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
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