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MODIFYING FACTORIZED CHORD SEQUENCE PROBABILITIES

National Institute of Advanced Industrial Science and Technology (AIST), Japan

{s.fukayama, k.yoshii, m.goto}@aist.go.jp

Dϳ ŵϳ ϵ

ABSTRACT /ŶƉƵƚ͗ ŵ 'ϳ ŵ

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ŵĂũŽƌ ŵŝŶŽƌ ƐĞǀĞŶƚŚ ŵŝŶŽƌ

ďĂƐĞƐ

This paper presents a system named ChordSequenceFac- Ϭ͘ϲ Ϭ͘Ϯ Ϭ͘Ϯ Ϭ͘ϭ Ϭ͘ϱ Ϭ͘ϰ Ϭ͘Ϯ Ϭ͘Ϯ Ϭ͘ϲ Ϭ͘ϭ Ϭ͘ϱ Ϭ͘ϰ

tory for automatically generating chord arrangements. A Ϭ͘ϯǆ н Ϭ͘ϳǆ

key element of musical composition is the arrangement of

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chord sequences because good chord arrangements have ďĂƐĞƐ

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Ϭ͘ϲ Ϭ͘Ϯ Ϭ͘Ϯ Ϭ͘ϭ Ϭ͘ϱ Ϭ͘ϰ Ϭ͘Ϯ Ϭ͘Ϯ Ϭ͘ϲ Ϭ͘ϭ Ϭ͘ϱ Ϭ͘ϰ

the potential to enrich the listening experience and create

a pleasant feeling of surprise by borrowing elements from

different musical styles in unexpected ways. While chord нϳ нϱ ŵĂũŽƌ нϵ нϱ ŵĂũŽƌ

ŵĂũŽƌ ƐĞǀĞŶƚŚ

sequences have conventionally been modeled by using N- Ěŝŵ &ŵϳ ƐƵƐϰ 'ŵϳ ƐĞǀĞŶƚŚ ƐĞǀĞŶƚŚ

ƌƌĂŶŐĞĚ͗ &Dϳ ϳ 'Dϳ

grams, generative grammars, or music theoretic rules, our

system decomposes a matrix consisting of chord transi- Figure 1. Overview of generating chord arrangements

tion probabilities by using nonnegative matrix factoriza- with ChordSequenceFactory.

tion. This enables us to not only generate chord sequences

from scratch but also transfer characteristic transition pat- selves, known as user-generated content (UGC) on video

terns from one chord sequence to another. ChordSequence- sharing services, the majority of users are generally music

Factory can assist users to edit chord sequences by modi- listeners who do not create much themselves. We aim to

fying factorized chord transition probabilities and then au- encourage such people to create more derivative works by

tomatically re-arranging them. By leveraging knowledge changing chord sequences. This enables music listeners to

from chord sequences of over 2000 songs, our system can personalize songs by customizing chord sequences without

help users generate a wide range of musically interesting any special training [4]. Such content personalization was

and entertaining chord arrangements. achieved by Drumix [15], a system for arranging the drum

track in music audio signals, but content personalization

1. INTRODUCTION using chord arrangements has not yet been studied.

To generate chord arrangements, it is necessary to model

Chord sequences are essential when composing and ar- and manipulate chord sequences. Conventionally, mod-

ranging music. Different songs, composers, arrangers, and els for generating chord sequences have been represented

musical genres have different tendencies to use chord se- by probabilistic models or N-grams [1, 6, 8, 9, 11, 12, 14],

quences, which contributes to increased variety in music. genetic algorithms [2], generative grammars [10, 13], and

Each song could have different natural chord sequences exploiting examples or templates [3, 7]. Although these

that give different impressions. Although an arranger can existing models can easily be used to generate new chord

change (i.e., arrange) chord sequences of a song to alter its sequences from scratch [2], it is difﬁcult to arrange chord

mood, this is very difﬁcult for people who lack knowledge sequences of an existing song while referring to other ex-

of chord sequences to arrange the chords in an appropriate isting songs.

