Music Indexing Research Articles

New Periodicals

New Periodicals New Titles JAZZed: the Jazz Educator's Magazine. Edited by Christian Wissmuller. Symphony Publishing. Bimonthly. Vol. 1, no. 1 (October/November 2006). Print format. Subscription or inquiries: JAZZed Magazine, 21 Highland Circle Suite One, Needham, MA 02494. E-mail: mprescott@symphonypublishing.com. $24 US, $36 CAN, $48 International. Developed by the publishers of School Band and Orchestra and Choral Director magazines, this new journal focuses on jazz education. Its intended audience includes primary, high school and college teachers. Each issue of JAZZed features someone who both performs and teaches jazz. Gary Burton, Grammy-winning vibraphonist and former dean of the Berklee College of Music, is the featured educator/performer for the inaugural issue; others profiled in this issue include Nick Phillips, vice president of Jazz and Catalog A&R at Concord Records; author and educator Brian Kane; and guest clinician Pete McCann. The journal's in-depth profiles and emphasis on hands-on ways of discussing performance methods, improvisation, and repertoire make it very useful for educators. Journal on Audio, Speech and Music Processing. Edited by Douglas O'Shaughnessy. European Association for Speech, Signal and Image Processing (EURASIP). Article-by-article. Vol. 2007. ISSN 1687-4714 (print); 1687-4722 (online). Print and online (PDF and HTML) format. Access: http://www.hindawi.com/journals/asmp. Subscription or inquiries: Hindawi Publishing Corporation, 410 Park Avenue, 15th Floor, No. 287 PMB, New York, NY 10022. E-mail: asmp@hindawi.com. $195.00 (print), online access is free. This peer-reviewed journal aims to "bring together researchers, scientists and engineers working on the theory and applications of the processing of various audio signals, with a specific focus on speech and music." The journal is well placed to fulfill this mission with an extensive list of associate editors, very international in scope and representing both academe and the corporate world. Subject areas covered in the journal are: speech and audio technology (including related science and engineering methods), speech analysis, room acoustics, human audition, speech and audio separation, music signal analysis, synthesis and information retrieval; contributions address issues in these areas both theoretically and practically. The journal is open-access and updated continuously: articles are posted as soon as they are accepted. The Journal on Audio, Speech and Music Processing is not indexed in standard music indexes. It can be found indexed/reviewed in the following: ACM Guide to Computing [End Page 550] Literature, Compendex, CSA Technology Research Database, Directory of Open-Access Journals (DOAJ), INSPEC, Scopus, and the Technology and Management (TEMA) Database. Radical Musicology. Edited by Ian Biddle and Richard Middleton. International Centre for Music Studies at Newcastle University. Annual. Vol. 1 (2006). ISSN 1751-7788. Online (PDF and HTML) format. Access: http://www.radical-musicology.org.uk. Inquiries: email enquiries@radical-musicology.org.uk. Free. Radical Musicology is peer-reviewed and was established to "provide a forum for progressive thinking across the whole field of musical studies." Although the journal does not advocate a particular theoretical viewpoint or ideology, it was created in response to a perceived marginalization of the 'new' or 'critical' musicologies of the 1990s. The editorial board does indeed read as an international "Who's Who" of the 'new musicology' including names such as Philip V. Bohlman, University of Chicago and Susan McClary, University of California, Los Angeles (AMS list post by Ian Biddle, 16 September 2006: Radical Musicology: New Journal announcement and call for submissions). Although the journal is published in annual volumes, new content is added continuously as it becomes available. In addition to scholarly articles the journal includes reviews of books, recordings, and concerts. The five "radicalists" contributing to the first issue come from a variety of backgrounds, interests and methodologies. Established musicologists, an anthropologist, and a first year Ph.D. student clearly demonstrate the range of possibilities a forum such as this holds. The issue opens with anthropologist Gustavo Azenha discussing the Internet and the decentralization of the popular music industry. He argues that new technologies are ultimately reinforcing existing social hierarchies and relations and that these trends are reflected in, and reinforced by music industry trends. Contrast this with Sarah Hill's feminist profiling of female popular singers or Vic Gammon's article...

