Germany, Federal Republic of

Kmetz, John; Finscher, Ludwig; Schubert, Giselher; Schepping, Wilhelm; Bohlman, Philip V.

doi:10.1093/gmo/9781561592630.article.40055

Cited by 3 publications

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“…With the intent to chronicle the rhythmic underpinnings of German musical evolution the median nPVI of German/Austrian composers from different eras of musical history ("Baroque/Classical" 1600-1825, and "Romantic" ~1825-1900) (Kmetz, Finscher, Schubert, Schepping, & Bohlman, 2001; and see Methods) was calculated and used to categorize composers. Since these grouped data sets ("Baroque/Classical" composers (Bach, Haydn, Mozart)) and "Romantic" composers (Beethoven through R. Strauss, see Table 1) were deemed "non-normal" using the Anderson Darling Test for Normality, the medians (and not means) were used (nPVI = 32.2 for the "Baroque/Classical" period and nPVI = 43.0 for "Romantic").…”

Section: Resultsmentioning

confidence: 99%

“…As in the Daniele and Patel studies, the musical materials for the current work were drawn from A Dictionary of Musical Themes, Revised Edition (Barlow & Morgenstern, 1983). The midpoint year (the mathematical average of the birth and death year, representing when the composer was active) was considered in grouping these individuals into periods from the "Baroque/Classical Era" (1600-1750/1750-1810) which took place before and during the 1760-1800 transition to more stylistically "German" music and the "Romantic Era" (1825-1900) which followed this transition (Kmetz, Finscher, Schubert, Schepping, & Bohlman, 2001). Beethoven was considered one of the Romantic composers despite writing before the "Romantic period" (Solomon, 1998;d'Indy, 1970).…”

Section: Theme List Exclusion Criteria and Data Analysismentioning

confidence: 99%

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A Tool for the Quantitative Anthropology of Music: Use of the nPVI Equation to Analyze Rhythmic Variability within Long-term Historical Patterns in Music

Daniele¹

2017

EMR

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The development of musical style across time and geography is of particular interest to historians and musicologists, yet quantitative evidence to support these trends has been lacking. This paper illustrates a novel application of the nPVI ('normalized pairwise variability index') equation to probe and quantify the rhythmic components of music over time. The nPVI equation quantifies the average difference between adjacent events in a sequence (e.g. musical notes in a melody, successive vowels in a spoken sentence). Building upon an earlier finding that German/Austrian composer nPVI values increased steadily from 1600 to 1950 (while Italian composers showed no such increase), the nPVI 'distribution' of themes from individual composers was quantitatively explored. Interestingly, the proportion of 'low nPVI' or 'Italianate' themes decreases rapidly with time while 'high nPVI' (more Germanic) themes concomitantly increase in frequency. 'Middle range nPVIs' exhibit a constant incidence, arguing for a replacement of 'low nPVIs' (Italianate) with 'high nPVIs' over a short time instead of a more modest, long-term progressive shift. Thus, the precise rhythmic components of complex stylistic shifts in music can be quantitatively extracted from music and support the historical record and theory.

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Section: Resultsmentioning

confidence: 99%

Section: Theme List Exclusion Criteria and Data Analysismentioning

confidence: 99%

A Tool for the Quantitative Anthropology of Music: Use of the nPVI Equation to Analyze Rhythmic Variability within Long-term Historical Patterns in Music

Daniele¹

2017

EMR

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“…A k-means clustering test, an unbiased grouping algorithm, was used to classify composers into two categories (k = 2) based on their "midpoint year" and "mean nPVI". A k-means test clustered all composers with a midpoint year before 1790 as "Baroque/Classical Era" (1600-1750/1750-1810) while those after 1790 were considered the "Romantic Era" and this fits closely with the musicological record (Kmetz et al, 2001). Notably, the k-means test reliably classified Beethoven as a Romantic composer despite him writing most of his compositions during the "Classical period" (Indy, 1970;Solomon, 1998).…”

Section: Theme List Exclusion Criteria and Data Analysismentioning

confidence: 56%

The "Rhythmic Fingerprint": An Extension of the nPVI to Quantify Rhythmic Influence

Daniele

2017

EMR

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This article is in response to Leigh VanHandel's "The War of the Romantics: An Alternative Hypothesis Using nPVI for the Quantitative Anthropology of Music." (2016) I address comments made in VanHandel's response and propose a new tool, the "rhythmic fingerprint," to move away from representing a composer as a single value (e.g. mean nPVI) and more accurately quantify and classify rhythmic influence within a composer's lifetime.

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The Question of National Identity in the Multiethnical Sopron Through the Work of the Dalfüzér/Liederkranz (1847-1867)

Gusztin¹

2023

Musicologica Olomucensia

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Collective choir singing had a long tradition in Europe, especially due to the rich history of church music, however the spread of secular choirs, related to national awakenings may be considered a special phenomenon of the 19th century. 2 The German choral movement was an important tool in the unification of Germany and served also partly as a substitute for political parties. As this movement spread to whole Europe, most of the newly formed choral societies transmitted political and/or national overtones as well. 3

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Germany, Federal Republic of

Cited by 3 publications

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A Tool for the Quantitative Anthropology of Music: Use of the nPVI Equation to Analyze Rhythmic Variability within Long-term Historical Patterns in Music

A Tool for the Quantitative Anthropology of Music: Use of the nPVI Equation to Analyze Rhythmic Variability within Long-term Historical Patterns in Music

The "Rhythmic Fingerprint": An Extension of the nPVI to Quantify Rhythmic Influence

The Question of National Identity in the Multiethnical Sopron Through the Work of the Dalfüzér/Liederkranz (1847-1867)

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