Daniel Harasim

École Polytechnique Fédérale de Lausanne

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Martin Rohrmeier

École Polytechnique Fédérale de Lausanne

Fabian C. Moss

University of Würzburg

Markus Neuwirth

Anton Bruckner Private University

Christoph Finkensiep

École Polytechnique Fédérale de Lausanne

Eva Portelance

McGill University

Giovanni Affatato

Politecnico di Milano

Timothy J. O’Donnell

McGill University

Timothy O’Donnell

Icahn School of Medicine at Mount Sinai

Kuan Lon Vu

École Polytechnique Fédérale de Lausanne

Leonhard Driever

École Polytechnique Fédérale de Lausanne

Cooperative Institutions

École Polytechnique Fédérale de Lausanne

McGill University

Mila - Quebec Artificial Intelligence Institute

Johannes Kepler University of Linz

Canadian Institute for Advanced Research

Massachusetts Institute of Technology

Centre de Recherche en Informatique

Ommic (France)

Université de Lille

Centre de Recherche en Informatique, Signal et Automatique de Lille

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Annotated Beethoven Corpus (ABC) 2.1

Zenodo (CERN European Organization for Nuclear Research) (2018)

Markus Neuwirth Daniel Harasim Fabian C. Moss Martin Rohrmeier

4.5 years after its first publication (see below), this is the first revised version of the ABC. In the meantime, the [DCML corpus initiative](https://www.epfl.ch/labs/dcml/projects/corpus-project/) has advanced
and this update has as a main goal to harmonize the ABC with all other annotated corpora that have been and
will be published. This includes the following changes: ### Upgrade to MuseScore 3 * All scores have been converted to [MuseScore](https://musescore.org/download) 3.6.2 format and can be found in the folder `MS3`.
* The harmony labels have been moved to MuseScore's "Roman Numeral Analysis" layer of the left-hand staff. ### New folder and file structure * The `code` folder was removed since the old Julia code has been replaced by the Python library [ms3](https://pypi.org/project/ms3/).
* The MuseScore files are contained in `MS3` and for each movement there are a couple of other files available, identified by their file names:
* The folder `notes` contains one TSV file per movement with all note heads (not every note head represents an onset).
* The folder `measures` contains one TSV file per movement with all measure-like units
* The folder `harmonies` contains one TSV file per movement with all harmony annotation labels
* The folder `reviewed` contains two files per movement:
* A copy of the score where all out-of-label notes have been colored in red; additionally, modified labels ( w.r.t. v1.0) are shown in these files in a diff-like manner (removed in red, added in green).
* A copy of the harmonies TSV with six added columns that reflect the coloring of out-of-label notes ("coloring reports")
* The file `warnings.log` lists those labels where over 60 % of notes within the label's segment are not expressed
by the label. Potentially, most of them are semantically incorrect. The folders are automatically kept up to date by the [dcml_corpus_workflow](https://github.com/DCMLab/dcml_corpus_workflow)
which calls the command `ms3 review -M -N -X -D` on every change. Information on what the columns in the TSV files contain can be found in the [documentation for ms3](https://johentsch.github.io/ms3/columns). ### Changes to the data **A full diff of all changes applied with version 2.0 can be seen [here](https://github.com/DCMLab/ABC/commit/8bd699a9b5b00dba3214c6626575f8368279b965).** * The scores have been aligned by [tunescribers.com](https://tunescribers.com/) with the Henle and Breitkopf editions
provided in the `pdf` folder and indicated in its README.
* Systematic changes to the harmony labels:
* With the harmony labels moved to the Roman Numeral Analysis layer, no initial `.` are needed anymore.
* `V9` is not part of the DCML harmony annotation standard and has been replaced by `V7(9)` or `V7(+9)`.
* Corrected `vii` chords in major keys that had often been wrongly labeled as `#vii`.
* Obvious errors have been corrected in many places. Thanks to @craigsapp, @lancioni, @malcolmsailor, @MarkGotham, @napulen and @tymoczko
for reporting quite a few of them!

10.5281/zenodo.7500087

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Distant Neighbors and Interscalar Contiguities

Lecture notes in computer science (2019)

Daniel Harasim Thomas Noll Martin Rohrmeier

Abstract This paper studies the “integration” problem of nineteenth-century harmony—the question whether the novel chromatic chord transitions in this time are a radical break from or a natural extension of the conventional diatonic system. We examine the connections between the local behavior of voice leading among diatonic triads and their generalizations on one hand, and the global properties of voice-leading spaces on the other. In particular, we aim to identify those neo-Riemannian chord connections which can be integrated into the diatonic system and those which cannot. Starting from Jack Douthett’s approach of filtered point symmetries, we generalize diatonic triads as second-order Clough-Myerson scales and compare the resulting Douthett graph to the respective Betweenness graph. This paper generally strengthens the integrationist position, for example by presenting a construction of the hexatonic and octatonic cycles that uses the principle of minimal voice leading in the diatonic system. At the same time it provides a method to detect chromatic wormholes, i.e. parsimonious connections between diatonic chords, which are not contiguous in the system of second order Clough-Myerson scales.

Chord (peer-to-peer)

10.1007/978-3-030-21392-3_14

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Citations (4)

Wavescapes: A visual hierarchical analysis of tonality using the discrete Fourier transform

Musicae Scientiae (2022)

Cédric Viaccoz Daniel Harasim Fabian C. Moss Martin Rohrmeier

Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.