Music Index Online (review)

Music Index Online. Published by Harmonie Park Press. http://www.harmonieparkpress.com/Musiclndex.asp and http://www.EBSCOhost.com/thisTopic.php?marketID=1t print and online bundles ranging from $3095.00 to $3495.00.] The Music Index has, since 1949, been an essential tool for scholars, students, and librarians working with music. As the only English-language index in its field for many years, the order and access it brought to the largely uncontrolled realm of music periodical literature proved essential to much music scholarship. Today the field is somewhat more crowded, and Music Index has more competition in the form of Repertoire Internationale de Litterature Musicale (RILM) (1967-), International Index to Music Periodicals (IIMP) (1996-), and the increased convenience and coverage of general periodical indexes. Printed volumes of Music Index are still available in quarterly issues and annual cumulations, but it seems a safe bet that most libraries that subscribe do so online, either on a platform from Harmonie Park Press (HPP), or through EBSCO Information Providers. Given the tendency by students to use sources they know from their general studies and their preference for online full text, many librarians may be wondering how relevant or important Music Index is today and whether their library should continue to subscribe. This review evaluates Music Index Online's coverage, indexing, currency, and functionality, significant factors in such a decision. It is beyond the scope of this review to make direct comparisons with IIMP or RILM. In brief, though, IIMP contains over 600,000 records from more than 400 periodicals. Many of those are indexed only from 1996 on. Indexing of selected titles extends further back--to the nineteenth century in a few instances, but without subject headings. Recent records include abstracts. IIMP Full Text adds full text from 125 periodicals. (See http://www.proquest.com/products_pq/descriptions/iimp.shtml and http://www.proquest.com/products_pq/descriptions/iimp_ft.shtml.) A cooperative effort of several learned societies, RILM Abstracts attempts to index all significant musical literature published since 1967, when the print version was begun. RILM includes citations and abstracts for journals, books, dissertations, and even some research-based media. Available on several different platforms, the database contains over 400,000 entries. RILM is very international in scope, including items in over 140 languages. (See http://www.rilm.org/.) For comparisons of the three indexes, see the articles by Green, Jenkins, and Troutman cited later in this review. In 2006, Music Index Online (MIO) became available on EBSCO's EBSCOhost platform. This access in an interface familiar to students and faculty at many institutions, and the accompanying access to full text from other EBSCOhost databases (provided one subscribes to them), immediately made MIO more competitive and relevant. While making occasional reference to HPP's platform, this review will focus on the EBSCOhost implementation. First, though, a little history may be in order. The first annual cumulation of Music Index, covering 1949, provided complete of eighty journals and magazines in five languages. In the beginning, the index included subject and composer entries but no author headings. The 1957 volume was the first cumulation to include author entries. These early volumes exhibit the practice--almost quaint-seeming now but certainly helpful to the latter-day reviewer--of noting, in the Foreword, changes to subject headings and indexing practice. For many years, beginning in 1955, Music Index published a separate set of subject headings in order to facilitate searching by subject. …

Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000, and: Grawemeyer Award for Music Composition; The First Twenty Years (review)

