| Formatted contents note |
A Structural Theory of Rhythm Notation Based on Tree Representations and Term Rewriting<br/>Florent Jacquemard, Pierre Donat-Bouillud, Jean Bresson<br/><br/>Renotation from Optical Music Recognition<br/>Liang Chen, Rong Jin, Christopher Raphael<br/><br/>Music Generation<br/><br/>Foundations for Reliable and Flexible Interactive Multimedia Scores<br/>Jaime Arias, Myriam Desainte-Catherine, Carlos Olarte, Camilo Rueda<br/><br/>Genetic Algorithms Based on the Principles of Grundgestalt and Developing Variation<br/>Carlos de Lemos Almada<br/><br/>Describing Global Musical Structures by Integer Programming on Musical Patterns<br/>Tsubasa Tanaka, Koichi Fujii<br/><br/>Improved Iterative Random Walk for Four-Part Harmonization<br/>Raymond Whorley, Darrell Conklin<br/><br/>Location Constraints for Repetition-Based Segmentation of Melodies<br/>Marcelo E. Rodríguez-López, Anja Volk<br/><br/>Modeling Musical Structure with Parametric Grammars<br/>Mathieu Giraud, Sławek Staworko<br/><br/>Perfect Balance: A Novel Principle for the Construction of Musical Scales and Meters<br/>Andrew J. Milne, David Bulger, Steffen A. Herff, William A. Sethares<br/><br/>Characteristics of Polyphonic Music Style and Markov Model of Pitch-Class Intervals<br/>Eita Nakamura, Shinji Takaki<br/><br/>A Corpus-Sensitive Algorithm for Automated Tonal Analysis<br/>Christopher Wm. White<br/><br/>Finding Optimal Triadic Transformational Spaces with Dijkstra’s Shortest Path Algorithm<br/>Ryan Groves<br/><br/>A Probabilistic Approach to Determining Bass Voice Leading in Melodic Harmonisation<br/>Dimos Makris, Maximos Kaliakatsos-Papakostas, Emilios Cambouropoulos<br/><br/>Hypergestures in Complex Time: Creative Performance Between Symbolic and Physical Reality<br/>Maria Mannone, Guerino Mazzola<br/><br/>Generating Fingerings for Polyphonic Piano Music with a Tabu Search Algorithm<br/>Matteo Balliauw, Dorien Herremans, Daniel Palhazi Cuervo, Kenneth Sörensen<br/><br/>Logistic Modeling of Note Transitions<br/>Luwei Yang, Elaine Chew, Khalid Z. Rajab<br/><br/>Evaluating Singer Consistency and Uniqueness in Vocal Performances<br/>Johanna Devaney<br/><br/>A Change-Point Approach Towards Representing Musical Dynamics<br/>Katerina Kosta, Oscar F. Bandtlow, Elaine Chew<br/><br/>Similarity and Contrast<br/><br/>Structural Similarity Based on Time-Span Sub-Trees<br/>Masatoshi Hamanaka, Keiji Hirata, Satoshi Tojo<br/><br/>Cross Entropy as a Measure of Musical Contrast<br/>Robin Laney, Robert Samuels, Emilie Capulet<br/><br/>Symbolic Music Similarity Using Neuronal Periodicity and Dynamic Programming<br/>Rafael Valle, Adrian Freed<br/><br/>Post-tonal Music Analysis<br/>Front Matter<br/><br/>Applications of DFT to the Theory of Twentieth-Century Harmony<br/>Jason Yust<br/><br/>Utilizing Computer Programming to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute<br/>Kate Sekula<br/><br/>A Statistical Approach to the Global Structure of John Cage’s Number Piece Five5 <br/>Alexandre Popoff<br/><br/>Exact Cover Problem in Milton Babbitt’s All-Partition Array<br/>Brian Bemman, David Meredith<br/><br/>Geometric Approaches<br/><br/>Constructing Geometrical Spaces from Acoustical Representations<br/>Özgür İzmirli<br/><br/>Geometry, Iterated Quantization and Filtered Voice-Leading Spaces<br/>Clifton Callender<br/><br/>Using Fundamental Groups and Groupoids of Chord Spaces to Model Voice Leading<br/>James R. Hughes<br/><br/>All-Interval Structures<br/>Robert W. Peck<br/><br/>Unifying Tone System Definitions: Ordering Chromas<br/>Tobias Schlemmer<br/><br/>A Categorical Generalization of Klumpenhouwer Networks<br/>Alexandre Popoff, Moreno Andreatta, Andrée Ehresmann<br/><br/>The Spinnen-Tonnetz: New Musical Dimensions in the 2D Network for Tonal Music Analysis<br/>Gilles Baroin, Hugues Seress<br/><br/>Deep Learning<br/><br/>Probabilistic Segmentation of Musical Sequences Using Restricted Boltzmann Machines<br/>Stefan Lattner, Maarten Grachten, Kat Agres, Carlos Eduardo Cancino Chacón<br/><br/>El Caballo Viejo? Latin Genre Recognition with Deep Learning and Spectral Periodicity<br/>Bob L. Sturm, Corey Kereliuk, Jan Larsen<br/><br/>Can a Musical Scale Have 14 Generators?<br/>Emmanuel Amiot<br/><br/>On the Step-Patterns of Generated Scales that are Not Well-Formed<br/>Marco Castrillón López, Manuel Domínguez Romero<br/><br/>Triads as Modes within Scales as Modes<br/>Thomas Noll<br/><br/>Greek Ethnic Modal Names vs. Alia Musica’s Nomenclature<br/>David Clampitt, Jennifer Shafer<br/> |