Tonality

Representation

Music theory

10.1177/10298649211034906

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Citations (5)

DCMLab/ABC: The Annotated Beethoven Corpus Version (v2.3)

Zenodo (CERN European Organization for Nuclear Research) (2018)

Markus Neuwirth Daniel Harasim Fabian C. Moss Martin Rohrmeier

The ABC dataset consists of expert harmonic analyses of all Beethoven string quartets (opp. 18, 59, 74, 95, 127, 130, 131, 132, 135, composed between 1800 and 1826), encoded in a human- and machine-readable format (MuseScore format). Using a modified Roman Numeral notation, the dataset includes the common music-theoretical set of harmonic features such as key, chordal root, chord inversion, chord extensions, suspensions, and others. The accompanying Data Report has been published by Frontiers in Digital Humanities.

10.5281/zenodo.7441343

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DCMLab/ABC: The Annotated Beethoven Corpus Version (v2.4)

Zenodo (CERN European Organization for Nuclear Research) (2018)

Markus Neuwirth Daniel Harasim Fabian C. Moss Martin Rohrmeier

10.5281/zenodo.10572347

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Fishing for complements with chord, scale, and rhythm nets

Journal of Mathematics and Music (2023)

Roger Asensi Arranz Daniel Harasim Thomas Noll

The aim of this paper is to argue that complementation is an operation similarly fundamental to music theory as transposition and inversion. We focus on studying the chromatic complement mapping that translates diatonic seventh chords into 8-note scales which can also be interpreted as rhythmic beat patterns. Such complements of diatonic seventh chords are of particular importance since they correspond to the scales popularized by the Jazz theorist Barry Harris, as well as to rhythms used in African drum music and Steve Reich's Clapping Music. Our approach enables a systematic study of these scales and rhythms using established theories of efficient voice leading and generalized diatonic scales and chords, in particular the theory of second-order maximally even sets. The main contributions of this research are (1) to explicate the correspondence between voice leadings and rhythmic transformations, (2) to systematize the family of Barry Harris scales, and (3) to describe classes of voice leadings between chords of different cardinality that are invariant under complementation.

Chord (peer-to-peer)

Music theory

10.1080/17459737.2022.2164627

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Statistical characteristics of tonal harmony: A corpus study of Beethoven’s string quartets

PLoS ONE (2019)

Fabian C. Moss Markus Neuwirth Daniel Harasim Martin Rohrmeier

Tonal harmony is one of the central organization systems of Western music. This article characterizes the statistical foundations of tonal harmony based on the computational analysis of expert annotations in a large corpus. Using resampling methods, this study shows that 1) the rank-frequency distribution of chords resembles a power law, i.e. few chords govern a large proportion of the data; 2) chord transitions are referential and chord predictability is significantly affected by distinguished chord features; 3) tonal harmony conveys directedness in time; and 4) tonal harmony operates differently at the hierarchical levels of chords and keys. These results serve to characterize tonal harmony on empirical grounds and advance the methodological state-of-the-art in digital musicology.

Chord (peer-to-peer)

Harmony (Music)

Vowel harmony

Music theory

Predictability

Zipf's law

10.1371/journal.pone.0217242

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Citations (35)

Axiomatic scale theory

Journal of Mathematics and Music (2020)

Daniel Harasim Stefan E. Schmidt Martin Rohrmeier

Scales are a fundamental concept of musical practice around the world. They commonly exhibit symmetry properties that are formally studied using cyclic groups in the field of mathematical scale theory. This paper proposes an axiomatic framework for mathematical scale theory, embeds previous research, and presents the theory of maximally even scales and well-formed scales in a uniform and compact manner. All theorems and lemmata are completely proven in a modern and consistent notation. In particular, new simplified proofs of existing theorems such as the equivalence of non-degenerate well-formedness and Myhill's property are presented. This model of musical scales explicitly formalizes and utilizes the cyclic order relation of pitch classes.

Axiomatic system

Equivalence relation

10.1080/17459737.2019.1696899

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Citations (15)

Music Cognition: The Complexity of Musical Structure

Proceedings of the Annual Meeting of the Cognitive Science Society (2021)

Daniel Harasim Christoph Finkensiep Louis Bigo Mathieu Giraud Florence Levé

Author(s): Harasim, Daniel; Finkensiep, Christoph; Bigo, Louis; Giraud, Mathieu; Leve, Florence; Sears, David R. W.; Shanahan, Daniel; Rohrmeier, Martin Alois | Abstract: Music is highly complex and provides a rich variety of insights into the human mind, its mental structures, and processes. Experienced musicians are able to create complex structures in real time effortlessly, yet there is at present no successful model of full musical structure. The integration of different musical aspects such as melody, rhythm, voice leading, and form as well as the representation of long-term structure are particularly challenging. To open new possibilities for the study of higher-order structure in music and its perceptual correlates, cognitive music research would benefit from further mutual integration of theoretical, mathematical, computational, and psychological research, similar to advancements in linguistics. This symposium therefore focuses on the formal understanding and empirical investigation of music-theoretically motivated research questions in music cognition. It connects perspectives from music theory, behavioral research, corpus research, and computational modeling, and aims to initiate interdisciplinary discussions about the currently most challenging topics related to the cognition of higher-order structures in music.

Music psychology

Music and emotion

Music theory

Musical form

Tonality

Source

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The Annotated Beethoven Corpus (ABC): A Dataset of Harmonic Analyses of All Beethoven String Quartets

Frontiers in Digital Humanities (2018)

Markus Neuwirth Daniel Harasim Fabian C. Moss Martin Rohrmeier

DATA REPORT article Front. Digit. Humanit., 03 July 2018Sec. Digital Musicology Volume 5 - 2018 | https://doi.org/10.3389/fdigh.2018.00016

10.3389/fdigh.2018.00016

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Citations (37)