REFERENCE BOOKS Analyses of Nineteenth- and Twentieth-Century Music, 1940-2000. By D. J. Hoek; Incorporating Material by Arthur Wenk. (Music Library Association Index and Bibliography Series, No. 34.) Lanham, MD: Scarecrow Press and Music Library Association, 2007. [xxvi, 347 p. ISBN- 13: 9780810858879 ISBN-10: 0810858878. $75.00.] Bibliography, index. Grawemeyer Award for Music Composition; The First Twenty Years. By Karen R. Little and Julia Graepel with assistance from R. Scott Adams. (Music Library Association Index and Bibliography Series, No. 33.) Lanham, MD: Scarecrow Press and Music Library Association, 2007. [x, 461 p. ISBN-13: 9780810856943; ISBN-10: 0810856948. $150.00.] Index. Many music researchers and music librarians have long been familiar with Arthur Wenk's bibliographies of analyses, first of twentieth-century music and later of nineteenth-century music. Wenk's purpose was to cite and thus facilitate access to the analyses found in journal articles, monographs, doctoral dissertations, and Festschriften. He focused on art music in the western European tradition, citing scholarly writings in English and other European languages, especially French, German, and Italian. His efforts, all issued in the MLA Index and Bibliography Series, culminated with Analyses of Nineteenth- and Twentieth-Century Music: 1940-1985, which was number 25 in the series (Boston: Music Library Association, 1987). The present volume, by D. J. Hoek, is an update of that work. In undertaking the daunting task of extending coverage through the year 2000, Hoek has done a great service to scholars, music students, and those of us who help them. If for no other reason, Wenk's bibliographies have remained popular and useful simply because they have had little competition. Their nearest rival is probably Music Analyses: An Annotated Guide to the Literature by Harold J. Diamond (New York: Schirmer Books, 1991). Although broader in temporal scope than Wenk's books, Diamond's book cites only writings in English, thereby diminishing its value to serious scholars. Some people might expect electronic abstracting and indexing services to have rendered Wenk's work obsolete, but such is not the case. With Music Index, RILM, and the International Index to Music Periodicals available online, it is surely easier than it used to be to search for analyses. For several reasons, however, these resources do not necessarily make the process easier, faster, or more foolproof. The most important reason is that significant analyses lying buried in sources primarily about other topics may not show up in titles or brief abstracts. Thus, an update of Wenk's work is particularly welcome. The size of this project has increased almost tenfold since Wenk began. In his first book, Analyses of Twentieth-Century Music, 1940-1970 (Ann Arbor: Music Library Association, 1975), Wenk cited 1,225 analyses of works by 225 composers; in his new edition, Hoek cites 9,306 analyses of works by 1,066 composers. Wenk's original list of periodicals included forty-six titles; Hoek's list now includes 167. In his new edition, Hoek retains Wenk's organizational structure, which still works well. Each citation has an entry number, and entries are in alphabetical order: first by composers' names, and then, under each name, by author for those with few analyses and by title for those with more than ten. Hoek has renamed Wenk's Other Works to Various Works to refer to writings analyzing more than one work by the same composer. An index of authors' names is at the end of the book. Another feature Hoek retains is Wenk's use of abbreviations to refer to all journals, Festschriften, and monographs in the citations. Since he incorporates all of the material from Wenk's previous edition, it is understandable that Hoek uses the same format for his own edition. Nevertheless, using Hoek's updated edition would be much less cumbersome for researchers had he used full entries, especially for the journal titles. …

William Byrd and his contemporaries: essays and a monograph

Preface Abbreviations 1. William Byrd: Traditionalist and Innovator 2. Homage to Taverner in Byrd's Masses 3. Thomas Tallis: Facing the Music 4. Edward Paston: A Norfolk Gentleman and His Musical Collection Appendix A: Extracts from the Will of Edward Paston Dealing with His Collection Appendix B: List of Manuscripts 5. Musicae Modernae Laus: Geoffrey Whitney's Tributes to the Lute and Its Players 6. The Two Musical Personalities of Thomas Weelkes 7. Orlando Gibbons: English Music for the Scottish Progress of 1617 8. Word Setting in the Songs of Byrd 9. New Reflections on William Byrd 10. Prefaces to Gradualia Appendix: Publications by Philip Brett on Elizabethan-Jacobean Music Index

