Computational musicology is an interdisciplinary research area between musicology and computer science. Computational musicology includes any disciplines that use computers in order to study music. It includes sub-disciplines such as mathematical music theory, computer music, systematic musicology, music information retrieval, computational musicology, digital musicology, sound and music computing, and music informatics. As this area of research is defined by the tools that it uses and its subject matter, research in computational musicology intersects with both the humanities and the sciences. The use of computers in order to study and analyze music generally began in the 1960s, although musicians have been using computers to assist them in the composition of music beginning in the 1950s. Today, computational musicology encompasses a wide range of research topics dealing with the multiple ways music can be represented.
This history of computational musicology generally began in the middle of the 20th century. Generally, the field is considered to be an extension of a much longer history of intellectual inquiry in music that overlaps with science, mathematics, technology, and archiving.
Early approaches to computational musicology began in the early 1960s and were being fully developed by 1966. At this point in time data entry was done primarily with paper tape or punch cards and was computationally limited. Due to the high cost of this research, in order to be funded projects often tended to ask global questions and look for global solutions. One of the earliest symbolic representation schemes was the Digital Alternate Representations of Music or DARMS. The project was supported by Columbia University and the Ford Foundation between 1964 and 1976. The project was one of the initial large scale projects to develop an encoding scheme that incorporated completeness, objectivity, and encoder-directedness.
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This course will introduce students to the central topics in digital musicology and core theoretical approaches and methods. In the practical part, students will carry out a number of exercises.
Musicology (from Greek μουσική mousikē 'music' and -λογια -logia, 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus (psychological, sociological, acoustical, neurological, computational). Some geographers and anthropologists have an interest in musicology, so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist.
Computational musicology is an interdisciplinary research area between musicology and computer science. Computational musicology includes any disciplines that use computers in order to study music. It includes sub-disciplines such as mathematical music theory, computer music, systematic musicology, music information retrieval, computational musicology, digital musicology, sound and music computing, and music informatics. As this area of research is defined by the tools that it uses and its subject matter, research in computational musicology intersects with both the humanities and the sciences.
Tonality has been the cornerstone of Western music-theoretical discourse for centuries. This study addresses the subject, using traditional music analysis, data-driven corpus methods, and computationa
EPFL2019
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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 annotat
2019
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Pitch-class distributions are of central relevance in music information retrieval, computational musicology and various other fields, such as music perception and cognition. However, despite their str