way. The goal of this research is to assist people to gen- In this paper we propose a new mathematical formu-

erate variations of chord sequences from an input original lation of chord sequences using nonnegative matrix fac-

sequence by leveraging knowledge from a large number of torization (NMF) and use it to build a system, Chord-

other existing chord sequences called references. SequenceFactory, that enables users to arrange chord se-

Chord sequence arrangement is a promising approach quences of existing songs (Fig. 1). The chord sequence of

to create derivative works from existing songs. Although each song (a sequence of symbols) is ﬁrst converted into

amateur creators could create such derivative works them- a chord differential matrix that represents chord transitions

in short regions. The matrix is then decomposed into a set

Permission to make digital or hard copies of all or part of this work for of bases (characteristic chord transition patterns) and a set

personal or classroom use is granted without fee provided that copies are of corresponding temporal activations using NMF. Chord

not made or distributed for proﬁt or commercial advantage and that copies arrangements can be achieved by interpolating the bases of

bear this notice and the full citation on the ﬁrst page. a song with similar bases obtained from other songs while

c 2013 International Society for Music Information Retrieval. preserving the activations. An arranged chord sequence is

457

14th International Society for Music Information Retrieval Conference (ISMIR 2013)

ŚŽƌĚ^ĞƋƵĞŶĐĞ

ŵ 'ϳ ŵ

ŚŽƌĚdƌĂŶƐŝƚŝŽŶ

d

^ĞƋƵĞŶĐĞ ǆ ƚ ƚсϭ

нϮ ŵŝŶŽƌ нϱ ƐĞǀĞŶƚŚ нϮ ŵŝŶŽƌ

ηͬď ηͬď ηͬď

ηͬď нϮ ηͬď ηͬď

нϱ нϮ

'ηͬď 'ηͬď 'ηͬď

' & ' & ' &

&ηͬ'ď &ηͬ'ď &ηͬ'ď

sition used in our method. Each transition is represented as

a combination of the interval between the root notes of ad-

jacent chords and the type of the latter chord.

ﬁnally generated from the reconstructed chord differential with the chord differential matrix representation.

matrix as the product of the resulting bases and the original

activations.

The remainder of this paper is structured as follows. In is converted into a sequence of chord transitions accord-

Section 2, we present the analysis and synthesis framework ing to the deﬁned vocabulary, we can recover the original

of chord symbol sequences based on the chord differential sequence if the ﬁrst chord of the sequence is given. This

matrix. In Section 3, we present the formulation of chord representation has also been used in related work [6] for

arrangements. In Section 4, we present experimental re- the same purpose of normalizing the tonality of chord se-

sults to illustrate the performance of the system ChordSe- quences.

quenceFactory. Finally in Sections 5 and 6 we include dis- An advantage of this representation is that it can reduce

cussion and conclusions, which summarize the main con- the number of parameters to be dealt with. The typical ap-

tributions of the paper. proach to modeling chord sequences is to calculate a tran-

sition probability matrix over chord names deﬁned in a vo-

cabulary. This approach, however, requires a large number

2. ANALYSIS AND SYNTHESIS OF SYMBOLIC of parameters, i.e., we need to deal with M × M parame-

CHORD SEQUENCES ters if M kinds of chord names are contained in the vocab-

2.1 Chord transition sequence ulary. Since the chord type seems to be less dependent on

the type of the previous chord name, we directly focus on

Chord names typically consist of up to three labels: root the root-note interval and the current chord type.

note, chord type, and bass note speciﬁcation [5]. Since the

bass notes are omitted in many cases, we treat chord infor- 2.2 Analysis of a chord transition sequence based on a

mation as a combination of the ﬁrst two labels. In general, chord differential matrix

chord transitions are considered to be more important than

the absolute pitch of the root note of each chord. This is We now explain the probabilistic representation of a chord-

supported by the fact that it is possible to transpose chord transition sequence {xt }Tt=1 , where xt ∈ {cn }N n=1 and T

sequences into other tonalities without affecting the func- is the length of the sequence. We analyze the sequence

tions of chord idioms used in these sequences. on frame-by-frame basis using an exponentially-decaying

