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Topic: HUMDRUM - for those who like to analyze

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    HUMDRUM - for those who like to analyze

    Perhaps this has previously been posted (although a search says not) but I came across this site last night and, as its content was travelling past at mach 5 about 6 inches above my head, I thought it might appeal to someone on this forum, especially those who are deep into theory and structure. The general usage\concept and was about all I could understand so I will paste that here along with some other examples of its usage. Hopefully some day I have enough knowledge to find this useful . First off the link to the site


    What Can Humdrum Do?

    Although Humdrum facilitates exploratory investigations, it is best used when the user has a clear problem or question in mind. For example, Humdrum allows users to pose and answer questions such as the following:
    • In the music of Stravinsky, are dissonances more common in strong metric positions than in weak metric positions?
    • In Urdu folk songs, how common is the so-called "melodic arch" -- where phrases tend to ascend and then descend in pitch? <A name=Hendrix>
    • What are the most common fret-board patterns in guitar riffs by Jimi Hendrix?
    • Which of the Brandenburg Concertos contains the B-A-C-H motif?
    • Which of two different English translations of Schubert lyrics best preserves the vowel coloration of the original German?
    • Did George Gershwin tend to use more syncopation in his later works?
    • After the V-I progression, which harmonic progression is most apt to employ a suspension?
    • How do chord voicings in barbershop quartets differ from chord voicings in other repertories?
    • In what harmonic contexts does Händel double the leading-tone?
    What kinds of manipulations can be done with Humdrum? The various Humdrum tools can be grouped roughly into the following sixteen types of operations.
    • Visual display. E.g., display a score beginning at measure 128; output the libretto from Act II, Scene 5; print the string parts for the Coda -- including the Roman numeral harmonic analysis.
    • Aural display. E.g., play the bass trombone part slowly beginning at measure 70; play just the opening two measures from all of the works in a given repertory.
    • Searching. E.g., search for instances of a motive; locate any deceptive cadences; find all of the works that are composed for a given combination of traditional Japanese instruments.
    • Counting. E.g., how often do augmented intervals occur in Hungarian folk songs? What proportion of phrases do not begin with a pick-up or anacrusis?
    • Editing. E.g., change all up-stems to down-stems in measure 88 of the second horn part.
    • Editorializing. E.g., add an editorial footnote to a specified note; indicate that a passage differs from the composer's autograph.
    • Transforming or translating between representations. E.g., transpose from one key to another; calculate the harmonic intervals between two parts; represent a score according to scale-degrees; reconstitute chords so they are represented in set normal form.
    • Arithmetic transformations of representations. E.g., calculate the semitone spacings between successive notes, or determine points where parts cross in pitch.
    • Extracting or selecting information. E.g., extract the second verse; exclude the development section; isolate the third phrase; grab the second chord in each measure; select the brass parts; take the second endings when repeating the trio; choose the Dresden manuscript version.
    • Linking or joining information. E.g., assemble instrumental parts into a full score; tag notes with their harmonic function; coordinate heart-rate data from a listener with the musical score.
    • Generating inventories. E.g., list all the types of embellishment (non-chordal) tones from the most common to the least common; what chord functions are absent from a work?
    • Classifying. E.g., classify all chords as "open" or "closed" position; identify all secondary dominants; classify all intervals as either unisons, steps or leaps; classify various piano fingerings as either easy, moderate, difficult, or impossible.
    • Labelling. E.g., mark musical sections; label themes; identify French, Italian and German sixth chords; mark appropriate words in a vocal text as either "passionate," "apathetic," or "neutral." Mark sonorities as falling on either strong or weak metric positions.
    • Comparison. E.g., determine whether the Amsterdam and Manchester manuscripts for a work have identical pitches in the third movement; determine whether motets by John Dunstable are more similar to motets by Thomas Morley or by Lionel Power.
    • Capturing Data. E.g., import live or recorded MIDI data; import data from a notation program.
    • Trouble-shooting. E.g., identify any transgressions of notational conventions; check whether a score has been tampered with; get help when you're stuck
    Last edited by chesterdesmond; 06-08-2007 at 01:56 PM. Reason: formatting issues

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