Thomas Collins, Andreas Arzt, Harald Frostel, Gerhard Widmer,
"Using Geometric Symbolic Fingerprinting to Discover Distinctive Patterns in Polyphonic Music Corpora"
: Computational Music Analysis, Springer International Publishing, Seite(n) pp 445-474, 2016, ISBN: 978-3-319-25929-1
Original Titel:
Using Geometric Symbolic Fingerprinting to Discover Distinctive Patterns in Polyphonic Music Corpora
Sprache des Titels:
Englisch
Original Buchtitel:
Computational Music Analysis
Original Kurzfassung:
Did Ludwig van Beethoven (1770?1827) re-use material when composing
his piano sonatas? What repeated patterns are distinctive of Beethoven?s piano sonatas
compared, say, to those of Fr´ed´eric Chopin (1810?1849)? Traditionally, in preparation
for essays on topics such as these, music analysts have undertaken inter-opus pattern
discovery?informally or systematically?which is the task of identifying two or
more related note collections (or phenomena derived from those collections, such as
chord sequences) that occur in at least two different movements or pieces of music.
More recently, computational methods have emerged for tackling the inter-opus
pattern discovery task, but often they make simplifying and problematic assumptions
about the nature of music. Thus a gulf exists between the flexibility music analysts
employ when considering two note collections to be related, and what algorithmic
methods can achieve. By unifying contributions from the two main approaches
to computational pattern discovery?viewpoints and the geometric method?via
the technique of symbolic fingerprinting, the current chapter seeks to reduce this
gulf. Results from six experiments are summarized that investigate questions related
to borrowing, resemblance, and distinctiveness across 21 Beethoven piano sonata
movements. Among these results, we found 2?3 bars of material that occurred across
two sonatas, an andante theme that appears varied in an imitative minuet, patterns
with leaps that are distinctive of Beethoven compared to Chopin, and two potentially
new examples of what Meyer and Gjerdingen call schemata. The chapter does not
solve the problem of inter-opus pattern discovery, but it can act as a platform for
research that will further reduce the gap between what music informaticians do, and
what musicologists find interesting.