Chord Label Personalization through Deep Learning of Integrated Harmonic Interval-based Representations

The increasing accuracy of automatic chord estimation systems, the availability of vast amounts of heterogeneous reference annotations, and insights from annotator subjectivity research make chord label personalization increasingly important. Nevertheless, automatic chord estimation systems are historically exclusively trained and evaluated on a single reference annotation. We introduce a first approach to automatic chord label personalization by modeling subjectivity through deep learning of a harmonic interval-based chord label representation. After integrating these representations from multiple annotators, we can accurately personalize chord labels for individual annotators from a single model and the annotators' chord label vocabulary. Furthermore, we show that chord personalization using multiple reference annotations outperforms using a single reference annotation.Comment: Proceedings of the First International Conference on Deep Learning and Music, Anchorage, US, May, 2017 (arXiv:1706.08675v1 [cs.NE]

Statistics on Linear Chord Diagrams

Linear chord diagrams are partitions of $\left[2n\right]$ into $n$ blocks of size two called chords. We refer to a block of the form $\{i,i+1\}$ as a short chord. In this paper, we study the distribution of the number of short chords on the set of linear chord diagrams, as a generalization of the Narayana distribution obtained when restricted to the set of noncrossing linear chord diagrams. We provide a combinatorial proof that this distribution is unimodal and has an expected value of one. We also study the number of pairs $(i,i+1)$ where $i$ is the minimal element of a chord and $i+1$ is the maximal element of a chord. We show that the distribution of this statistic on linear chord diagrams corresponds to the second-order Eulerian triangle and is log-concave.Comment: 10 pages, final revision

The lost chord

'The Lost Chord' was an experimental performance work, reconfiguring its mode of theatre, and relationship to media, according to the site of its presentation. It decontextualised and reassembled a range of materials, originating in the Victorian creative imagination, not usually experienced in a single performance event or in contemporary theatre. Uses of technology varied, depending on artistic considerations. Resources included 4 male singers, Edison cylinder, tape and original text by me, made in partnership with Opera North, (who hosted an earlier installation work of mine which pointed the way to this.) Grand Theatre, Leeds, Jan 2010 and Riverside Studios, London, Aug 2010 - 1 hr, 6 performances. The Lost Chord is the title of Arthur Sullivan's 1877 song depicting an erotic image of sublime connection through music (the organ) within a hymn-like soundworld. Its success was extended by its compatibility (in 3 min versions) with new cylinder recording technology. This was a jumping-off point for each set of performances, reflecting on the impact of technological change on late 19th-century creativity, enacting tensions between utopian and critical experiences of this. During performances, historic technologies in contemporary theatre modes evoked an atmosphere of exchange between past and present. Media were 'organs' channeling lost presences. The audience were presented with a formal dinner setting they were invited to join. The hosts spoke in emotionally intense fragments, caught in lost controversies and searches for departed loved ones, contesting their perceptions of the past and a technological future, through deconstructions of literary and musical texts by Bulwar-Lytton, Morris, Tennyson, Balfe, Sullivan and Anon

Genus Ranges of Chord Diagrams

A chord diagram consists of a circle, called the backbone, with line segments, called chords, whose endpoints are attached to distinct points on the circle. The genus of a chord diagram is the genus of the orientable surface obtained by thickening the backbone to an annulus and attaching bands to the inner boundary circle at the ends of each chord. Variations of this construction are considered here, where bands are possibly attached to the outer boundary circle of the annulus. The genus range of a chord diagram is the genus values over all such variations of surfaces thus obtained from a given chord diagram. Genus ranges of chord diagrams for a fixed number of chords are studied. Integer intervals that can, and cannot, be realized as genus ranges are investigated. Computer calculations are presented, and play a key role in discovering and proving the properties of genus ranges.Comment: 12 pages, 8 figure