Presentation Overview

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting10/17/01Erica SchattleAdvisors: Mary SimoniWilliam P. Birmingham

Presentation Overview • Project Overview • Introduction to Atonal Music • Introduction to Atonal Analysis • Project Specifics • Project Status and Semester Goals MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

What is MusEn • Interdisciplinary research group that combines UofM School of Music and College of Engineering • Aim is to use computers to both assist and independently execute many musical tasks • Current projects include classification and retrieval by musical style MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Atonal Analysis Project Goals • Automate processes that aid analysis of atonal music while preserving salient aspects of hand analysis • Develop more sophisticated forms of music information retrieval • Provide a framework for collaborative music analysis MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Presentation Overview • Project overview • Introduction to Atonal Music • Introduction to Atonal Analysis • Project Specifics • Project Status and Semester Goals MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

What is atonal music? • A genre of Western “classical” art music that developed in early 20th-century Europe • New musical grammars, new sounds, new musical structures • “Emancipation of the dissonance” Tonal: Atonal: Beethoven String Quartet op. 18 no. 5 III (1798-1800) Brahms Symphony No. 4, I (1884-5) Webern String Quartet Op. 28, III (1936-8) Wolpe Symphony No. 1, I (1955-6) MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Hand analysis of atonal music • Primary methods to describe structures developed out of mathematical set theory • Groups of notes are often related by transposition, inversion, complement, or complex relations • In addition to notes, other elements of the music can make important contributions to the structure, e.g. dynamics, beaming MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Analysis as pattern searching • Analysis can be seen as a series of queries sparked and reinforced by listening • For example: Find all chords that are the same set class as the opening chord • Segmentation—dividing a work into structural components—can be accomplished by diverse methods MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Segmentation Example • A few ways to segment: • rest delimited vertical sonorities • < > dynamics within one part • vertical sonorities with same • duration • contiguous instances of ffdyn. • notes grouped by slurs or phrase • markings • groups of three contiguous notes • with same rhythmic pattern • And a few concerns: • dynamics subject to interpretation • hard to find all valid query • results, even in 6 measures • at this micro level, many more • segmentation possibilities— • scaling to 112 meas. is hard! • our segmentation criteria did not • include segments of aural • significant MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Segementation…. then what? • Could determine set-class for each segment • Could determine interval content/generate interval vector for each segment • Could compare segments aurally • Could transform segments by transposition, inversion, retrograde, or retrograde inversion For all of these options, an analytic framework is necessary to determine what information is of significance! MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Challenges of Hand Analysis • Immediate hearing of specific parts at specific measures requires piano skills • Playback is not heard on appropriate instrument • Only results considered significant would be recorded on the score or elsewhere, often without context of why they seemed important • Analytic framework or intent may change over time and necessitate repeating “lost” searches • Many possible sources of error MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

How will this project help? • Automated searching • Automated assignment of pc-set, interval vectors, etc. for given segments • Automated MIDI generation/transposition etc. • Automatic generation of search history and option to annotate search results • Results presented visually (on score) and aurally (MIDI) MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

System Architecture • Built upon two music software programs for analysis and display • Humdrum – for encoding, manipulating, and analyzing music • Mup – for music publication • Basic Humdrum to Mup translator developed by Humdrum research group MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

System Architecture II Generate Query Interpret Results Browse History • Browse by: • query title • query author • piece title/ • composer/ mvmt. • measure numbers • instruments • date and time • MIDI content • comments/ • annotations • Provide for: • well-formed queries • different levels of • specificity • Need to: • view results in • context of score • listen to MIDI • annotate with • text or drawings • easily reformat • query MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Example of kern Encoding **dyn **kern **dyn **kern **dyn **kern **dyn **kern *staff1 *staff1 *staff2 *staff2 *staff3 *staff3 *staff4 *staff4 *clefG2 *clefG2 *clefG2 *clefG2 *clefC3 *clefC3 *clefF4 *clefF4 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 *M2/8 =1 =1 =1 =1 =1 =1 =1 =1 . 8r . 4r . 4r . 4r p<[ 8d-~ . . . . . . =2 =2 =2 =2 =2 =2 =2 =2 . 16r . 4r . 8r p< 4B-~ . (16ccnL . . . . [ . >] 8ee-J) . . p<[ 8gn~ >] . *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 *M3/8 * * * * * * * *clefC4 =3 =3 =3 =3 =3 =3 =3 =3 . 8r p< 4en~ . 16r . 8r . . [ . . (16F#L . . p 8ddn~ > . > 8AnJ) > (8bnL . 8r ) 8r ) 8r ] 16g#J) . ] . ] . . 16r MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Example of Mup Encoding music 1 1: 8r; [with "\(leg)"] 8d&4; 2 1: mr; 3 1: mr; 4 1: mr; boldital (12) below 1: 1.75 "p"; < below 1: 1.9 til 2.5; bar reh "2" 1 1: 16r; 16cn5 bm; 8e&5 ebm; 2 1: mr; 3 1: 8r; [with "\(leg)"] 8gn4; 4 1: [with "\(leg)"] 4b&3; phrase 1: 1.5 til 2; boldital (12) below 4: 1 "p"; > below 1: 2 til 3; < below 3: 2.3 til 2.8; < below 4: 1.2 til 1.8; > below 4: 1.9 til 2.5; bar reh "3" boldital (12) below 3: 2 "p"; score time=3/8 beamstyle=8,8,8 music 1 1: 8r; [with "\(leg)"] 8dn5; 8r; 2 1: [with "\(leg)"] 4en4; 8r; 3 1: 16r; 16f#3 bm; 8an3 ebm; 8r; 4 1: 8r; 8bn4 bm; 16g#4 ebm; 16r; phrase 3: 1.5 til 2; phrase 4: 2 til 3; boldital (12) below 1: 2 "p"; boldital (12) below 2: 1 "p"; < below 2: 1 til 1.5; > below 2: 2 til 3; > below 3: 2.3 til 3; > below 4: 2 til 3; MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

A Sample Query What are the intervals (non-compound) between the violin I and violin II parts in measure 5? P4 P5 m6 M6 MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Query: Interface Prototype Format What are the intervals (non-compound) between the violin I and violin II parts in measure 5? MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Query: Command Line View What are the intervals (non-compound) between the violin I and violin II parts in measure 5? extract –f 2,4 283d.krn > 283d_ex.krn ditto –s ^= 283d_ex.krn > 283d_ex.ditto hint –cu –s r 283d_ex.ditto > 283d_ex.hnt paste 283d_ex.hnt 283d.krn > 283d_hnt.krn yank –n ^= -r 5 283d_hnt.krn > 283d_hnt5.krn ms 283d_hnt5.krn > 283d_hnt5.ps MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Victory and challenge • Victory: Finding an extensible ASCII representation that captures significant aspects of the score and generates MIDI output • Challenge: Hand encoding of scores is labor intensive—need an automated process that converts scores (sheet music) to Humdrum representation MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Victory and Challenge II • Victory: System preserves salient aspects of hand analysis and presents them in a multimedia setting • Challenge: Make the system even better! • Direct manipulation of the score • Embed levels of intelligence into the system: “Find me things that sound like … and why” • Improve MIDI options MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Status • Working on a web prototype that replaces command line interface with graphic interface • Developing a protocol for collaborative analysis project using Worktools • Modifying encoding scheme for humdrum dynamics and analysis to improve display MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

Semester Goals: • Develop and refine web interface • Conduct experimental group analyses • Evaluate usability and functionality • Explore issues raised by collaborative analysis • Explore compositional and educational applications MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle

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Presentation Overview