I am a postdoctoral researcher in the Digital and Cognitive Musicology Lab (DCML) at École Polytechnique Fédérale de Lausanne (Switzerland). Working with large symbolic datasets of musical scores and harmonic annotations, I am primarily interested in Computational Music Analysis, Music Theory, Music Cognition, and their mutual relationship with a focus on chromatic harmony and extended tonality.
Currently, I am working on the Distant Listening project that aims at providing a large-scale corpus-based account of the historical development of harmony in Western tonal music.
PhD in Digital Humanities, 2019
École Polytechnique Fédérale de Lausanne, Lausanne Switzerland
Staatsexamen Lehramt für Gymnasien und Gesamtschulen (Mathematik, Musik, Erziehungswissenschaft), 2016
Universität zu Köln, Germany
MA in Musicology, 2012
Hochschule für Musik und Tanz, Köln, Germany
Traditionally, there has been a strict separation between the humanities and the sciences, encompassing qualitative-hermeneutic and …
This corpus study constitutes the first quantitative style analysis of Choro, a primarily instrumental music genre that emerged in Brazil in the second half of the 19th century. We evaluate its description in the recent and comprehensive theoretical work A estrutura do Choro (Almada, 2006) by analyzing a set of representative pieces from the Choro Songbook (Chediak, 2009, 2011a,b), a central reference for this genre. We digitized this resource by transcribing the chord symbols and formal structure of all 295 pieces, and publish it as the freely available Choro Songbook Corpus. Our approach uncovers central stylistic traits of this musical idiom on empirical grounds. It thus advances data-driven musical style analysis by studying both harmony and form in a musical genre that lies outside the traditional canon.
Tonal harmony is one of the central organization systems of Western music. This article characterizes the statistical foundations of tonal harmony based on the computational analysis of expert annotations in a large corpus. Using resampling methods, this study shows that 1) the rank-frequency distribution of chords resembles a power law, i.e. few chords govern a large proportion of the data; 2) chord transitions are referential and chord predictability is significantly affected by distinguished chord features; 3) tonal harmony conveys directedness in time; and 4) tonal harmony operates differently at the hierarchical levels of chords and keys. These results serve to characterize tonal harmony on empirical grounds and advance the methodological state-of-the-art in digital musicology.