Form in Post-Tonal Music

Kostka, Stefan; Santa, Matthew

doi:10.4324/9781315229485-7

Cited by 7 publications

(5 citation statements)

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“…In table 2 ,

VII is used to indicate the subtonic chord for major tonalities. By contrast, since in the minor ones the subtonic is part of the natural scale, VII is indicated instead—a chord typically used as dominant of the relative major (V/III), as described by Kostka et al [ 29 ].…”

Section: Methodsmentioning

confidence: 99%

Exploring emotions in Bach chorales: a multi-modal perceptual and data-driven study

Parada-Cabaleiro,

Batliner,

Zentner

et al. 2023

R. Soc. open sci.

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The relationship between music and emotion has been addressed within several disciplines, from more historico-philosophical and anthropological ones, such as musicology and ethnomusicology, to others that are traditionally more empirical and technological, such as psychology and computer science. Yet, understanding the link between music and emotion is limited by the scarce interconnections between these disciplines. Trying to narrow this gap, this data-driven exploratory study aims at assessing the relationship between linguistic, symbolic and acoustic features—extracted from lyrics, music notation and audio recordings—and perception of emotion. Employing a listening experiment, statistical analysis and unsupervised machine learning, we investigate how a data-driven multi-modal approach can be used to explore the emotions conveyed by eight Bach chorales. Through a feature selection strategy based on a set of more than 300 Bach chorales and a transdisciplinary methodology integrating approaches from psychology, musicology and computer science, we aim to initiate an efficient dialogue between disciplines, able to promote a more integrative and holistic understanding of emotions in music.

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“…In table 2 ,

Section: Methodsmentioning

confidence: 99%

Exploring emotions in Bach chorales: a multi-modal perceptual and data-driven study

Parada-Cabaleiro,

Batliner,

Zentner

et al. 2023

R. Soc. open sci.

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show abstract

“…For the major tonalities, the natural scale was considered, while for the minor ones the melodic scale was used, i.e. , the leading-tone (the seventh grade of the scale) was elevated by a half-tone when leading to the tonic note (the first grade of the scale) but was natural in descendent movements ( Stefan Kostka, Dorothy Payne & Byron Almén, 2017 ). This implies that, when composing in minor tonalities, an additional note (the leading-tone) was considered in addition to the seven notes of the original scale.…”

Section: Galician Xotamentioning

confidence: 99%

Automated composition of Galician Xota—tuning RNN-based composers for specific musical styles using deep Q-learning

Mira

Coutinho

Parada-Cabaleiro

et al. 2023

PeerJ Computer Science

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Music composition is a complex field that is difficult to automate because the computational definition of what is good or aesthetically pleasing is vague and subjective. Many neural network-based methods have been applied in the past, but they lack consistency and in most cases, their outputs fail to impress. The most common issues include excessive repetition and a lack of style and structure, which are hallmarks of artificial compositions. In this project, we build on a model created by Magenta—the RL Tuner—extending it to emulate a specific musical genre—the Galician Xota. To do this, we design a new rule-set containing rules that the composition should follow to adhere to this style. We then implement them using reward functions, which are used to train the Deep Q Network that will be used to generate the pieces. After extensive experimentation, we achieve an implementation of our rule-set that effectively enforces each rule on the generated compositions, and outline a solid research methodology for future researchers looking to use this architecture. Finally, we propose some promising future work regarding further applications for this model and improvements to the experimental procedure.

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“…It goes without saying that Smalley’s central claim holds true to this very day. Sound-based music subsumes today broader art music (Landy 2007; Cobussen, Meelberg and Truax 2016), with the concert-hall tradition both directly and indirectly impacted by it (Rose 1996: 16; Kostka and Santa 2018: 241–59). The same is true of Castells’s thesis, no matter that one would agree with his political conclusions, which align him (in general terms though not strictly) alongside contemporary Marxist thinkers such as David Harvey (Castells 1996: 25, 449) 3 .…”

Section: Reciprocity Dispersion and Absence In The Musical Communitymentioning

confidence: 99%

Récit Music: Musical community in the information age

Fallah

2022

Org. Sound

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This article delineates a metaphysical concept, musical community, and considers its implications for material practices in the art world. It describes ways in which two theoretically distant categories of art music, namely, electroacoustic music and the concert-hall tradition, may converge given the emergent societal and technological shifts in the information age. The concepts of ‘networks’ and ‘reciprocity’, as developed by sociologists Manuel Castells and Marcel Mauss, respectively, constitute the theoretical lens for this analysis, which sees a number of musicological notions, including ‘musical society’ and ‘acousmatics’ reconsidered philosophically. Emphasis is placed, in lieu of the insular methodologies associated with the akousmatikoi, on broader Pythagorean society, its mythical links with present-day musical society, which are explored in relation to practical as well as structural proclivities permeating contemporary art music. These philosophical considerations are then used, so as to provide a general theory of récit music, a musical form designed by the author enabling creative employment of the impasses introduced in the information age. Finally, different reciprocities of the form with contemporary and traditional compositional philosophies are discussed, serving as an overview of the various theoretical and formal facets of récit music as methodology, approached in terms of three propositions.

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Form in Post-Tonal Music

Cited by 7 publications

References 0 publications

Exploring emotions in Bach chorales: a multi-modal perceptual and data-driven study

Exploring emotions in Bach chorales: a multi-modal perceptual and data-driven study

Automated composition of Galician Xota—tuning RNN-based composers for specific musical styles using deep Q-learning

Récit Music: Musical community in the information age

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