music21: A Toolkit for Computer-Aided Musicology and Symbolic Music Data

Music21 is an object-oriented toolkit for analyzing, searching, and transforming music in symbolic (score- based) forms. The modular approach of the project allows musicians and researchers to write simple scripts rapidly and reuse them in other projects. The toolkit aims to provide powerful software tools integrated with sophisticated musical knowledge to both musicians with little programming experience (especially musicologists) and to programmers with only modest music theory skills. This paper introduces the music21 system, demonstrating how to use it and the types of problems it is well suited toward advancing. We include numerous examples of its power and flexibility, including demonstrations of graphing data and generating annotated musical scores.Seaver Institut

Electronic Locator of Vertical Interval Successions (ELVIS): The first large data-driven research project on musical style

The ELVIS project had three locally based teams (in Canada, at McGill, in Scotland, at Aberdeen, and in New England, USA, divided between MIT, the lead, and Yale), each of which focused on a different aspect of the overall research program: using computers to understand musical style. The central unifying concept of the ELVIS project was to study counterpoint: the way combinations of voices in polyphonic music (e.g. the soprano and bass voices in a hymn, or the viola and cello in a string quartet, as well as combinations of more than two voices) interact: i.e. what are the permissible vertical intervals (notes from two voices sounding at the same time) for a particular period, genre, or style. These vertical intervals, connected by melodic motions in individual voices, constitute Vertical Interval Successions. In more modern terms, this could be described as harmonic progressions of chords, but what made ELVIS particularly flexible was its ability to bridge the gap to earlier, contrapuntally-conceived music by using the diad (a two-note combination) rather than the triad (a combination of three notes in particular arrangements) as a basis (since triads and beyond may be expressed as sums of diads)

Augmenting Music Sheets with Harmonic Fingerprints

Conventional Music Notation (CMN) is the well-established foundation for the written communication of musical information, such as rhythm, harmony, or timbre. However, CMN suffers from the complexity of its visual encoding and the need for extensive training to acquire proficiency and legibility. While alternative notations using additional visual variables (such as color to improve pitch identification) have been proposed, the music community does not readily accept notation systems that vary widely from the CMN. Therefore, to support student musicians in understanding the harmonic relationship of notes, instead of replacing the CMN, we present a visualization technique that augments a digital music sheet with a harmonic fingerprint glyph. Our design exploits the circle of fifths - a fundamental concept in music theory, as a visual metaphor. By attaching these visual glyphs to each bar of a selected composition we provide additional information about the salient harmonic features available in a musical piece. We conducted a user study to analyze the performance of experts and non-experts in an identification and comparison task of recurring patterns. The evaluation shows that the harmonic fingerprint supports these tasks without the need for close-reading, as when compared to a not-annotated music sheet.Comment: (9+1) pages; 5 figures; User Stud

Studying large plainchant corpora using chant21

We present chant21, a Python package to support the plainchant formats gabc and Volpiano in music21, and two large corpora of plainchant. The CantusCorpus contains over 60,000 medieval melodies collected from the Cantus database, encoded in the Volpiano typeface. The GregoBaseCorpus contains over 9,000 transcriptions from more recent chant books in the gabc format. Chant21 converts both formats to music21, while retaining the textual structure of the chant: its division in sections, words, syllables and neumes. We present two case studies. First, we report evidence for the melodic arch hypothesis from the GregoBaseCorpus. Second, we analyze connections between differentiæ and antiphon openings in the CantusCorpus, and show that the systematicity of the connection can be quantified using an entropy-based measure

Volumetric versus single slice measurements of core abdominal muscle for Sarcopenia

Objectives: We investigated whether total psoas muscle area (TPMA) was representative of the total psoas muscle volume (TPMV). Secondly, we assessed whether there was a relationship between the two commonly used single slice measurements of sarcopenia, TPMA and total abdominal muscle area (TAMA). Methods: Pre-operative CT imaging of 110 patients undergoing elective endovascular aneurysm repair were analysed by two trained independent observers. TPMA was measured at individual vertebral levels between the second lumbar vertebrae and sacrum. TPMV was also estimated between the second lumbar vertebrae and sacrum. TAMA was measured at the third lumbar vertebrae (L3). Observer differences were assessed using Bland-Altman plots. Associations between the different measures were assessed using linear regression and Pearson's correlation. Results: We found single slice measurements of the TPMA to be representative of the TPMV at individual levels between L2 to the sacrum. The strongest association was seen at L3 (adjusted regression coefficient 16.7, 95% CI 12.1 to 21.4, p < 0.001). There was no association between TPMA and TAMA (adjusted regression coefficient - 0.7, 95% CI - 4.1 to 2.8, p = 0.710). Conclusions: We demonstrate that measurements of the TPMA between L2 to the sacrum are representative of the TPMV, with the greatest association at the third lumbar vertebrae. There was no association between the TPMA and TAMA. Advances in Knowledge: We demonstrate that a single slice measurement of TPMA at L3 is representative of the muscle volume, contrary to previous criticism. Future sarcopenia studies can continue to measure TPMA which is representative of the TPMV