Assessing Optical Music Recognition Tools

68 Computer Music Journal As digitization and information technologies advance, document analysis and optical-characterrecognition technologies have become more widely used. Optical Music Recognition (OMR), also commonly known as OCR (Optical Character Recognition) for Music, was first attempted in the 1960s (Pruslin 1966). Standard OCR techniques cannot be used in music-score recognition, because music notation has a two-dimensional structure. In a staff, the horizontal position denotes different durations of notes, and the vertical position defines the height of the note (Roth 1994). Models for nonmusical OCR assessment have been proposed and largely used (Kanai et al. 1995; Ventzislav 2003). An ideal system that could reliably read and “understand” music notation could be used in music production for educational and entertainment applications. OMR is typically used today to accelerate the conversion from image music sheets into a symbolic music representation that can be manipulated, thus creating new and revised music editions. Other applications use OMR systems for educational purposes (e.g., IMUTUS; see www.exodus.gr/imutus), generating customized versions of music exercises. A different use involves the extraction of symbolic music representations to be used as incipits or as descriptors in music databases and related retrieval systems (Byrd 2001). OMR systems can be classified on the basis of the granularity chosen to recognize the music score’s symbols. The architecture of an OMR system is tightly related to the methods used for symbol extraction, segmentation, and recognition. Generally, the music-notation recognition process can be divided into four main phases: (1) the segmentation of the score image to detect and extract symbols; (2) the recognition of symbols; (3) the reconstruction of music information; and (4) the construction of the symbolic music notation model to represent the information (Bellini, Bruno, and Nesi 2004). Music notation may present very complex constructs and several styles. This problem has been recently addressed by the MUSICNETWORK and Motion Picture Experts Group (MPEG) in their work on Symbolic Music Representation (www .interactivemusicnetwork.org/mpeg-ahg). Many music-notation symbols exist, and they can be combined in different ways to realize several complex configurations, often without using well-defined formatting rules (Ross 1970; Heussenstamm 1987). Despite various research systems for OMR (e.g., Prerau 1970; Tojo and Aoyama 1982; Rumelhart, Hinton, and McClelland 1986; Fujinaga 1988, 1996; Carter 1989, 1994; Kato and Inokuchi 1990; Kobayakawa 1993; Selfridge-Field 1993; Ng and Boyle 1994, 1996; Couasnon and Camillerapp 1995; Bainbridge and Bell 1996, 2003; Modayur 1996; Cooper, Ng, and Boyle 1997; Bellini and Nesi 2001; McPherson 2002; Bruno 2003; Byrd 2006) as well as commercially available products, optical music recognition—and more generally speaking, music recognition—is a research field affected by many open problems. The meaning of “music recognition” changes depending on the kind of applications and goals (Blostein and Carter 1992): audio generation from a musical score, music indexing and searching in a library database, music analysis, automatic transcription of a music score into parts, transcoding a score into interchange data formats, etc. For such applications, we must employ common tools to provide answers to questions such as “What does a particular percentagerecognition rate that is claimed by this particular algorithm really mean?” and “May I invoke a common methodology to compare different OMR tools on the basis of my music?” As mentioned in Blostein and Carter (1992) and Miyao and Haralick (2000), there is no standard for expressing the results of the OMR process. Assessing Optical Music Recognition Tools

As Advertised: A Preliminary Look at Compiling and Comparing Title Lists from Music Article Indexes

Very little research has been done on music periodicals. Although the coverage of subscription‐based music article indexes is readily available to create the necessary evaluation when considering purchase, no comprehensive listing exists against which the coverage of these indexes can be compared. The purpose of this study is to create a comprehensive list based on the advertised title lists of the major music article indexing databases: the International Index of Music Periodicals, Music Index Online, and the International Repertory of Music Literature (Répertoire International de Littérature Musicale). Titles listed as music‐related in Academic Search Premier are also included to determine the overlap with a general aggregator. The list includes over 1,200 unique titles, and the highest percentage of coverage by any one index is just over 50 percent. A brief discussion of the preliminary findings of comparing such advertised inclusion is presented and plans for further study are given.

