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A pitch spelling algorithm predicts the pitch names (e.g., C♯4, B♭5 etc.) of the notes in a passage of tonal music, when given the onset-time, MIDI note number and possibly the duration and voice of each note. A new algorithm, called ps13, was compared with the algorithms of Longuet-Higgins, Cambouropoulos, Temperley and Chew and Chen by running various versions of these algorithms on a ‘clean’, score-derived test corpus, C, containing 195972 notes, equally divided between eight classical and baroque composers. The standard deviation of the accuracies achieved by each algorithm over the eight composers was used to measure style dependence (SD). The best versions of the algorithms were tested for robustness to temporal deviations by running them on a ‘noisy’ version of the test corpus, denoted by C'. A version of ps13 called PS13s1 was the most accurate of the algorithms tested, achieving note accuracies of 99.44% (SD = 0.45) on C and 99.41% (SD = 0.50) on C'. A real-time version of PS13s1 also out-performed the other real-time algorithms tested, achieving note accuracies of 99.19% (SD = 0.51) on C and 99.16% (SD = 0.53) on C'. PS13s1 was also as fast and easy to implement as any of the other algorithms. New, optimised versions of Chew and Chen’s algorithm were the least dependent on style over C. The most accurate of these achieved note accuracies of 99.15% (SD = 0.42) on C and 99.12% (SD = 0.47) on C'. It was proved that replacing the spiral array in Chew and Chen’s algorithm with the line of fifths never changes its output. A new, optimised version of Cambouropoulos’s algorithm made 8% fewer errors over C than the most accurate of the versions described by Cambouropoulos himself. This algorithm achieved note accuracies of 99.15% (SD = 0.47) on C and 99.07% (SD = 0.53) on C'. A new implementation of the most accurate of the versions described by Cambouropoulos achieved note accuracies of 99.07% (SD = 0.46) on C and 99.13% (SD = 0.39) on C', making it the least dependent on style over C'. However, Cambouropoulos’s algorithms were among the slowest of those tested. When Temperley and Sleator’s harmony and meter programs were used for pitch spelling, they were more affected by temporal deviations and tempo changes than any of the other algorithms tested. When enharmonic changes were ignored and the music was at a natural tempo, these programs achieved note accuracies of 99.27% (SD = 1.30) on C and 97.43% (SD = 1.69) on C'. A new implementation, called TPROne, of just the first preference rule in Temperley’s theory achieved note accuracies of 99.06% (SD = 0.63) on C and 99.16% (SD = 0.52) on C'. TPROne’s performance was independent of tempo and less dependent on style than that of the harmony and meter programs. Of the several versions of Longuet-Higgins’s algorithm tested, the best was the original one, implemented in his music.p program. This algorithm achieved note accuracies of 98.21% (SD = 1.79) on C and 98.25% (SD = 1.71) on C', but only when the data was processed a voice at a time. None of the attempts to take voice-leading into account in the algorithms considered in this study resulted in an increase in note accuracy and the most accurate algorithm, PS13s1, ignores voice-leading altogether. The line of fifths is used in most of the algorithms tested, including PS13s1. However, the superior accuracy achieved by PS13s1 suggests that pitch spelling accuracy can be optimised by modelling the local key as a pitch class frequency distribution instead of a point on the line of fifths, and by keeping pitch names close to the local tonic(s) on the line of fifths rather than close on the line of fifths to the pitch names of neighbouring notes.

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Thesis (Ph. D.)--Yale University, 1981. / Includes bibliographical references (leaves 287-288).

Thesis (M.M.)--Bowling Green State University, 2006. / Document formatted into pages; contains ix, 148 p. : music. Includes score: Coffin hollow / J. Corey Knoll. For alto flute, clarinet in B♭, percussion, piano, violin and violoncello. Includes bibliographical references.

Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.

Tonality is a term often used to describe the music of the common practice period (roughly 1600-1900). This study examines the music of mid twentieth-century jazz composer Thad Jones in light of an extended common practice, explicating ways in which this music might be best understood as tonal. Drawing from analyses of three of Jones’s big band compositions: To You, Three and One, and Cherry Juice, this study examines three primary elements in detail. First is Jones’s use of chord-scale application techniques in the orchestration over various chordal qualities represented by the symbols, revealing traditional as well as innovative methods by Jones. Second is Jones’s use of harmonic progressions, demonstrating his connection to past practice as well as modern jazz variations. Third is Jones’s use of contrapuntal connections and their traditional relationship to functional tonality, but in a chromatic scale-based environment. Jones’s music is presented in this study to demonstrate a tonal jazz common practice that represents an amalgamation of traditions including twentieth-century scale-based procedures, Renaissance and early twentieth-century modality, eighteenth- and nineteenth-century voice leading schemas, and Baroque and Classical descending-fifth progressions. Also included as an appendix is a list of possible note errors in the published scores of To You, Three and One, and Cherry Juice.

Диссертация посвящена проблеме установления эквивалентности перевода оригиналу пьесы Теннесси Уильямса «A Streetcar Named Desire» на основе текстовой категории тональности. Были проанализированы реплики главных персонажей на основании сопоставления маркеров текстовой категории по параметрам набора, комбинаторики, размещения. На основании информации поля тональности и подсчётов эквивалентности были сделаны выводы о творческом своеобразии перевода В. Неделина и его интерпретации подлинника. / This master’s thesis studies the problem of establishing the equivalence of the translation to the original play “A Streetcar Named Desire” by Tennessee Williams based on the textual category of tonality. The lines of the main characters were analyzed based on the comparison of the textual category markers by the parameters of the set, combinatorics and placement. According to the information of the tonality fields and equivalence calculations, conclusions about creative originality of V. Nedelin’s translation and his interpretation of the original were drawn.

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