This book is intended for researchers interested in using computational methods and tools to engage with music, dance and theatre. The chapters have evolved out of presentations and deliberations at an international workshop entitled Computer Assisted Music and Dramatics: Possibilities and Challenges organized by University of Mumbai in honour of Professor Hari Sahasrabuddhe, a renowned educator and a pioneering computational musicologist (CM) of Indian classical music. The workshop included contributions from CM as well as musicians with a special focus on South Asian arts. The case studies and reflective essays here are based on analyses of genres, practices and theoretical constructs modelled computationally. They offer a balanced and complementary perspective to help innovation in the synthesis of music by extracting information from recorded performances. This material would be of interest to scholars of the sciences and humanities and facilitate exchanges and generation of ideas.

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

This book consists of over 1,500 citations to both primary sources and the burgeoning secondary literature of Heinrich Schenker, annotated and subdivided by category. The citations are supplemented with indices cross-referencing entries according to individual works and analytical topic.

To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography. The author, a student of Allen Forte, has created a work useful to a wide range of researchers music theorists, musicologists, music librarians and teachers. The Guide is the largest Schenkerian reference work ever published. At nearly 600 pages, it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. Fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.

Today's computers provide music theorists with unprecedented opportunities to analyze music more quickly and accurately than ever before. Where analysis once required several weeks or even months to complete¿often replete with human errors, computers now provide the means to accomplish these same analyses in a fraction of the time and with far more accuracy. However, while such computer music analyses represent significant improvements in the field, computational analyses using traditional approaches by themselves do not constitute the true innovations in music theory that computers offer. In Hidden Structure: Music Analysis Using Computers David Cope introduces a series of analytical processes that¿by virtue of their concept and design¿can be better, and in some cases, only accomplished by computer programs, thereby presenting unique opportunities for music theorists to understand more thoroughly the various kinds of music they study.Following the introductory chapter that covers several important premises, Hidden Structure focuses on several unique approaches to music analysis offered by computer programs. While these unique approaches do not represent an all-encompassing and integrated global theory of music analysis, they do represent significantly more than a compilation of loosely related computer program descriptions. For example, Chapter 5 on function in post-tonal music, firmly depends on the scalar foundations presented in chapter 4. Likewise, chapter 7 presents a multi-tiered approach to musical analysis that builds on the material found in all of the preceding chapters. In short, Hidden Structure uniquely offers an integrated view of computer music analysis for today¿s musicians.

In recent years, computer content analysis has undergone something of a renaissance. Inexpensive and powerful desktop computers mean that computer analysis of texts is available to most researchers. The availability of software to do analyses, however, is not always linked to clear theoretical and methodological understandings. This volume seeks to deal with this concern by providing, from scholars in a variety of disciplines, perspectives upon the theoretical and methodological issues which arise when conducting content analysis via computer. Although it is not always obvious, computer content analysis is a method which inevitably calls for theoretical assumptions. Those theoretical assumptions in turn drive methodological considerations, and method in turn determines the form of the practice of computer content analysis. This volume includes ten articles by well-known scholars utilizing computer content analysis. A variety of methodological, theoretical, and practical issues are here addressed, presenting unique methods and perspectives for the consideration of computer content analysis. Intended for an audience of graduate students, scholars, and in-field practitioners, Theory, Method and Practice of Computer Content Analysis will serve as an invaluable resource of ideas and practices for those interested in using computers to analyze textual material.

Computer-Assisted Research in the Humanities describes various computer-assisted research in the humanities and related social sciences. It is a compendium of data collected between November 1966 and May 1972 and published in Computer and the Humanities. The book begins with an analysis of language teaching texts including the DOVACK system, a program used for remedial reading instruction. It then discusses the objectives, types of computer used, and status of the Bibliographic On-line Display (BOLD), semiotic systems, augmented human intellect program, automatic indexing, and similar research. The remaining chapters present computer-assisted research on language and literature, philosophy, social sciences, and visual arts. Students who seek a single reference work for computer-assisted research in the humanities will find this book useful.

This book is a collection of twelve essays by British and American writers on William Byrd, one of the greatest of English composers. Byrd wrote choral music for both the Roman Catholic Church and the Church of England, as well as songs, keyboard music and chamber music.