Prescriptive and Descriptive Music-Writing

Seeger, Charles

doi:10.1093/mq/xliv.2.184

Cited by 102 publications

(48 citation statements)

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“…However, the SymbTr notations depict only the notes of the basic melody of a composition, with embellishments in the performances not being included. Hence, the objective of the transcription task is to create a transcription of the basic melody played by all included instruments in the heterophony, rather than a descriptive transcription (Seeger, 1958) of the detailed ornamentations present. The manual annotation process was conducted by the two authors.…”

Section: Manual Pitch Annotation Processmentioning

confidence: 99%

“…The 620 cent and 6100 ms tolerance levels were considered as "fair margins for an accurate transcription" by Seeger (1958). The Table I. following onset-based Precision, Recall, and F-measure are subsequently defined:…”

Section: Evaluation a Metricsmentioning

confidence: 99%

“…In the beginning of the 20th century, Abraham and von Hornbostel (1994) proposed a) Electronic mail: emmanouil.benetos@qmul.ac.uk notational methods to transcribe "exotic" melodies, including a multitude of ways to describe microtonal inflections. Seeger (1958) suggested methods for accurately annotating microtonal inflections with an accuracy of 20 cents, a value close to the range of just noticeable differences in musical intervals [see Houtsma (1968), as cited by Thompson (2013, p.124)]. …”

Section: Introductionmentioning

confidence: 99%

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Automatic transcription of Turkish microtonal music

Benetos

Holzapfel

2015

The Journal of the Acoustical Society of America

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Automatic music transcription, a central topic in music signal analysis, is typically limited to equal-tempered music and evaluated on a quartertone tolerance level. A system is proposed to automatically transcribe microtonal and heterophonic music as applied to the makam music of Turkey. Specific traits of this music that deviate from properties targeted by current transcription tools are discussed, and a collection of instrumental and vocal recordings is compiled, along with aligned microtonal reference pitch annotations. An existing multi-pitch detection algorithm is adapted for transcribing music with 20 cent resolution, and a method for converting a multi-pitch heterophonic output into a single melodic line is proposed. Evaluation metrics for transcribing microtonal music are applied, which use various levels of tolerance for inaccuracies with respect to frequency and time. Results show that the system is able to transcribe microtonal instrumental music at 20 cent resolution with an F-measure of 56.7%, outperforming state-of-the-art methods for the same task. Case studies on transcribed recordings are provided, to demonstrate the shortcomings and the strengths of the proposed method.

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Section: Manual Pitch Annotation Processmentioning

confidence: 99%

Section: Evaluation a Metricsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Automatic transcription of Turkish microtonal music

Benetos

Holzapfel

2015

The Journal of the Acoustical Society of America

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“…Predominant-F0 detection methods have been applied to the task of detecting vocal pitch in the presence of percussive and melodic accompaniment such as the harmonium [17,18]. The timevarying pitch so derived provides a visual representation of the melodic contour which, as envisioned by Seeger in 1958 [19], constitutes a kind of transcription that is unconstrained by the limitations of written notation.…”

Section: Computational Opportunitiesmentioning

confidence: 99%

An Overview of Hindustani Music in the Context of Computational Musicology

Rao¹,

Rao

2014

Journal of New Music Research

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With its origin in the Samveda, composed between 1500 -900 BC, the art music of India has evolved through ages and come to be regarded as one of the oldest surviving music systems in the world today. This paper aims to provide an overview of the fundamentals governing Hindustani music (also known as North Indian music) as practiced today. The deliberation will mainly focus on the melodic aspect of music making and will attempt to provide a musicological base for the main features associated with the melody: intonation and improvisation; thus covering the soundscape on the micro as well as macro level. The larger objective of this endeavor is to identify relevant directions for the application of computational approaches to Hindustani music.

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“…Each aria performed by Patti is represented by two scores (two out of four of them are given in the Appendix). Seeger (1958) has distinguished between two kinds of musical notations, prescriptive and descriptive. Prescriptive notation is usually associated with Western classical music, and understood as the idea of composition written down by the composer as a score.…”

mentioning

confidence: 99%