In this paper we do not deﬁne a vocabulary of chord window as shown in Fig. 3. This window is designed based

names but rather, a vocabulary of chord “transitions” for on our assumption that the characteristics of chord tran-

modeling how adjacent chords are arranged in music. Let sitions remain the same for some period of time because

{cn }Nn=1 be the vocabulary of chord transitions, where N

musical pieces are usually composed so that each section

is the size of the vocabulary and each cn is deﬁned as fol- gives a coherent impression. The window is moved one

lows: by one from the ﬁrst chord of the given sequence. In each

frame t, we calculate a probability vector v t ∈ RN such

cn ≡ str (INTERVAL) + str (TYPE) , (1) that the elements of the vector sum to unity. More specif-

ically, vtn is a ratio of chord transition cn to all possible

where INTERVAL indicates the difference in semitones

transitions in frame t, which is given by

between the root notes of a target chord and the previ-

−τ

0≤τ ≤λ δcn xt+τ e

ous chord and TYPE indicates the type of the target chord.

An example chord transition sequence is shown in Fig. 2. vtn = −τ

, (2)

0≤τ ≤λ e

Since we do not need to know the direction of root changes,

the value of INTERVAL is restricted to a nonnegative inte- where δij is the Kronecker delta, λ is the window length,

ger. The operation str(·)+str(·) means the string conjunc- and e−τ is a temporally-decaying weight. Note that v t in-

tion (i.e., concatenation). Once a given sequence of chords dicates a co-occurrence relationship between chord transi-

458

14th International Society for Music Information Retrieval Conference (ISMIR 2013)

ŚŽƌĚŝĨĨĞƌĞŶƚŝĂůDĂƚƌŝǆ

s

sŽĐĂďƵůĂƌǇŽĨŚŽƌĚdƌĂŶƐŝƚŝŽŶƐ

;Ŷсϭ͕Ϯ͕͙͕EͿ

dŝŵĞ;ƚсϭ͕Ϯ͕͙͕dͿ

ŚĂƌĂĐƚĞƌŝƐƚŝĐŚŽƌĚ

dƌĂŶƐŝƚŝŽŶWĂƚƚĞƌŶƐ

;ĂƐĞƐͿ dĞŵƉŽƌĂůĐƚŝǀĂƚŝŽŶƐ

t ,

sŽĐĂďƵůĂƌǇŽĨŚŽƌĚdƌĂŶƐŝƚŝŽŶƐ

ĂƐĞƐ ;Ŭсϭ͕Ϯ͕͙͕<Ϳ

;Ŷсϭ͕Ϯ͕͙͕EͿ

Figure 4. Regeneration of a chord transition sequence ǆ

from a chord differential matrix representation by means

of V and the bi-gram probability obtained a priori from

ĂƐĞƐ ;Ŭсϭ͕Ϯ͕͙͕<Ϳ dŝŵĞ;ƚсϭ͕Ϯ͕͙͕dͿ

the data.

Figure 5. Factorizing the chord deferential matrix: Anal-

tions in the vicinity of frame t. The process of representing ysis of the frequent combinations and the temporal occur-

the chord transition sequence as a chord differential matrix rences of chord transitions.

is shown in Fig. 3.

This frame-based vectorial representation of chord tran-

sition probabilities has useful properties for chord arrange- 3. FORMULATION OF

ment as follows: CHORD-SEQUENCE-FACTORY

Although chords often change at bar boundaries, the

An overview of ChordSequenceFactory is illustrated in

mood does not change in such a short time span be-

Fig. 6. The mood of music varies according to sections

cause we use an exponentially-decaying window of

of a song. For instance, some sections often use dominant

length λ.

intervals and other sections tend to use chords with more

• Reproducibility of chord sequences tension notes. Therefore we aim to identify the characteris-

We can approximately reconstruct the original se- tic patterns of chord transitions that affect the mood of each

quence {xt }Tt=1 from a sequence of probability vec- section. We represent a probability vector v t at each time

tors {v t }Tt=1 in a principled manner. t as a convex combination of multiple bases as follows:

vt = hkt wk , (5)