Table of Contents

LEON VAN NOORDEN & DIRK MOELANTS Special Issue: Papers from the 10th Rhythm Perception and Production Workshop 123 JOHN BISPHAM Rhythm in Music: What is it? Who has it? And Why? 125 JOEL S. SNYDER, ERIN E. HANNON, EDWARD W. LARGE, & MORTEN H. CHRISTIANSEN Synchronization and Continuation Tapping to Complex Meters 135 TAKAYUKI NAKATA, SANDRA E. TREHUB, CHISATO MITANI, & YUKIHIKO KANDA Pitch and Timing in the Songs of Deaf Children With Cochlear Implants 147 MARTIN F. McKINNEY & DIRK MOELANTS Ambiguity in Tempo Perception: What Draws Listeners to Different Metrical Levels? 155 DOUGLAS ECK Identifying Metrical and Temporal Structure With an Autocorrelation Phase Matrix 167 FABIEN GOUYON, GERHARD WIDMER, XAVIER SERRA, & ARTHUR FLEXER Acoustic Cues to Beat Induction: A Machine Learning Perspective 177 GEOFF LUCK & PETRI TOIVIAINEN Ensemble Musicians’ Synchronization With Conductors’ Gestures: An Automated Feature-Extraction Analysis 189 GUY MADISON Experiencing Groove Induced by Music: Consistency and Phenomenology 201 CHRISTIANE NEUHAUS & THOMAS R. KNÖSCHE Processing of Rhythmic and Melodic Gestalts—An ERP Study 209 Music Perception (ISSN 0730-7829; online ISSN, 1533-8312) is published five times a year by University of California Press, Berkeley, CA 94720. Subscription rates per year are $75 for individuals ($42 for students/retired), $310 for institutions, and $257 for institutions (electronic), plus $20 per year for air freight delivery outside North America. Periodicals postage paid at Berkeley, CA, and additional mailing offices. POSTMASTER: Send all address changes to Music Perception, University of California Press, Journals and Digital Publishing, 2000 Center St., Suite 303, Berkeley, CA 94704-1223. Canadian GST 89626 2698 RT0001. All matters of an editorial nature should be addressed to: Lola L. Cuddy, Editor, Department of Psychology, Humphrey Hall, 62 Arch St., Room 232, Queen's University, Kingston, Ontario, K7L 3N6 Canada; e-mail mpercep@post.queensu.ca. Address subscription orders, changes of address, business correspondence, and advertising inquiries to Music Perception, University of California Press, Journals and Digital Publishing 2000 Center St., Suite 303, Berkeley, CA 94704-1223. e-mail journals@ucpress.edu, website www.ucpress.edu/journals. Subscription payment can be made with UNESCO book coupons. Please allow 4 months for delivery of first issue. Single copies are $15 for individuals and students and $63 for institutions. Domestic claims for nonreceipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. The opinions and assertions contained in Music Perception are those of the authors and are not to be construed as reflecting the views of the editor or the publisher. Copying notice: Authorization to copy article content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee through the Copyright Clearance Center (CCC), www.copyright.com. To reach the CCC’s Customer Service Department, dial 978-750-8400 or fax them at 978-750-4470 or write to 222 Rosewood Drive, Danvers, MA 01923. Permission to distribute electronically, republish, resell, or repurpose material from 2001 forward, as well as requests for article reprints or offprints, can be fulfilled online through the CCC’s Rightslink service, available on Caliber at http://caliber.ucpress.net. All other permissions and licensing inquiries may be submitted through the University of California Press website at http://www.ucpressjournals.com Articles appearing in Music Perception are abstracted and indexed in the following select databases: Arts & Humanities Citation Index, Current Contents; E-psyche; International Index to Music Periodicals; Linguistics and Language Behavior Abstracts; Music Index; Psychological Abstracts, RILM; PsycINFO; Abstracts of Music Literature; and Social Sciences Citation Index. For complete abstracting and indexing information, please visit http://www.ucpressjournals.com © 2006 by the Regents of the University of California. Printed in the U.S.A. This paper is acid-free and chlorine-free.

