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Erschienen in:
A Structural Theory of Rhythm Notation Based on Tree Representations and Term Rewriting Kapitel lesen Erstes Kapitel lesen

2015 | OriginalPaper | Buchkapitel

Utilizing Computer Programming to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute

verfasst von : Kate Sekula

Erschienen in: Mathematics and Computation in Music

Verlag: Springer International Publishing

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Abstract

A computer application was written to complete the task of contour reduction. The application was used to complete analyses of twentieth-century post-tonal works for solo flute. The methodology of Rob Schultz’s Contour Reduction Algorithm was chosen for implementation. While contour reduction is a useful analytical tool, it is a meticulous and time-consuming process. Computer implementation of this procedure produces quick and accurate results while reducing analyst fatigue and human error. Java computer programming language is used to create a contour reduction application. This implementation greatly reduces the time needed to analyze a melody. Computer programming is combined with music analysis to produce informed and expressive musical interpretations.

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Vorheriges Kapitel Applications of DFT to the Theory of Twentieth-Century Harmony
Nächstes Kapitel A Statistical Approach to the Global Structure of John Cage’s Number Piece
Fußnoten
1
For a complete discussion on the history of contour analysis, see [1].
 
8
For a complete discussion of pitch-class sets, see [9].
 
9
For a complete discussion of the form of Mei, see [1].
 
10
It is worth noting that of the possible LCPs, these analyses contain predominantly LCPs \(<\)0 1\(>\), \(<\)0 2 1\(>\), \(<\)1 0 3 2\(>\), and \(<\)1 3 0 2\(>\). The nature of these LCPs only allows for one transformation, generally the retrograde, to be created from the prime. The exception is LCP \(<\)0 2 1\(>\), for which a prime, retrograde, inversion, and retrograde inversion can exist.
 
11
Change in predominant diachronic LCP demarcates formal divisions of the work. For space limitations, the discussion of form is limited here. See [1].
 
12
Segmentation of this work refers to the segmentation process developed by James Tenney and Larry Polansky, see [14].
 
13
For a complete discussion of the form of Itinerant, see [1].
 
14
Roger Graybill uses the term “gesture” to describe a grouping structure with a distinguishing internal dynamic shape [16].
 
15
For the complete analytical discussion of Air, see [1].
 
Literatur
1.
Sekula, K.: Utilizing computer programming to analyze post-tonal music: a segmentation and contour analysis of twentieth-century works for solo flute. Ph.D. dissertation. University of Connecticut, Storrs, CT (2014)
2.
Morris, R.: New directions in the theory and analysis of musical contour. Music Theor. Spectr. 15(2), 205–228 (1993)CrossRef
3.
Schultz, R.D.: A diachronic-transformational theory of musical contour relations. Ph.D. dissertation. University of Washington, Seattle, WA (2009)
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Schüler, N.: Methods of computer-assisted analysis: history, classification, and evaluation. Ph.D. dissertation. Michigan State University, East Lansing, MI (2000)
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Cope, D.: Hidden Structure: Music Analysis Using Computers. AR Editions, Madison (2008)
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Sampaio, M.S., Kröger, P.: Goiaba: a software to process musical contours. In: Proceedings of the 12th Brazilian Symposium on Computer Music, pp. 203–206 (2009)
7.
Friedmann, M.L.: A methodology for the discussion of contour: its application to schoenberg’s music. J. Music Theor. 29(2), 223–248 (1985)CrossRef
8.
Marvin, E.W., Laprade, P.A.: Relating musical contours: extensions of a theory for contour. J. Music Theor. 31(2), 225–267 (1987)CrossRef
9.
Forte, A.: The Structure of Atonal Music. Yale University Press, New Haven (1973)
10.
Young, R.W.: Terminology for logarithmic frequency units. J. Acoust. Soc. Am. 11(1), 134–139 (1939)CrossRef
11.
Morris, R.: Composition with Pitch-Classes: A Theory of Compositional Design. Yale University Press, New Haven (1987)
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Schultz, R.D.: Melodic contour and nonretrogradable structure in the birdsong of Olivier Messiaen. Music Theor. Spectr. 30(1), 89–137 (2008)CrossRef
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Lee, C.-L.: Analysis and interpretation of Kazuo Fukushima’s solo flute music. Ph.D. dissertation. University of Washington, Seattle, WA (2010)
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Tenney, J., Polansky, L.: Temporal gestalt perception in music. J. Music Theor. 24(2), 205–241 (1980)CrossRef
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Burt, P.: The Music of Tōru Takemitsu. Cambridge University Press, Cambridge (2006)
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Graybill, R.: Prolongation, gesture and musical motion. In: Raphael, A., Michael, C. (eds.) Eleven Essays in Honor of Davis Lewin, Musical Transformation and Musical Intuition, pp. 199–224. Ovenbird Press, Dedham (1994)
Metadaten
Titel
Utilizing Computer Programming to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute
verfasst von
Kate Sekula
Copyright-Jahr
2015
Buch
Mathematics and Computation in Music

Print ISBN: 978-3-319-20602-8

Electronic ISBN: 978-3-319-20603-5

Copyright-Jahr: 2015

DOI
https://doi.org/10.1007/978-3-319-20603-5_23