To regenerate a chord transition sequence from a chord dif- k=1

ferential matrix, we need to consider the transition between

successive chord transitions xt and xt−1 . Using the transi- where wk , (k = 1, · · · , K) denotes a characteristic chord

tion probability P (xt |xt−1 ) trained from the data, we can transition pattern and hkt is its weight. In order to de-

calculate the probability of observing {xt }Tt=1 as follows: compose {v t }Tt=1 using shared bases {wk }Kk=1 , we exploit

T

nonnegative matrix factorization (NMF) (Fig. 5), i.e.,

P {xt }Tt=1 = (ξvt (xt ) + (1 − ξ) P (xt |xt−1 )) , V = (v 1 · · · v T ) (6)

t=1

(3) is decomposed into matrices W (N × K) and H (K × T )

where ξ is an interpolation coefﬁcient such that 0 ≤ ξ ≤ 1. as:

The chord transition

sequence

{x∗t }Tt=1 is reconstructed

T

by maximizing P {xt }t=1 as follows: V W H, (7)

where W is the matrix of bases:

{x∗t }Tt=1 = argmax P {xt }Tt=1 . (4)

{xt }T

t=1

W = (w1 · · · wK ) (8)

Since there are N possibilities for each xt , it is computa-

tionally infeasible to test all N T possible sequences with and H is the matrix of activations:

⎛ ⎞

the naive method of exhaustive search. Fortunately, we can h11 · · · h1T

obtain the solution {x∗t }Tt=1 with O (N ) using dynamic ⎜ ⎟

H = ⎝ ... . . . ... ⎠ . (9)

programming. The process for generating a sequence is

shown in Fig. 4. hK1 · · · hKT

459

14th International Society for Music Information Retrieval Conference (ISMIR 2013)

REFERENCE

FACTORIZATION

ORIGINAL

+5 sus2 +2 major +2 minor +10 major +5 major . . .

FACTORIZATION

(ANALYSIS)

Characterisc Chord

Transion Paerns

(bases) Temporal Acvaons Chord Diﬀerenal Matrix

W H V

x ≃

(1–a) +a

POOL OF BASES

Preserved

INTERPOLATION OF BASES CONVERTED CONVERTED

=

x =

ARRANGEMENT

Characterisc Chord

Transion Paerns Temporal Acvaons

(Bases) Chord Diﬀerenal Matrix

W* H (SYNTHESIS)

V*

Chord Diﬀerenal Matrix to Chord Transion Sequence

ARRANGED

+3 dim7 +2 seventh +7 minor +11 sus2 +2 major7 . . .

Figure 6. Overview of the process executed by ChordSequenceFactory for generating chord arrangements.

j(i) , (14)

We want to modify the V of a target song by referring

to chord transition patterns used in another song. More where a is the interpolation parameter such that 0 ≤ a ≤ 1.

speciﬁcally, to obtain a reconstructed chord differential ma- The value of a represents how the mood of the original

trix V ∗ , we reuse the H of the target song and use a set of song is preserved through the chord arrangement.

modiﬁed vectors W ∗ = (w∗1 · · · w∗K ) as follows:

∗ 3.3 Generation of chord arrangements

= W H. (11)

To obtain each modiﬁed vector w∗i , we interpolate a ref-

chord transition sequence from the modiﬁed chord differ-

erence vector wrefi of another song with the original vector

ential matrix V ∗ . We interpolate the transition probability

wi . Since the original bases {wk }K k=1 and reference bases obtained from all songs in the database Pall (xt |xt−1 ) and

{wref

k } K

k=1 are not guaranteed to have their index aligned,

that obtained from the reference song Pref (xt |xt−1 ) with

we associate each wi with a reference wref j(i) such that w i

ref

that obtained from the original song Porg (xt |xt−1 ) as fol-

is closest to wj(i) , i.e., lows:

K

P ∗ (xt |xt−1 ) = ξ1 Pall (xt |xt−1 ) + ξ2 Porg (xt |xt−1 )

j (1) , · · · , j (K) = argmax D wi wref

j(i) ,

j(1),··· ,j(K) k=1 +ξ3 Pref (xt |xt−1 ) , (15)

