MusEn: Atonal Analysis Project CARAT/Rackham Fellows Meeting 10/17/01 Erica Schattle Advisors: Mary Simoni William P. Birmingham

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project Overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project Overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

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

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project Overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Segmentation Example A few ways to segment: rest delimited vertical sonorities dynamics within one part vertical sonorities with same duration contiguous instances of ff dyn. 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project Overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle System Architecture II Generate QueryInterpret ResultsBrowse History Need to: view results in context of score listen to MIDI annotate with text or drawings easily reformat query 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

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Example of kern Encoding **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 =1 =1 =1 =1. 8r. 4r. 4r. 4r p<[ 8d-~ =2 =2 =2 =2. 16r. 4r. 8r p< 4B-~. (16ccnL.... [. >] 8ee-J).. p ]. *M3/8 *M3/8 *M3/8 *M3/8 * * * * * * * *clefC4 =3 =3 =3 =3. 8r p< 4en~. 16r. 8r.. [.. (16F#L.. p 8ddn~ >. > 8AnJ) > (8bnL. 8r ) 8r ) 8r ] 16g#J). ]. ].. 16r

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica Schattle Presentation Overview I.Project Overview II.Introduction to Atonal Music III.Introduction to Atonal Analysis IV.Project Specifics V.Project Status and Semester Goals

MusEn: Atonal Analysis ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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 ProjectCARAT/Rackham Fellows Meeting 10/17/01Erica 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

Any Questions?