On Wednesday, August 16, 2017 at 3:42:38 PM UTC+2, Alex Knauth wrote:
> > On Aug 8, 2017, at 10:42 AM, Luis Sanjuán <luisj.sanj...@gmail.com> wrote:
> > 
> > On Tuesday, August 8, 2017 at 3:16:46 PM UTC+2, Alex Knauth wrote:
> >> I've been basing it on the chord-labeling algorithm in a paper I found, 
> >> "Algorithms for Chordal Analysis" by Bryan Pardo and William P. 
> >> Birmingham, but there are a few situations where this doesn't label the 
> >> correct chord. In particular when there are something like short arpeggios 
> >> in the harmony and longer passing tones or suspensions in the melody, it 
> >> gives more weight to the passing tones and suspensions.
> > Looks interesting! Mine, written in a couple of days, is much simpler. It 
> > just arranges chords to match chord patterns (what Pardo an Birmingham call 
> > templates, as I read) and labels them accordingly. First, it assumes chord 
> > boundaries are given, say, for instance, each arpeggio of Bach's Prelude I 
> > in das Wohltemperierte Klavier, and there is no attempt to score 
> > alternatives.
> > 
> > The task in a real world scenario looks really demanding. Although I've 
> > never thought of it, for what I've skim-read I agree with P and B that, 
> > first, we need ways to determine chord boundaries, and secondly, algorithms 
> > to score possible interpretations. And, at first glance, it seems to me 
> > that both tasks cannot be completely isolated, since boundaries may depend 
> > on the interpretation.
> That's true. Maybe I need to implement both sides of the algorithm before I 
> look at passing tones. Some of the suspensions in particular would make sense 
> as two chords instead of one. For longer passing tones, it might interpret it 
> as one-chord-per-melody-note like in a hymn, but maybe that's useful enough 
> and I can hopefully simplify the output by hand later.
> > On the other hand, even chord patterns (which of them are suitable and the 
> > probability of its occurrence) may differ according to the historic and 
> > stylistic context, even by composer, as it is actually the case in real 
> > music.

Looks promising.

By the way, motivated by the discussion I have searched for similar efforts. 
You may be aware of this one:

https://halshs.archives-ouvertes.fr/hal-01161435/document [description]

http://grfia.dlsi.ua.es/cm/projects/drims/software.php [code]

It is also based on P&B, and written in Common Lisp.

You received this message because you are subscribed to the Google Groups 
"Racket Users" group.
To unsubscribe from this group and stop receiving emails from it, send an email 
to racket-users+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.

Reply via email to