Christoph Finkensiep

Biographie

Since 2017, Christoph is a doctoral researcher at the Digital andCognitive Musicology Lab. He obtained his Master's degree in CognitiveScience at the University of Osnabrück with a thesis entitled"A Formal Model of Voice Leading" (2017). His Bachelor in ComputerScience at the University of Paderborn was completed with a thesisthat addressed the problem of "Automatic Composition of SemanticWebservices" (2014).His current research focuses on computational modeling of musicalstructure. Further scientific interests include music cognition,probabilistic modeling and machine learning, artificial intelligence,as well as philosophy of mind and philosophy of science. In addition, heis an active trombonist and occassional arranger, composer, and conductor.

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The human ability to perceive and understand music is remarkable. From an unstructured stream of acoustic input it creates a wide range of experiences, from psycho-acoustic effects to emotional and aesthetic responses. One such set of phenomena is the experience of structure, the perception of notes standing in musically meaningful relationships to each other and to abstract entities such as chords, voices, schemata, formal segments, motives, or themes, which are not directly represented in the stream of notes and thus must be inferred.This dissertation argues that the perception of musical structure from notes is an instance of the general principle of Bayesian perception, which states that perception is probabilistic inference to the latent causes that produce the sensory input. It first explores the fundamental relations between notes and latent entities in three case studies on modal melodies, recognition of voice-leading schemata, and harmonic ornamentation. Subsequently, it proposes a unified generative model of the note-level structure underlying Western tonal music and potentially other styles. This model is based on the elaboration of simple latent note configurations into the musical surface, maintaining vertical, horizontal, and hierarchical relations in the process.On the music-theoretical side, this model provides a language to formally express analytical intuitions and a foundation for precise definitions of traditional concepts and clarification of their relation to the musical surface. On the computational side, the model demonstrates how complex musical structures can be inferred and how the structural properties of a style can be learned using parsing and probabilistic inference. On the cognitive side, the model shows that the perception of tonal structure can linked to general Bayesian perception through a generative process. This thesis therefore constitutes a bridge between different perspectives and disciplines, and thus contributes to a unified understanding of the human capacity for music.

EPFL2023

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Functional harmony is an integral part of many repertoires in the Western musical practices, including both diatonic and extended tonality. In the latter context, music-theoretical accounts suggest that the three octatonic equivalence classes (OECs) consisting of pitch-classes related by stacked minor-third intervals may be associated with tonic (T), dominant (D), and subdominant (S) functions. Whether this theoretical description of music is also relevant to the perception of music has not yet been tested empirically. In this study, 100 participants familiar with Western repertoires were presented with jazz chord progressions containing chord substitutions. When each stimulus had been played, participants predicted how many more chords they would have expected to hear before the progression could reach a plausible conclusion. We computed the similarity of responses for pairs of stimuli containing different harmonic substitutions and modeled such similarity values based on different measures of harmonic relatedness between substitutions. Data show that the OEC membership of substitutions strongly predicts the similarity of participants' completion ratings. Bayesian mixed-effects modeling of similarity values further showed a categorical distinction between D and S as functional categories, on one hand, and T, on the other hand. The data also appear to reflect the prevalent influence of rock and pop repertoires on the participants, encouraging further research into the influence of stylistic diversity and musical expertise. Overall, results contribute to the characterization of listeners' implicit knowledge of the principles of harmonic structure in extended tonality and support the relevance of OECs not only as descriptors of extended-tonal compositional practices but also parsimonious predictors of perceived functionality.

SAGE PUBLICATIONS LTD2022

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Voice leading is considered to play an important role in the structure of Western tonal music. However, the explicit voice assignment of a piece (if present at all) generally does not reflect all phenomena related to voice leading. Instead, voice-leading phenomena can occur in free textures (e.g., in most keyboard music), or cut across the explicitly notated voices (e.g., through implicit polyphony within a single voice). This paper presents a model of proto-voices, voice-like structures that encode sequential and vertical relations between notes without the need to assume explicit voices. Proto-voices are constructed by recursive combination of primitive structural operations, such as insertion of neighbor or passing notes, or horizontalization of simultaneous notes. Together, these operations give rise to a grammar-like hierarchical system that can be used to infer the structural fabric of a piece using a chart parsing algorithm. Such a model can serve as a foundation for defining higher-level latent entities (such as harmonies or voice-leading schemata), explicitly linking them to their realizations on the musical surface.

ISMIR2021

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EPFL2023