Generative structural representation of tonal music

Journal of New Music Research

Volumn 34, Issue 4, 2005, Pages 409-428

  Marsden, Alan ^a  

^a LANCASTER UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33745181909     PISSN: 09298215     EISSN: 17445027     Source Type: Journal    
DOI: 10.1080/09298210600578295     Document Type: Article

References (42)

1. Baroni, M. & Callegari, L. (1984). Musical grammars and computer analysis. Florence: Olschki.
2. Baroni, M., Dalmonte, R., & Jacoboni, C. (1992). Theory and analysis of European melody. In: A. Marsden & A. Pople (Eds.), Computer Representations and Models in Music. London: Academic Press, pp. 187-205.
3. Baroni, M., Dalmonte, R., & Jacoboni, C. (1999). Le regole della musica. fndagine sui meccanismi della comunicazione. Turin: Manuali EDT/SIdM.
4. Bel, B. (1998). Migrating musical concepts, an overview of the Bol Processor. Computer Music Journal, 22(2), 56-64.
5. Byrd, D. & Isaacson, E. (2003). A music representation requirement specification for academia. Computer Music Journal, 27(4), 43-57. CMJ article
6. Clarke, E.F. (1999). Rhythm and timing in music. In: D. Deutsch (Ed.), The psychology of music (2nd edition). San Diego: Academic Press, pp. 473-500.
7. Deutsch, D. (1999). The processing of pitch combinations. In: D. Deutsch (Ed.), The psychology of music (2nd edition). San Diego: Academic Press, pp. 349-411.
8. Dibben, N. (1994). The cognitive reality of hierarchic structure in tonal and atonal music. Music Perception, 12, 1-25.
9. Forte, A. & Gilbert, S. (1982). Introduction to Schenkerian analysis. New York: Norton.
10. Frankel, R.E., Rosenschein, S.J., & Smoliar, S.W. (1976). A LISP-based system for the study of Schenkerian analysis. Computers and the Humanities, 10, 21-32.
11. Frankel, R.E., Rosenschein, S.J., & Smoliar, S.W. (1978). Schenker's theory of tonal music - its explication through computational processes. International Journal of Man-Machine Studies, 10, 121-138.
12. Good, M. (2001). MusicXML: An internet-friendly format for sheet music. XML 2001 Conference Proceedings. Orlando, Florida, December 9-14.
13. Hamanaka, M., Hirata, K., & Tojo, S. (2004). Automatic generation of grouping structure based on the GTTM. Proceedings, International Computer Music Conference 2004. ICMA, Miami, Florida, pp. 141-144.
14. Hirata, K. & Aoyagi, T. (2003). Computational music representation based on the Generative Theory of Tonal Music and the Deductive Object-Oriented Database. Computer Music Journal, 27(3), 73-89.
15. Hirata, K. & Matsuda, S. (2003). Interactive music summarization based on Generative Theory of Tonal Music. Journal of New Music Research, 32, 165-177.
16. Huron, D. (2002). Music information processing using the Humdrum Toolkit: Concepts, examples and lessons. Computer Music Journal, 26(2), 15-30.
17. Kassler, M. (1967). A trinity of essays. PhD thesis, Princeton University.
18. Kassler, M. (1975). Proving musical theorems I: The middleground of Heinrich Schenker's theory of tonality (Technical Report No. 103). Sydney, Australia: University of Sydney, School of Physics, Basser Department of Computer Science.
19. Kassler, M. (1977). Explication of the middleground of Schenker's theory of tonality. Miscellanea Musicologica: Adelaide Studies in Musicology, 9, 72-81.
20. Kassler, M. (1988). APL applied in music theory. APL Quote Quad, 18, 209-214.
21. Kippen, J. & Bel, B. (1992). Modelling music with grammars: Formal language representation in the Bol Processor. In: A. Marsden & A. Pople (Eds.), Computer Representations and Models in Music. London: Academic Press, pp. 207-238.
22. Komar, A. (1971). Theory of suspensions. Princeton: Princeton University Press.
23. Lerdahl, F. (2001). Tonal pitch space. Oxford: Oxford University Press.
24. Lerdahl, F. & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, Mass.: MIT Press.
25. Marsden, A. (1992). Modelling the perception of musical voices: a case study in rule-based systems. In: A. Marsden & A. Pople (Eds.), Computer Representations and Models in Music. London: Academic Press, pp. 239-263.
26. Marsden, A. (1996). Symbolic representation for music. In: C. Mullings, S. Kenna, M. Deegan & S. Ross (Eds.), New Technologies for the Humanities. East Grinstead: Bowker Saur, pp. 115-137.
27. Marsden, A. (2000). Representing musical time: A temporallogic approach. Lisse: Swets & Zeitlinger.
28. Marsden, A. (2001). Representing melodic patterns as networks of elaborations. Computers and the Humanities, 35, 37-54.
29. Marsden, A. (2004). Novagen: A combination of Eyesweb and an elaboration-network representation for the generation of melodies under gestural control. Proceedings COST287-ConGAS Symposium on Gesture Interfaces for Multimedia Systems (GIMS). AISB 2004, Leeds University, pp. 52-57.
30. Oura, Y. & Hatano, G. (1991). Identifying melodies from reduced pitch patterns. Psycholgica Belgica, 31, 217-237.
31. Plum, K-O. (1988). Towards a methodology for Schenkerian analysis (trans. and ed. William Drabkin), Music Analysis, 7, 143-164.
32. Pope, S.T. & Van Rossum, G. (1995). Machine tongues XVIII: A child's garden of sound file formats. Computer Music Journal, 19(1), 25-63.
33. Rahn, J. (1980). On some computational models of music theory. Computer Music Journal, 4(2), 66-72.
34. Schachter, C. (1999). Either/Or. In: C. Schachter (Ed.), Unfoldings. Oxford: Oxford University Press, pp. 121-133.
35. Schenker, H. (1935). Der freie Satz. Vienna: Universal Edition. Published in English as Free Composition, translated and edited by Ernst Oster. New York: Longman, 1979.
36. Smoliar, S.W. (1980). A computer aid for Schenkerian analysis. Computer Music Journal, 4(2), 41-59.
37. Steedman, M.J. (1984). A generative grammar for jazz chord sequences. Music Perception, 2, 52-77.
38. Steedman, M.J. (1995). The blues and the abstract truth: Music and mental models. In: A. Garnham & J. Oakhill (Eds.), Mental Models in Cognitive Science. Mahwah, NJ: Erlbaum, pp. 305-318.
39. Van Noorden, L.P.A.S. (1975). Temporal Coherence in the Perception of Tone Sequences. PhD dissertation, Technische Hogeschool, Eindhoven, Netherlands.
40. Warren, R.M., Obusek, C.J., Farmer, R.M., & Warren, R.P. (1969). Auditory sequence: confusions or pattern other than speech or music. Science, 164, 586-7.
41. Wiggins, G., Miranda, E., Smaill, A., & Harris, M. (1993). A framework for the evaluation of music representation systems. Computer Music Journal, 17(3), 31-42.
42. Wiggins, G. & Smaill, A. (2000). Musical knowledge: What can artificial intelligence bring to the musician? In: Eduardo Reck Miranda (Ed.), Readings in Music and Artificial Intelligence. Amsterdam: Harwood Academic Publishers, pp. 29-46.