A Comparative Evaluation of Algorithms for Discovering Translational Patterns in Baroque Keyboard Works
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چکیده
We consider the problem of intra-opus pattern discovery, that is, the task of discovering patterns of a specified type within a piece of music. A music analyst undertook this task for works by Domenico Scarlattti and Johann Sebastian Bach, forming a benchmark of ‘target’ patterns. The performance of two existing algorithms and one of our own creation, called SIACT, is evaluated by comparison with this benchmark. SIACT out-performs the existing algorithms with regard to recall and, more often than not, precision. It is demonstrated that in all but the most carefully selected excerpts of music, the two existing algorithms can be affected by what is termed the ‘problem of isolated membership’. Central to the relative success of SIACT is our intention that it should address this particular problem. The paper contrasts string-based and geometric approaches to pattern discovery, with an introduction to the latter. Suggestions for future work are given.
منابع مشابه
Orlando Gibbons, Keyboard Music, and the Beginnings of the Baroque: New Considerations of a Musical Style
Résumé By examining abstract instrumental works, I wish to propose that an essential aspect of the new style known today as “Baroque” is the adoption of a different tonal language that can be found in English music of the early years of the century. This is, in itself, not a new idea, and that there is a move to a two-mode (major/ minor) system during the course of the seventeenth century is no...
متن کاملseventeenth-century harmonic theory and practice in “Composition Before Rameau: Harmony, Figured Bass, and Style in the Baroque,” College Music Symposium, 24/2 (fall 1984):
How did tonal music originate? An investiagion of the form and tonal structure of some early Baroque keyboard works suggests some insights not only into one of the primary questions of historical musicology but into how we understand tonality itself. Italian composers of the early seventeenth century recognized that the stile moderno and the seconda pratica stood in contrast to older types of c...
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متن کاملMarūfī’s Paykar Farhād [Farhād’s Corpse]:
By baroque, one implies the “general attitude” and “the formal quality” of a work of art which is trans-historical and “radiates through” histories, cultures, and works of art. In that way, just a seventeenth-century work of art cannot be considered baroque; on the other hand, even a postmodern work can display “baroque” features. However, as a slave to its era, the baroque of 2oth and 21th cen...
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تاریخ انتشار 2010