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Notation and Representation |
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A Structural Theory of Rhythm Notation Based on Tree Representations and Term Rewriting |
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3 | (13) |
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Renotation from Optical Music Recognition |
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16 | (13) |
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Foundations for Reliable and Flexible Interactive Multimedia Scores |
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29 | (13) |
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Myriam Desainte-Catherine |
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Genetic Algorithms Based on the Principles of Grundgestalt and Developing Variation |
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42 | (10) |
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Describing Global Musical Structures by Integer Programming on Musical Patterns |
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52 | (12) |
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Improved Iterative Random Walk for Four-Part Harmonization |
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64 | (9) |
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Location Constraints for Repetition-Based Segmentation of Melodies |
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73 | (12) |
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Marcelo E. Rodriguez-Lopez |
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Modeling Musical Structure with Parametric Grammars |
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85 | (12) |
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Perfect Balance: A Novel Principle for the Construction of Musical Scales and Meters |
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97 | (12) |
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Characteristics of Polyphonic Music Style and Markov Model of Pitch-Class Intervals |
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109 | (6) |
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A Corpus-Sensitive Algorithm for Automated Tonal Analysis |
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115 | (7) |
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Finding Optimal Triadic Transformational Spaces with Dijkstra's Shortest Path Algorithm |
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122 | (6) |
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A Probabilistic Approach to Determining Bass Voice Leading in Melodic Harmonisation |
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128 | (9) |
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Maximos Kaliakatsos-Papakostas |
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Hypergestures in Complex Time: Creative Performance Between Symbolic and Physical Reality |
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137 | (12) |
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Generating Fingerings for Polyphonic Piano Music with a Tabu Search Algorithm |
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149 | (12) |
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Logistic Modeling of Note Transitions |
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161 | (12) |
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Evaluating Singer Consistency and Uniqueness in Vocal Performances |
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173 | (6) |
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A Change-Point Approach Towards Representing Musical Dynamics |
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179 | (8) |
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Structural Similarity Based on Time-Span Sub-Trees |
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187 | (6) |
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Cross Entropy as a Measure of Musical Contrast |
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193 | (6) |
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Symbolic Music Similarity Using Neuronal Periodicity and Dynamic Programming |
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199 | (8) |
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Post-Tonal Music Analysis |
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Applications of DFT to the Theory of Twentieth-Century Harmony |
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207 | (12) |
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Utilizing Computer Programming to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute |
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219 | (12) |
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A Statistical Approach to the Global Structure of John Cage's Number Piece Five5 |
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231 | (6) |
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Exact Cover Problem in Milton Babbitt's All-Partition Array |
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237 | (8) |
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Constructing Geometrical Spaces from Acoustical Representations |
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245 | (12) |
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Geometry, Iterated Quantization and Filtered Voice-Leading Spaces |
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257 | (10) |
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Using Fundamental Groups and Groupoids of Chord Spaces to Model Voice Leading |
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267 | (12) |
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279 | (12) |
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Unifying Tone System Definitions: Ordering Chromas |
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291 | (12) |
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A Categorical Generalization of Klumpenhouwer Networks |
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303 | (12) |
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The Spinnen-Tonnetz: New Musical Dimensions in the 2D Network for Tonal Music Analysis: Using Polarization and Tonal Regions in a Dynamic Environment |
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315 | (8) |
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Probabilistic Segmentation of Musical Sequences Using Restricted Boltzmann Machines |
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323 | (12) |
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Carlos Eduardo Cancino Chacon |
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El Caballo Viejo? Latin Genre Recognition with Deep Learning and Spectral Periodicity |
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335 | (14) |
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Can a Musical Scale Have 14 Generators? |
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349 | (12) |
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On the Step-Patterns of Generated Scales that are Not Well-Formed |
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361 | (12) |
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Triads as Modes within Scales as Modes |
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373 | (12) |
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Greek Ethnic Modal Names vs. Alia Musicals Nomenclature |
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385 | (6) |
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| Author Index |
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391 | |
Lisainfo e-raamatute kohta