Author: Roeder, John
Publication details: Music Theory Online 0.5: 1-22.
Weblink: www.mtosmt.org
Abstract:
Eco’s theory of codes provides the basis for analyzing the structure of meaning in three contrasting types of music- analytical representation.An evaluation of the pitch-class- integer code highlights the essential arbitrariness of the links between music and mathematics.Graphical representations of music are also evaluated with reference to a computer program designed to represent musical data in any conceivable graphical form.Lastly the paper postulates conditions under which the literary musical criticism of the Romantic era may have specific musical denotation; accordingly, Schumann’s imagistic review of Schubert’s German Dances, Op. 33, receives exegesis.
Author: Kurth, Richard
Publication details: New England Conference of Music Theorists. Brandeis University, Boston
Author: Kurth, Richard
Publication details: Music Theory Spectrum 14/2: 188-208
Weblink: www.jstor.org
Author: Kurth, Richard
Publication details: Joint Meeting of the Music Theory Society of New York State and the Arnold Schoenberg Institute. Columbia University, New York City
Author: Roeder, John
Publication details: Music and Science. Seattle: Center for the Creation and Interdisciplinary Study of Music, University of Washington. Pp. 16-36.
Weblink: www.mtosmt.org
Author: Roeder, John
Publication details: 19th-Century Music, Vol. 14, No. 2 (Autumn, 1990), pp. 169-185
Weblink: http://www.jstor.org
Author: Roeder, John
Publication details: Musicus1/2:165-176
Author: Roeder, John
Publication details: Journal of Music Theory 33, no. 1 (1989): 27-62.
Weblink: https://jstor.org
Author: Roeder, John and Hamel, Keith
Publication details: Proceedings of the 1989 International Computer Music Conference. San Francisco: Computer Music Association. Pp. 260 – 263.
Author: Roeder, John
Publication details: Music Perception: An Interdisciplinary Journal 6, no. 1 (1988): 21-34.
Weblink: https://jstor.org
Abstract: Most computational models of musical understanding have focused on procedural aspects of analysis, suggesting techniques for parsing, comparing, and transforming various representations of a piece, or adapting discovery procedures of artificially intelligent (AI) inference systems, which plan and follow agendas and goals. Much contemporary AI research, however, also focuses on declarative aspects of knowledge, attempting to define data representations and relations that are commensurate with human cognition. Naturally, musical analysis has both procedural and declarative aspects: the declarative determines what the form of the analysis is, and the procedural determines how the analysis is obtained. However, a predominantly procedural analysis risks sacrificing the form of musical understanding to obtain efficiency or compatibility with a particular computer language. In this article I argue that, for a significant body of twentieth-century music, a declarative system models the structure of analytical understanding better than do existing procedural programs, and I present a functioning declarative system that infers complex musical structures from the elementary musical relations that it identifies.