Forum on Transcription

Stanyek, Jason; Benadon, Fernando; Browner, Tara; Chordia, Parag; Danielsen, Anne; Gopinath, Sumanth; Griffiths, D. Ll.; Miller, Kiri; Mundy, Rachel; Roth‐Gordon, Jennifer; Rothenberg, David; Tenzer, Michael

doi:10.1017/s1478572214000024

Cited by 13 publications

(5 citation statements)

References 36 publications

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“…Non-standard music transcription techniques, indicated for repertoires handed down orally or to report dimensions that escape standard Western notations, are of primary interest in the field of ethnomusicology [30]. With necessary differences (symbolic representation instead of a direct analogical representation of the phenomenon [31]), there is the question of moving performative sound dimensions into the visual sphere.…”

Section: Visual Representation Of Expressive Performance Featuresmentioning

confidence: 99%

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

Bontempi

Canazza

Carnovalini

et al. 2023

MTI

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In music, the interpreter manipulates the performance parameters in order to offer a sonic rendition of the piece that is capable of conveying specific expressive intentions. Since the 1980s, there has been growing interest in expressive music performance (EMP) and its computational modeling. This research field has two fundamental objectives: understanding the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule-based, statistical, machine, and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in particular to piano pieces. On the contrary, we introduce the role of expressive performance within popular music and the contemporary ecology of pop music production based on the use of digital audio workstations (DAWs) and virtual instruments. After an analysis of the tools related to expressiveness commonly available to modern producers, we propose a detailed survey of research into the computational EMP field, highlighting the potential and limits of what is present in the literature with respect to the context of popular music, which by its nature cannot be completely superimposed to the classical one. In the concluding discussion, we suggest possible lines of future research in the field of computational expressiveness applied to pop music.

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Section: Visual Representation Of Expressive Performance Featuresmentioning

confidence: 99%

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

Bontempi

Canazza

Carnovalini

et al. 2023

MTI

View full text Add to dashboard Cite

show abstract

“…[2.1.6] One final point bears emphasis: although I use transcriptions to illustrate points throughout this essay, the object of my analysis is the recording, and I do not intend to claim any notation as definitive. All my transcriptions should be read as analytical acts, each of which conveys only one potential hearing of an infinitely richer sounding music (Stanyek et al 2014;Rusch, Salley, and Stover 2016).…”

Section: Definitions and Contextmentioning

confidence: 99%

Flexible Ostinati, Groove, and Formal Process in Craig Taborn’sAvenging Angel

Boyle

2021

MTO

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Repetition in the music of pianist/composer Craig Taborn engenders diverse temporal experiences at both local and global scales. At the local level, distinctive repetitions that I term flexible ostinati share significant features with the cyclic materials often observed in groove-based musics: they comprise a repetitive, omnipresent stream within the overall texture, provide a rapid isochronous pulse, and imply higher-level metric levels. However, they differ from strict ostinati or the repetitions that Anne Danielsen (2006) terms “basic groove units” in their flexibility at the rhythmic/metric level of temporal experience. This flexibility manifests in two ways: in the material domain, flexible ostinati are often varied significantly across repetitions, while in the interpretive domain, they simultaneously suggest multiple possibilities for pulse, meter, or cyclic beginning/ending. Following Danielsen, who describes groove as emerging from interactions between sounding rhythm and a reference structure, I examine the potential reference structures (meter and cycle) suggested by Taborn’s flexible ostinati. These structures are never fixed, but instead must be constantly negotiated, resulting in engaging grooves that draw the listener into the music’s temporal matrix. I analyze three pieces from Taborn’s 2011 solo album, Avenging Angel, to demonstrate how, across longer stretches of time, diverse forms grow out of these ostinati: “The Broad Day King” layers a surface-level flexible ostinato against slower background cycles that gradually reveal themselves; “Avenging Angel” is structured by the juxtaposition of two contrasting ostinati; and a brief passage in “Neverland” features an elusive groove that dissolves almost as soon as it materializes.

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“…Yet, some ethnomusicologists and other exponents of sound analysis do continue to find the process of transcription valuable as a means of discovering aspects of musical sound organization that might not have been noticed through other means. This is evident in the 'Forum on Transcription' convened by Jason Stanyek (2014), which presents edited transcripts of conversations with pairs of scholars working in six areas: ethnomusicology; song lyrics; popular music studies; animal vocalizations; the culture industry; and MIR. One of the ethnomusicologists, Tara Browner, suggests that transcription 'provides a way to engage with music with a kind of depth and intensity that, just listening to it, you don't get ' (p. 112), and the other, Michael Tenzer, agrees: 'there is much about music that you can't learn until you write it down' (p. 119).…”

Section: Music Transcription In Ethnomusicologymentioning

confidence: 99%

Humanities and engineering perspectives on music transcription

Widdess

Holzapfel

Benetos

et al. 2021

Digital Scholarship in the Humanities

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Music transcription is a process of creating a notation of musical sounds. It has been used as a basis for the analysis of music from a wide variety of cultures. Recent decades have seen an increasing amount of engineering research within the field of Music Information Retrieval that aims at automatically obtaining music transcriptions in Western staff notation. However, such approaches are not widely applied in research in ethnomusicology. This article aims to bridge interdisciplinary gaps by identifying aspects of proximity and divergence between the two fields. As part of our study, we collected manual transcriptions of traditional dance tune recordings by eighteen transcribers. Our method employs a combination of expert and computational evaluation of these transcriptions. This enables us to investigate the limitations of automatic music transcription (AMT) methods and computational transcription metrics that have been proposed for their evaluation. Based on these findings, we discuss promising avenues to make AMT more useful for studies in the Humanities. These are, first, assessing the quality of a transcription based on an analytic purpose; secondly, developing AMT approaches that are able to learn conventions concerning the transcription of a specific style; thirdly, a focus on novice transcribers as users of AMT systems; and, finally, considering target notation systems different from Western staff notation.

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Forum on Transcription

Cited by 13 publications

References 36 publications

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

Flexible Ostinati, Groove, and Formal Process in Craig Taborn’sAvenging Angel

Humanities and engineering perspectives on music transcription

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