Daniel Harasim | EPFL Graph Search

I am a Postdoctoral Researcher in Computational Musicology at the Digital and Cognitive Musicology Lab (DCML).My main research focus lies on probabilistic modeling of musical structures at the moment, combining approaches from machine learning, Bayesian statistics, computer linguistics, and music theory. Besides, I am studying and developing methods related to representation learning and probabilistic programming.In my PhD thesis The Learnability of the Grammar of Jazz: Bayesian Inference of Hierarchical Structures in Harmony, supervised by Martin Rohrmeier (EPFL) and Timothy O’Donnell (McGill University), I simulated how abstract knowledge about musical structure is learnable without a teacher from listening and engaging with music.In 2015, I earned a master’s degree in mathematics and computer science at the TU Dresden where I in particular worked on geometric structures of voice-leading spaces. My research interests further include topics from mathematical music theory, music cognition, and computational cognitive science. Aside from my academic activities, I enjoy playing the upright bass in Jazz improvisations.

Fishing for complements with chord, scale, and rhythm nets

Daniel Harasim

The aim of this paper is to argue that complementation is an operation similarly fundamental to music theory as transposition and inversion. We focus on studying the chromatic complement mapping that translates diatonic seventh chords into 8-note scales which can also be interpreted as rhythmic beat patterns. Such complements of diatonic seventh chords are of particular importance since they correspond to the scales popularized by the Jazz theorist Barry Harris, as well as to rhythms used in African drum music and Steve Reich's Clapping Music. Our approach enables a systematic study of these scales and rhythms using established theories of efficient voice leading and generalized diatonic scales and chords, in particular the theory of second-order maximally even sets. The main contributions of this research are (1) to explicate the correspondence between voice leadings and rhythmic transformations, (2) to systematize the family of Barry Harris scales, and (3) to describe classes of voice leadings between chords of different cardinality that are invariant under complementation.

TAYLOR & FRANCIS LTD2023

Hearing functional harmony in jazz: A perceptual study on music-theoretical accounts of extended tonality

Gabriele Cecchetti, Christoph Finkensiep, Daniel Harasim, Steffen Alexander Herff, Martin Alois Rohrmeier

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

midiVERTO: A Web Application to Visualize Tonality in Real Time

Daniel Harasim, Fabian Claude Moss

This paper presents a web application for visualizing the tonality of a piece of music-the organization of its chords and scales-at a high level of abstraction and with coordinated playback. The application applies the discrete Fourier transform to the pitch-class domain of a user-specified segmentation of a MIDI file and visualizes the Fourier coefficients' trajectories. Since the coefficients indicate different musical properties, such as triadicity and diatonicity, the application isolates aspects of a piece's tonality and shows their development in time. The aim of the application is to bridge a gap between mathematical music theory, musicology, and the general public by making the discrete Fourier transform as applied to the pitch-class domain accessible without requiring advanced mathematical knowledge or programming skills up front.

SPRINGER INTERNATIONAL PUBLISHING AG2022

Hearing functional harmony in jazz: A perceptual study on music-theoretical accounts of extended tonality

Gabriele Cecchetti, Christoph Finkensiep, Daniel Harasim, Steffen Alexander Herff, Martin Alois Rohrmeier

SAGE PUBLICATIONS LTD2022