We will use the term “Computational Ethnomusicology” (CE) to refer to the design, development and usage of computer tools that have the potential to assist in ethnomusicological research. We survey such existing work, outline some guidelines for scholars interested in working in this area, and describe some of our initial research ef- forts in this field. Since the days of Charles Seeger, there have been many attempts to facilitate this analysis using various technological tools. Bartók’s many transcriptions of folk music of his native Hungary are a notable example. For this reason, research in ethnomusicology has, from the beginning, involved analysis of sound, mostly in the form of transcriptions done “by ear” by trained scholars. John Blacking said “The main task of ethnomusicology is to explain music and music making with reference to the social, but in terms of the musical factors involved in performance and appreciation” (1979:10). Our work presents in an analytical manner why machine-generated music to date still falls short of the artwork of humanity, and sets some goals for future work on automatic composition to further pursue.Ībstract. This includes analyzing the statistics of the pitch class, grooving, and chord progression, assessing the structureness of the music with the help of the fitness scape plot, and evaluating the model's understanding of Jazz music through a MIREX-like continuation prediction task.
JOYSPRING LEAD SHEET PDF SERIES
We therefore go one step further and conduct a series of computational analysis of the generated compositions from different perspectives. While we are able to reduce the training loss to a low value, our listening test suggests however a clear gap between the average ratings of the generated and real compositions. Moreover, the model endeavors to incorporate structural events present in the Weimar Jazz Database (WJazzD) for inducing structures in the generated music. This paper presents the Jazz Transformer, a generative model that utilizes a neural sequence model called the Transformer-XL for modeling lead sheets of Jazz music.
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