A Universal Nomenclature for Pitch and Rhythm Motives

2021 ◽  
pp. 105-128
Author(s):  
Brent Auerbach
Keyword(s):  
Pitch Class

Chapter 4 proposes a universal nomenclature for pitch (and pitch-class) and rhythm motives. The system eschews nicknames and abstract letter variables in favor of more objective labels. In the domain of pitch and pitch-class, motives are characterized according to their interval content and their length in terms of “number of notes” (as opposed to their duration in time). These symbols may be supplemented by reference to certain iconic pitch shapes, such as “arpeggiation” and “neighbor” gestures. Altered typescripts are used to indicate pitch ascent versus descent, leaping or “gapped” motives, and chromatically filled motives. Two kinds of addition signs, signaling simple and elided addition, are prescribed for naming composite motives. In the domain of rhythm, a motive is first labeled according to its durations, which are assessed locally in relative terms as long (L), short (S), and medium (M). Sounding (note) events must always be accounted for; rest (silent) durations may be specified by parentheses or disregarded as the analyst sees fit. Extensions to the nomenclature exist to handle cases of subdivided rhythms and composite motives. Demonstrations of proper application of the nomenclature are provided throughout the chapter.

Pitch-Class Consciousness

1975 ◽  
Vol 13 (2) ◽  
pp. 30 ◽  
Author(s):  
Paul Lansky
Keyword(s):  
Class Consciousness ◽  
Pitch Class

Pitch-Class Set Multiplication in Theory and Practice

1998 ◽  
Vol 20 (1) ◽  
pp. 72-96 ◽  
Author(s):  
Stephen Heinemann
Keyword(s):  
Theory And Practice ◽  
Pitch Class

An Algorithm for Harmonic Analysis

1997 ◽  
Vol 15 (1) ◽  
pp. 31-68 ◽  
Author(s):  
David Temperley
Keyword(s):  
Harmonic Analysis ◽  
Spatial Representation ◽  
Tonal Music ◽  
Pitch Class

An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths"; this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed.

scholarly journals Absolute Pitch in Oral Transmission of Folk Tunes as Constrained Random Walks

2015 ◽  
Vol 10 (3) ◽  
pp. 178
Author(s):  
Klaus Frieler
Keyword(s):  
Random Walks ◽  
Empirical Research ◽  
Empirical Data ◽  
Absolute Pitch ◽  
Folk Songs ◽  
Pitch Class ◽  
Oral Transmission

In this commentary, I would like to add a few of our own, still unpublished, empirical observations concerning the possible role of absolute pitch memory (APM) in the oral transmission of folksongs. This empirical data poses some questions on the likelihood of the observed inter-recording tonic pitch consistency of Olthof, Janssen & Honing (2015) and how these could come about. Based on simulations of absolute pitch class of tonics during oral transmission of folk songs, I argue that the interplay of melodic range and vocal range might actually be the main reason for the observed non-uniformity, in contrast to the conclusions presented in Olthof et al. (2015). However, this does not invalidate the therein presented evidence, but makes the case more puzzling, consequently calling for more empirical research on the interaction of melodic and vocal range and latent APM as well as for more detailed modeling of oral transmission of folk songs.

Some new pitch paradoxes and their implications

1992 ◽  
Vol 336 (1278) ◽  
pp. 391-397 ◽  
Keyword(s):  
Speech Production ◽  
Spectral Envelope ◽  
Pitch Class ◽  
Speech Characteristics ◽  
Class C ◽  
Tritone Paradox ◽  
Sound Patterns ◽  
The Way

This paper explores two new paradoxical sound patterns. The tones used to produce these patterns consist of six octave-related harmonics, whose amplitudes are scaled by a bell-shaped spectral envelope; these tones are clearly defined in terms of pitch class (C, C#, D, and so on) but are poorly defined in term s of height. One pattern consists of two tones that are separated by a half-octave. It is heard as ascending when played in one key, yet as descending when played in a different key. Further, when the pattern is played in any one key it is heard as ascending by some listeners but as descending by others (the tritone paradox). Another pattern that consists of simultaneous pairs of tones displays related properties (the semitone paradox). It is shown that the way the tritone paradox is perceived correlates with the speech characteristics of the listener, including his or her linguistic dialect. The findings suggest that the same, culturally acquired representation of pitch classes influences both speech production and also perception of this musical pattern.

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