Several content-based interfaces for music collection exploration rely on Self-Organizing Maps (SOMs) to produce 2D or 3D visualizations of music spaces. In these visualizations, perceptually similar songs are clustered together. The positions of clusters containing similar songs, however, cannot be determined in advance due to particularities of the traditional SOM algorithm. In this thesis, I propose a variation on the traditional algorithm named anchoredSOM. This variation avoids changes in the positions of the aforementioned clusters. Moreover, anchoredSOM allows users to personalize the music space by choosing the locations of clusters containing per- ceptually similar tracks. This thesis introduces SoundAnchoring, an interface for music collection exploration featuring anchoredSOM. SoundAnchoring is evaluated by means of a user study. Results show that SoundAnchoring offers engaging ways to explore music collections and build playlists. / Graduate / 0984 / 0413 / leandro.collares@gmail.com

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

Esta tesis propone un juego de algoritmos que puede emplearse para computar estimaciones de las distintas facetas de complejidad que ofrecen señales musicales auditivas. Están enfocados en los aspectos de acústica, ritmo, timbre y tonalidad. Así pues, la complejidad musical se entiende aquí en el nivel más basto del común acuerdo entre oyentes humanos. El objetivo es obtener juicios de complejidad mediante computación automática que resulten similares al punto de vista de un oyente ingenuo. La motivación de la presente investigación es la de mejorar la interacción humana con colecciones de música digital. Según se discute en la tesis,hay toda una serie de tareas a considerar, como la visualización de una colección, la generación de listas de reproducción o la recomendación automática de música. A través de las estimaciones de complejidad musical provistas por los algoritmos descritos, podemos obtener acceso a un nivel de descripción semántica de la música que ofrecerá novedosas e interesantes soluciones para estas tareas. / This thesis proposes a set of algorithms that can be used to compute estimates of music complexity facets from musical audio signals. They focus on aspects of acoustics, rhythm, timbre, and tonality. Music complexity is thereby considered on the coarse level of common agreement among human listeners. The target is to obtain complexity judgments through automatic computation that resemble a naive listener's point of view. The motivation for the presented research lies in the enhancement of human interaction with digital music collections. As we will discuss, there is a variety of tasks to be considered, such as collection visualization, play-list generation, or the automatic recommendation of music. Through the music complexity estimates provided by the described algorithms we can obtain access to a level of semantic music description, which allows for novel and interesting solutions of these tasks.

The theme of this work is a collection of Vesper music Sacrificium vespertinum composed by J. J. B. Münster. It is the print published in Augsburg in 1729. One copy of the print is preserved in the collection of music prints from the Minorite convent in Český Krumlov. However, originally it was given to the Augustinian convent in Borovany. The print contains mainly psalm and Magnificat settings intended for festive Vespers in the style common in the late baroque catholic church music in the Central Europe. All texts are Latin. The operating apparatus includes solo voices, a mixed choir, two violins and an organ. The aim of the work is to describe and place the collection in the context of the music and liturgy of the time. The edition of selected compositions is a part of the work.