Some Aspects of Pedagogical Corpora

This essay focuses on the characteristics of corpora drawn from pedagogical materials and contrasts them with the properties of corpora of larger repertoires. Two case studies show pedagogical corpora to contain relatively more chromaticism, and to devote more of their probability mass to low-frequency events. This is likely due to the formatting of and motivation behind classroom materials (for example, focusing proportionately more resources on difficult concepts). I argue that my observations challenge the utility of using pedagogical corpora within research into implicit learning. I also suggest that these datasets are uniquely situated to yield insights into explicit learning, and into how musical traditions are represented in the classroom

Six Times Six Is Thirty-Six : And Six Is Forty-Two

https://digitalcommons.library.umaine.edu/mmb-vp/5957/thumbnail.jp

Introduction to Cybersecurity and Government Minitrack

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Deployments of change and novelty in a corpus of popular music

This paper considers aspects of form and texture in 20th-century American popular music using a corpus of textural/lyrical/vocal annotations added to the McGill-Billboard corpus (Burgoyne, 2012). The analysis tracks two categories of events: 1) changes differ from immediately prior events; while 2) novelties have not happened previously within a song. I additionally divide these events into their specific species of change (i.e., whether the change involves the introduction of new instrumentation, new harmonizations, etc.), and correlate these events with their position in each track in terms of both clock time and formal zone. These interconnections allow me to demonstrate the types of events that appear at particular places within a song, and suggest ways that listeners may use musical cues to form expectations about a song's form and length

Locating Emergent Creativity with Similarity Metrics

Using corpora of 19 common-practice tonal composers, this article uses a variety of similarity metrics including cluster analyses and cross entropy to identify points of particular stylistic uniqueness. Throughout four computational experiments, we find that geography and chronology determine much inter-corpus similarity; however, points of dissimilarity – in particular, dissimilarities between larger groupings of similar composers – are described. Specific properties of stylistic imitations are also investigated and found to be more normative than average. These data are interpreted to arise due to emergent phenomena rather than being driven by individual “creative” composers