supporting me in my artistic process of improvisation and composition.