The Steamboat Springs High School Ski Band 1935–2005

Nestled at the foot of the Zirkel and Sarvis Creek Wilderness areas in northwest Colorado sits the picturesque resort town of Steamboat Springs. The largest town in Routt County, Steamboat Springs has a population of approximately 10,000 residents. (1) Cattle and sheep ranching, together with hay and wheat farming, have been major economic sources for many years. (2) No activity, however, provides as much economic support to contemporary Steamboat Springs as tourism. The primary reason tourists flock to Steamboat Springs is an activity that has been integral to the lives of generations of Routt county residents: skiing. In 1914 Carl Howelsen organized a Winter Carnival as a means to promote skiing and celebrate the winter season. The week-long festival continues to this day and has become a major part of the town's culture. Taking place during the second week of February, the carnival features ski races, ski jumping, chariot racing, street events, a shovel race, dog sled pulls, skijoring, and fireworks. None of these events, however, can rival in attention and uniqueness the high school band's performance in the Diamond Hitch Parade, which traditionally takes place on the last day of the carnival. Every year since 1935 members of the Steamboat Springs High School band put on red wool uniforms, get out plastic mouthpieces, lubricate their instruments with no-freeze valve oil, attach shortened Nordic skis to their boots, and ski down Lincoln Avenue to the delight and amazement of hundreds of people. Literature Review It is possible that Steamboat Springs High School is not the only school in the country that has a novelty-type ensemble that performs on a regular basis. However, a search of several databases (ERIC First Search, RILM Abstracts of Music Literature, International Index to Music Periodicals, Dissertation Abstracts International, and Music Index) did not return any literature concerning novelty bands in public school music programs. In order to formulate a perspective from which to learn more about the unique Steamboat Springs high school ski band, the following literature review examines school band history and and the relationship between public school music ensembles and their communities. School Bands and Community Relations--A Brief History During the late-nineteenth century, outdoor professional band concerts led by such conductors as Sousa, Pryor, Conway, Liberati, and Creatore helped increase public interest in band music. The events became popular throughout the United States, but instrumental music had yet to reach the public schools. (3) At that time most public school music programs were limited to vocal music. (4) Lee's detailed account of music education and rural reform shows how, at the turn of the twentieth century, music began to be viewed as an important social tool because it promoted discipline and religious virtue. (5) After 1900 university teachers and rural reformers began organizing music education in rural schools and communities. With these new music education programs came community performances by local children. The growth of instrumental music in the schools was rapid during the 1920s and 1930s, driven in large part by instrument, uniform, and publishing companies. (6) By the mid-1930s, music education in the Steamboat Springs schools included a high school band and one of the most unique ensembles in the country. School Culture Morrison examines cultural themes such as identity, transmission, social dimension, organizational hierarchy, traditional song, and traditional performance practices. (7) He believes that student performing ensembles offer students an opportunity unlike any other in the schools for celebrating both diversity and unity. According to Morrison, school ensembles are guardians of their own specific culture, and he argues that the most formal manifestation of ensemble membership occurs at performances when members wear uniforms and present themselves to the public. …

