A new corpus of texture, timbre, and change in 20th-century American popular music

White, Christopher W.; Fulmer, Jeffrey; Cordova, Brian; Black, Alexandria; Danitz, Chloe; Evans, William J.; Fischer, Aidan; Greene, Rashaad; He, Jinhan; Kenyon, E.; Miller, Joan W.; Moylan, Madeline; Ring, Abigail; Schwitzgebel, Emily; Wang, Yatong

doi:10.18061/fdmc.2021.0015

Cited by 2 publications

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“…These lines indicate the phrases' chords in an adapted lead-sheet-style format, along with measure delineations, designations for the beginning of formal zones, and micro-timing stamps for the phrase beginnings. Further annotations have been added to 665 of these files (White, et al 2021). These annotations correspond to moments of change within the texture, timbre, text, or other sonic parameters of the song.…”

Section: General Methodsmentioning

confidence: 99%

“…This work combines the notion that studies in form should be grounded in the norms of some corpus (Brody, 2017;Greenberg, 2017;Hepokoski & Darcy, 2006) with the idea that texture, timbre, and repetition play fundamental roles in popular music's construction (Barna, 2019;deClercq & Temperley 2011;Lavengood, 2017;Temperley, 2018). To this end, this study analyzes the McGill-Billboard corpus (a dataset of chord and formal annotations of American popular music, 1958American popular music, -1991Burgoyne, 2012) supplemented with the textural annotations of White et al (2021) to show that certain events can be associated with particular points within a popular song's form. In the end, I suggest that these formal associations may provide a way for listeners to orient themselves within the rotations and repetition that characterize American popular music.…”

Section: Introductionmentioning

confidence: 99%

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Deployments of change and novelty in a corpus of popular music

White¹

2021

Future Directions of Music Cognition

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This paper considers aspects of form and texture in 20thcentury American popular music using a corpus of textural/lyrical/vocal annotations added to the McGill-Billboard corpus (Burgoyne, 2012). The analysis tracks two categories of events: 1) changes differ from immediately prior events; while 2) novelties have not happened previously within a song. I additionally divide these events into their specific species of change (i.e., whether the change involves the introduction of new instrumentation, new harmonizations, etc.), and correlate these events with their position in each track in terms of both clock time and formal zone. These interconnections allow me to demonstrate the types of events that appear at particular places within a song, and suggest ways that listeners may use musical cues to form expectations about a song's form and length.

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Section: General Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Deployments of change and novelty in a corpus of popular music

White¹

2021

Future Directions of Music Cognition

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“…The music for Boiling Mind consisted of our original compositions and existing pre-recorded tracks, including Maurice Ravel's Bolero [106]. The main feedback was implemented in our original composition sessions where the audience physiological data would affect three main aspects of the music: 1) rhythm, 2) timbre, and 3) texture [104]. Our initial design was to attach the audience's HR to the music's tempo.…”

Section: Feedbackmentioning

confidence: 99%

Linking Audience Physiology to Choreography

Han

Chernyshov

Sugawa

et al. 2023

ACM Trans. Comput.-Hum. Interact.

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The use of wearable sensor technology opens up exciting avenues for both art and HCI research, providing new ways to explore the invisible link between audience and performer. To be effective, such work requires close collaboration between performers and researchers. In this paper, we report on the co-design process and research insights from our work integrating physiological sensing and live performance. We explore the connection between the audience’s physiological data and their experience during the performance, analyzing a multi-modal dataset collected from 98 audience members. We identify notable moments based on HRV and EDA, and show how the audience’s physiological responses can be linked to the choreography. The longitudinal changes in HRV features suggest a strong connection to the choreographer’s intended narrative arc, while EDA features appear to correspond with short-term audience responses to dramatic moments. We discuss the physiological phenomena and implications for designing feedback systems and interdisciplinary collaborations.

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A new corpus of texture, timbre, and change in 20th-century American popular music

Cited by 2 publications

References 0 publications

Deployments of change and novelty in a corpus of popular music

Deployments of change and novelty in a corpus of popular music

Linking Audience Physiology to Choreography

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