music theory

The DigitMusTh project focuses on the digital collection and analysis of historical music theory texts, with a particular emphasis on the 19th-century debate on major-minor dualism. While large digital collections of music theory texts already exist in other languages there is currently no comparable collection for German-language texts, despite their central role in European music theory since the 18th century. DigitMusTh aims to fill this gap by creating a sustainable and expandable digital edition that offers new perspectives for both musicology and the digital humanities.

Hugo Riemann never set foot on American soil. His harmonic theories, however, did cross the Atlantic and fell on fertile grounds, inspiring a rich repertoire of methods for music analysis that is nowadays usually subsumed under the name of neo-Riemannian theories (NRTs)—decidedly in the plural form. In this essay, I will review the central characteristics of NRTs and will relate how they connect with Hugo Riemann’s original works.

The project “Digtial Choro: Exploring the potential of digitization and computational models for Brazil’s musical cultural heritage” aims to utilize digitization and data-driven methods to develop computational models of the complex genesis of Choro, a Brazilian instrumental music genre.

The high dimensionality of music means that even digital representations on screen do not convey tonal spaces with sufficient clarity. Here, the extended field of view and the higher degrees of freedom of virtual reality environments offer the possibility to express musical parameters more clearly through aesthetic parameters and thus generate a better understanding among learners.

This paper introduces the 19MT-OMR corpus that can be used to test OMR models on a diverse set of sources. We illustrate this challenge by discussing several examples from this dataset.

This paper introduces the 19MT-OMR corpus that can be used to test OMR models on a diverse set of sources. We illustrate this challenge by discussing several examples from this data set.

This paper disentangles the interrelations of three fundamental concepts in Chinese music theory, namely, 均 (Yun), 宫 (Gong), and 调 (Diao), and examines which scales can be derived from them. This paradigm is then applied to the analysis of a Chinese folk song corpus.