Author: Kurth, Richard
Publication details: New England Conference of Music Theorists. Brandeis University, Boston
Row-Structure, Rhythm, Register, Voice-Leading, and Form in Schoenberg: A Well-Turned Phrase
Mosaic Polyphony: Formal Balance, Imbalance, and Phrase Formation in the Prelude of Schoenberg’s Suite, Op.25
Author: Kurth, Richard
Publication details: Music Theory Spectrum 14/2: 188-208
Weblink: www.jstor.org
Mosaic-Rhythm Analysis and Schoenberg’s Twelve-Tone Rhetoric
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
Logic-Programming Models of Music: A Semiotic Evaluation
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
Pitch and Rhythmic Dramaturgy in Verdi’s Lux æterna
Author: Roeder, John
Publication details: 19th-Century Music, Vol. 14, No. 2 (Autumn, 1990), pp. 169-185
Weblink: http://www.jstor.org
A Prolog Program for Music Segmentation
Author: Roeder, John
Publication details: Musicus1/2:165-176
Harmonic Implications of Schoenberg’s Observations of Atonal Voice Leading
Author: Roeder, John
Publication details: Journal of Music Theory 33, no. 1 (1989): 27-62.
Weblink: https://jstor.org
A General-Purpose Object System for Musical Graphics
Author: Roeder, John and Hamel, Keith
Publication details: Proceedings of the 1989 International Computer Music Conference. San Francisco: Computer Music Association. Pp. 260 – 263.
Jeté
Featured Faculty Composer: T. Patrick Carrabré
Track 1. Sonata No. 1
Recording details:
Performer: Victor Shultz, violin
Label: Manitoba Composers Association
Link
A Declarative Model of Atonal Analysis
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.