A. Srinivasamurthy, Sankalp Gulati, Rafael Caro Repetto, Xavier Serra
We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.
{"title":"Saraga: Open Datasets for Research on Indian Art Music","authors":"A. Srinivasamurthy, Sankalp Gulati, Rafael Caro Repetto, Xavier Serra","doi":"10.18061/emr.v16i1.7641","DOIUrl":"https://doi.org/10.18061/emr.v16i1.7641","url":null,"abstract":"We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46163099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This data report introduces the MeloSol corpus, a collection of 783 Western, tonal monophonic melodies. I first begin by describing the overall structure of the corpus, then proceed to detail its contents as they would be helpful for researchers working in the field of computational musicology or music psychology. In order to contextualize the MeloSol corpus in relation to other corpora in the literature, I present descriptive statistics of the MeloSol corpus alongside the The Densmore Collection of Native American Song and The Essen Folk Song Collection. I suggest possible future uses of this corpus including extending research investigating Western tonality, perceptual experiments needing novel ecological stimuli, or work involving the musical generation of monophonic melodies in the style of Western tonal music.
{"title":"MeloSol Corpus","authors":"D. Baker","doi":"10.18061/emr.v16i1.7645","DOIUrl":"https://doi.org/10.18061/emr.v16i1.7645","url":null,"abstract":"This data report introduces the MeloSol corpus, a collection of 783 Western, tonal monophonic melodies. I first begin by describing the overall structure of the corpus, then proceed to detail its contents as they would be helpful for researchers working in the field of computational musicology or music psychology. In order to contextualize the MeloSol corpus in relation to other corpora in the literature, I present descriptive statistics of the MeloSol corpus alongside the The Densmore Collection of Native American Song and The Essen Folk Song Collection. I suggest possible future uses of this corpus including extending research investigating Western tonality, perceptual experiments needing novel ecological stimuli, or work involving the musical generation of monophonic melodies in the style of Western tonal music.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41622113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A corpus of Previously-Used Musical Stimuli (PUMS) is presented. The PUMS database is an online, publicly-available database where researchers can find a list of 22,417 musical stimuli that have been previously used in the literature on how music can convey or evoke emotions in listeners. A total of 306 studies on music and emotion are included in the database. Each musical stimulus used in these studies was coded according to various criteria: its designated emotion and how it was operationalized, its length, whether it is an excerpt from a longer work, and its style or genre. In the PUMS corpus, there is also information regarding the familiarity of the original participants with each musical sample, as well as information regarding whether each passage was used in a study about perceived or induced emotion. The name of the passage, composer, track number, and specific measure numbers or track location were noted when they were identified in the original paper. The database offers insight into how music has been used in psychological studies over a period of 90 years and provides a resource for scholars wishing to use music in future behavioral or psychophysical research. The PUMS database can be accessed online at https://osf.io/p4ta9.
{"title":"The PUMS Database: A Corpus of Previously-Used Musical Stimuli in 306 Studies of Music and Emotion","authors":"L. Warrenburg","doi":"10.18061/emr.v16i1.7208","DOIUrl":"https://doi.org/10.18061/emr.v16i1.7208","url":null,"abstract":"A corpus of Previously-Used Musical Stimuli (PUMS) is presented. The PUMS database is an online, publicly-available database where researchers can find a list of 22,417 musical stimuli that have been previously used in the literature on how music can convey or evoke emotions in listeners. A total of 306 studies on music and emotion are included in the database. Each musical stimulus used in these studies was coded according to various criteria: its designated emotion and how it was operationalized, its length, whether it is an excerpt from a longer work, and its style or genre. In the PUMS corpus, there is also information regarding the familiarity of the original participants with each musical sample, as well as information regarding whether each passage was used in a study about perceived or induced emotion. The name of the passage, composer, track number, and specific measure numbers or track location were noted when they were identified in the original paper. The database offers insight into how music has been used in psychological studies over a period of 90 years and provides a resource for scholars wishing to use music in future behavioral or psychophysical research. The PUMS database can be accessed online at https://osf.io/p4ta9.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67666028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro movements.
