![]() Analysts may use this flexible method for pattern discovery in reduced textures through software freely accessible at. We also apply the method to an excerpt by Kirnberger analyzed in Rabinovitch (".fn_cite_year($rabinovitch_2019)."). A relatively simple method successfully identifies the location of all statements of the subject in Bach’s Fugue in C Minor (BWV 847) identified by Bruhn (".fn_cite_year($bruhn_1993).") and the location of all instances of the Prinner and Meyer schemata in Mozart’s Sonata in C Major (K. Recurring n-grams (scale degree skeletons) are matched in an algorithmic approach that we have tested manually (with a printed score and pen and paper) and implemented computationally (with symbolic data and scripted algorithms in MATLAB). Through this reduction, a new form of musical pattern discovery is possible that has similarities to Gjerdingen’s (".fn_cite_year($gjerdingen_2007).") galant schemata. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. ![]() Our approach to reductions prioritizes contextual features like onset and contiguity. Analysts may use this flexible methodology for pattern discovery in reduced textures through software freely accessible at Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. We also apply the method to Rabinovitch's analysis (2019) of a flute sonata by Kirnberger. A relatively simple method successfully identifies the location of all statements of the subject in Bach's C-minor Fugue (BWV 847) identified by Bruhn (1993) and the location of all instances of the Prinner and Meyer schemata in Mozart's Sonata in C Major (K. Through this reduction, a new form of musical pattern discovery is possible that has similarities to Gjerdingen's schema-finding. By awarding points to notes with certain syntagmatic features, our process selects core tones from melodic surfaces to produce a reduction. We argue that contextual features like onset and contiguity are linked to tonal hearing more than absolute pitch or duration. In a later post we'll look at a different way to define red and blue two-line staves for different editions of the same score.Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. These definitions of RedTwoLineStaff and BlueTwoLineStaff avoid code duplication and let us have both types of staff in a single score. RedTwoLineStaff and BlueTwoLineStaff here extend TwoLineStaff in the manner of concrete classes extending an abstract base class. Red and blue versions of our special TwoLineStaff are available like this. This layout block defines a special two-line staff. \override StaffSymbol #'line-positions = #'(-2 2) LilyPond makes it easy to define new contexts with special attributes. (0)))Įven vertical spacing requires alignment-offets set to zero for even a single staff. This breaks voice produces even vertical spacing. #'line-break-system-details #'((Y-offset. ![]() This breaks voice produces uneven vertical spacing. Two separate voices allow the harmonics and reference voice to stem independently. Create whistle tones in LilyPond with small values to NoteHead #'font-size.
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