(12) 3

where {ξi }i=1 are the interpolation coefﬁcients that sum to

where D is a distance measure based on the symmetric

unity, i.e., i ξi = 1. Using P ∗ (xt |xt−1 ), we can calcu-

Kullback Leibler divergence:

late the probability of observing {xt }Tt=1 as follows:

wik

D wi wref j(i) = wik log ref T

wj(i)k

k P {xt }Tt=1 = (ξvt∗ (xt )

ref

ref

wj(i)k t=1

+ wj(i)k log . (13) + (1 − ξ) P ∗ (xt |xt−1 )). (16)

wik

k

The arranged chord

transition

sequence is then obtained by

Using the aligned indicies j (1) , · · · , j (K), we can cal- maximizing P {xt }Tt=1 (see Section 2.3).

460

14th International Society for Music Information Retrieval Conference (ISMIR 2013)

sŽĐĂďƵůĂƌǇŽĨŚŽƌĚdƌĂŶƐŝƚŝŽŶƐ sŽĐĂďƵůĂƌǇŽĨŚŽƌĚdƌĂŶƐŝƚŝŽŶƐ

Ăсϭ͘Ϭ Ă сϬ͘ϳ

;Ŷсϭ͕Ϯ͕͙͕EͿ

;Ŷсϭ͕Ϯ͕͙͕EͿ

of a reference song: we can see that the chord usages orig-

inated in two different songs are combined, depending on Figure 8. User interface of ChordSequenceFactory: users

the value of interpolation factor a. can change the interpolation factor with sliders corre-

sponding to each base.

4. EVALUATION

found our system was, in many cases, able to provide mu-

4.1 Experimental conditions sically coherent chord sequence arrangements (Table. 1).

To evaluate our system, we used 2,123 lead sheets down- However, our evaluation also revealed some limitations

loaded from the Wikifonia (www.wikifonia.org) website. that should be addressed in our future work. Since the vo-

All lead sheets we used were formatted in the MusicXml cabulary of chord transitions deﬁned for the system does

format including information of chord sequence. Each not include the absolute pitch for the root note, the gener-

chord name in a ﬁle included the step (C, D, ...), alternation ated results tended to exhibit transposition frequently. In

(#, ) of the root note, and the chord type. addition, ﬁnding the optimal number of bases when de-

composing the probability should be investigated for better

To deﬁne a vocabulary {cn }N n=1 , we extracted chord

performances. Finally, a slider for changing the activation

transitions that appeared more than 10 times in the data. A

can bring about more effects in the generated sequence.

special symbol “Unknown” ∈ {cn }N n=1 was used for repre-

senting the rest. The vocabulary size was N = 163. Using Although simply adding a seventh note to chord se-

the vocabulary, we represented each song as a chord tran- quences (rather than using our approach) has a similar ef-

sition sequence {xt }Tt=1 and calculated a chord differen- fect on chord arrangements, dissonance may appear in the

tial matrix from that sequence by using an exponentially- connection between the chords. In contrast, with our sys-

decaying window of length λ = 6, corresponding to the tem, dissonant chords can be avoided by using the con-

number of chord changes. The transition probabilities be- straints given by the transition probabilities. Furthermore,

tween {cn }N there are no restrictions in terms of combining two songs

n=1 were calculated in advance for all 2,123

songs and for each song, respectively. The chord differ- that have different structures, since the interpolation is done

ential matrix was decomposed using NMF based on the between the decomposed basis.

Euclidean distance with K = 5. Conventional methods based on N-grams cannot con-

We interpolated characteristic chord transition patterns trol the dynamic characteristics of chord transitions and

(basis vectors) of a reference song with those of an origi- need label sequences to reﬂect human intention. In our

nal song according to an interpolation coefﬁcient a = 1.0, method, we can see that the probability is changed for each

0.7, 0.5, 0.3, or 0.1. A chord transition sequence was syn- time t and that the activations at time t play the same role

thesized from a modiﬁed chord differential matrix. Since as the label sequences in the conventional methods.

the vocabulary of chord transitions only holds information

of relative root positions, we set the root note of the initial 5. CONCLUSIONS

chord to the original root note.