{"title":"The Mozart Expositional Punctuation Corpus: A Dataset of Interthematic Cadences in Mozart's Sonata-Allegro Exposition","authors":"Omer Raz, Dror Chawin, Uri B. Rom","doi":"10.18061/emr.v16i1.7648","DOIUrl":"https://doi.org/10.18061/emr.v16i1.7648","url":null,"abstract":"This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro movements.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49230635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this commentary on Hofmann et al. (2021), the notion of ethnomusicology and some of its underlying biases are questioned and reflected in the light of applying FAIR data principles to musicological research data from outside a Western canon and its musical practices.
{"title":"FAIR for whom? Commentary on Hofmann et al. (2021)","authors":"S. Münnich","doi":"10.18061/emr.v16i1.8154","DOIUrl":"https://doi.org/10.18061/emr.v16i1.8154","url":null,"abstract":"In this commentary on Hofmann et al. (2021), the notion of ethnomusicology and some of its underlying biases are questioned and reflected in the light of applying FAIR data principles to musicological research data from outside a Western canon and its musical practices.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48410593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from outside. However, I propose there are aspects of the dataset's manual annotations that require clarification in order for them to be used as ground truths by other researchers. In addition, I raise questions regarding the representativeness of the dataset – an issue that has ethical implications.
{"title":"Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset","authors":"Lara Pearson","doi":"10.18061/emr.v16i1.7974","DOIUrl":"https://doi.org/10.18061/emr.v16i1.7974","url":null,"abstract":"This commentary explores features of the \"Saraga\" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from outside. However, I propose there are aspects of the dataset's manual annotations that require clarification in order for them to be used as ground truths by other researchers. In addition, I raise questions regarding the representativeness of the dataset – an issue that has ethical implications.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49655256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"FAIR, Open, Linked: Introducing the Special Issue on Open Science in Musicology","authors":"Fabian C. Moss, M. Neuwirth","doi":"10.18061/emr.v16i1.8246","DOIUrl":"https://doi.org/10.18061/emr.v16i1.8246","url":null,"abstract":"No abstract available.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42145047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-28DOI: 10.18061/emr.v15i3-4.7647
D. Muzzulini
In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 microtonal steps per octave, however, never gained wide acceptance in music theory or practice. Newton divided the octave into 612 equal parts so that he could represent the syntonic chromatic scale very accurately and he studied several equal divisions of the octave with fewer parts. His approximation problem is looked at in three ways: (1) A reconstruction of how he determined the many EDO-representations listed in the notebook is given. (2) Using computer programs Newton's tuning problem is solved "empirically" through calculating and evaluating the related approximations comprehensively. (3) The findings from the computer-assisted analysis are used to develop a more general geometric approach to the approximation problem.
{"title":"Isaac Newton's Microtonal Approach to Just Intonation","authors":"D. Muzzulini","doi":"10.18061/emr.v15i3-4.7647","DOIUrl":"https://doi.org/10.18061/emr.v15i3-4.7647","url":null,"abstract":"In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 microtonal steps per octave, however, never gained wide acceptance in music theory or practice. Newton divided the octave into 612 equal parts so that he could represent the syntonic chromatic scale very accurately and he studied several equal divisions of the octave with fewer parts. His approximation problem is looked at in three ways: (1) A reconstruction of how he determined the many EDO-representations listed in the notebook is given. (2) Using computer programs Newton's tuning problem is solved \"empirically\" through calculating and evaluating the related approximations comprehensively. (3) The findings from the computer-assisted analysis are used to develop a more general geometric approach to the approximation problem.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47096301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-28DOI: 10.18061/emr.v15i3-4.8103
Daniel Shanahan
On the occasion of David Huron's retirement, EMR Editor, Daniel Shanahan, recently interviewed him regarding research methodology, public musicology, music and emotion, formal theory, the place of biology in music studies, and other topics. The second of two interviews.
{"title":"Empirical Musicology: An Interview with David Huron Part II","authors":"Daniel Shanahan","doi":"10.18061/emr.v15i3-4.8103","DOIUrl":"https://doi.org/10.18061/emr.v15i3-4.8103","url":null,"abstract":"On the occasion of David Huron's retirement, EMR Editor, Daniel Shanahan, recently interviewed him regarding research methodology, public musicology, music and emotion, formal theory, the place of biology in music studies, and other topics. The second of two interviews.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47415477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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