We have described a system ChordSequenceFactory that

can assist a user to arrange chord symbol sequences of

4.2 Experimental results and discussions

a song by ﬁnding latent frequent patterns of chord tran-

As shown in Fig. 7, we can combine two different charac- sitions and modifying them on the basis of other songs.

teristic chord transition patterns by controlling the interpo- We proposed a new analysis and synthesis framework for

lation factor a on the user interface of ChordSequenceFac- chord symbol sequences, where the temporal changes of

tory (Fig. 8). The generated examples of chord arrange- chord transition sequences are represented as a chord dif-

ments are shown in Table. 1. We conﬁrmed that the mood ferential matrix. NMF is used to decompose this matrix

of an original song can be modiﬁed while incorporating the into bases corresponding to the frequent patterns of chord

mood of a reference song if these songs have some simillar transitions and activations corresponding to their temporal

characteristic chord transition patterns. occurrences. The matrix can then be updated for a new ar-

Through informal evaluation and listening tests we rangement by modifying these bases by mixing them with

461

14th International Society for Music Information Retrieval Conference (ISMIR 2013)

reference a

ARRANGED A 0.7 Cmaj7 Fmaj7 B7 E7 Amaj6+9 Gmaj Bmaj Gmin6

0.6 Cmaj Bmaj E7 A7 Dmaj6+9 Bmaj Emaj Cmin6

0.5 Cmaj Bmaj Cmaj Dmaj Cmaj Bmaj Emaj Amin

B 0.7 Cdim Edim E7 E7 F#dim Adim D7 Gmin6

0.6 Cdim Edim E7 E7 F#dim Adim D7 Gmin6

0.5 Cmaj Bmaj Cmaj Dmaj Cmaj Bmaj Emaj Bmin6

C 0.7 Cmaj Fmaj F7 F7 Bmaj Emaj Amaj Gsus4

0.6 Cmaj Fmaj F7 F7 Bmaj Emaj Amaj Gsus4

0.5 Cmaj Fmaj F7 F7 Bmaj Emaj Amaj Gsus4

D 0.7 Cmin7 Dmin7 Dmaj7 Dmaj7 Emin7 Amaj7 Dmaj7 Cmaj7

0.6 Cmin7 Dmin7 Dmaj7 Dmaj7 Emin7 Amaj7 Dmaj7 Cmaj7

0.5 Cmaj Bmaj Cmaj Dmaj Cmaj Bmaj Emaj7 Amin

E 0.7 Cmaj6 Fmaj6 Bsus4 Esus4 Amaj6 Dmaj6 F#7 Bmin

0.6 Cmaj6 Fmaj6 Bsus4 Esus4 Amaj6 Dmaj6 F#7 Bmin

0.5 Cmaj6 Fmaj6 Bsus4 Esus4 Amaj6 Dmaj6 F#major Bmin

Table 1. Generated results of ChordSequenceFactory with ﬁve different reference songs (A,B,C,D,E). For each reference

song, three values of interpolation factor a = 0.7, 0.6, 0.5 were used. The arranged chord sequences were decoded from

the chord transition sequence {xt }Tt=1 , by setting the root note of the ﬁrst chord to C as in the original sequence.

similar bases in the pool of bases obtained from more than Book Songs,” Proceedings of the ISMIR conference,

2000 songs. The updated matrix is ﬁnally used to generate pp. 255–258, 2007.

a new re-arranged chord sequence using dynamic program-

ming. In our experience, ChordSequenceFactory gener- [7] F. Pachet: “Surprising Harmonies,” International Jour-

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ments. In the future, we plan to extend our framework to [8] J. Paiement, D. Eck, S. Bengio: “A Probabilistic Model

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quences. We will also include audio signal processing so conference, pp. 312–319, 2005.

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chord estimation algorithms based on chroma repre-

Acknowledgement sentation and hmm,” Proceedings of the ISMIR con-

This work was supported in part by OngaCREST, CREST, ference, pp 225-258, 2007.

JST.

[10] M. Rohermeier: “Towards a generative syntax of tonal

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“Discovering Chord Idioms through Beatles and Real

462

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