From the Guest Editor—Special Cluster on Computation in Music

The issues in computational modeling of music have risen to the forefront due to the massive, and rapidly growing, amount of music that is now available in digital format. Propelled by the industry’s demand for content-based music indexing, for retrieval and recommendation systems, and for techniques to manipulate and create music for mobile phones, games, and other applications, and fueled by academia’s more established musicological and pedagogical interests, the need for new algorithms and models to better understand, create, and evaluate music has never been greater. This increase in music and computing research is evidenced from the proliferation of new conferences in this area, such as the International Conference on Music Information Retrieval (founded 2000), the Computer Music Modeling and Retrieval Conference (founded 2003), and the Sound and Music Computing Conference (founded 2004), to name a few. The operations research community is not far behind in this respect; I have organized several sessions on music at recent INFORMS conferences. In 2003, the INFORMS Annual Meeting in Atlanta featured a special cluster of three invited sessions devoted to OR in the Arts: Applications in Music; the 9th INFORMS Computing Society conference in Annapolis, MD in 2005 showcased two invited sessions entitled Music, Computation and Artificial Intelligence. One might ask: What has OR got to do with music and computing? The definitions of OR range from the textbook coverage of techniques such as mathematical (including linear, nonlinear, integer, mixedinteger, dynamic) programming and stochastic methods (including Markov modeling and queuing theory) to Richard Larson’s “common-sense approach to problems” with the value added of OR being “the correct framing and formulation of the problem” (OR/MS Today, December 2004). Regardless of the choice of definition, OR is very much part of computation in music today. For example, music-to-score alignment can be modeled and solved using dynamic programming, and the problem of separating voices in polyphonic music can be framed as an optimization problem to be solved using local search techniques. Together with the cluster’s three distinguished associate editors, Roger Dannenberg, Joel Sokol, and Mark Steedman, I am pleased to present to you a selection of five papers on a range of topics in this special cluster on computation in music. The first three articles focus on music description and analysis, followed by papers on music improvisation and evaluation of retrieval systems. The article by Darrell Conklin and Christina Anagnostopoulou proposes a viewpoints method for knowledge representation of segmented melodies that allows for melodic analysis at different levels of abstraction. The proposed method can serve as a tool for stylistic analysis, synthesis, and classification. The authors demonstrate that the viewpoints method facilitates the discovery of recurrent patterns in large collections. The article by Emilia Gomez focuses on tonal description of polyphonic audio. Tonal features can be used in similarity assessment and to index digital collections. The author proposes a method for extracting a tonal descriptor, a vector called a harmonic pitch class profile, from polyphonic audio signals, and applies the proposed description to audio key finding. The article by Elaine Chew describes the spiral array model for tonality and gives an overview of algorithms for key finding, pitch spelling, and tonal segmentation based on this model. The paper introduces the Argus algorithm, a linear-time method, for automatic segmentation by tonal context. These algorithms provide a set of tools for describing the tonal patterns of music encoded in numeric form. In the next article, Judy Franklin summarizes the state of the art in the use of recurrent neural networks for generating music and presents a recurrent neural network that can learn both longand short-term structures in music. The proposed network is applied to jazz improvisation to generate new melodies from the original, given an alternate sequence of chords.

Music therapy in the treatment of multiple sclerosis: a comprehensive literature review

Coping with multiple sclerosis symptoms still remains a challenge for each patient suffering from this chronic inflammatory disease. Therefore, patients often turn to using complementary and alternative medicine (CAM). In this review, the authors aimed to investigate the current state of literature of music therapy in the treatment of multiple sclerosis (MS). Medline, PubMed, Embase, AMED, CAMbase and the Music Therapy World Journal Index were searched for the terms MS and ‘music therapy’. In addition, an internet search using Google Scholar was performed. The authors found seven case-reports/series and seven studies on music therapy for MS-patients. Both the case reports and studies presented here are pioneer work. Most of the studies are naturally predominated by the use of qualitative and uncontrolled research designs. Nevertheless, the results of the studies as well as the case reports demonstrate patients’ improvement in the domains of self-acceptance, anxiety and depression. The results of the studies as well as the case reports define a sufficient basis for further music therapeutical work as they show a variety of psychosocial and emotional benefits for MS patients.

New Periodicals

This semiannual column selectively lists newly issued periodicals; describes their objectives, formats, and contents; and provides information about special issues, title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: International Index to Music Periodicals (IIMP; http://music.chadwyck.com/), Music Index (MI; http://www.hppmusicindex.com/), RILM Abstracts of Music Literature (RILM; http://www.RILM.org/), OCLC WorldCat and Ulrich's Periodical Directory (http://www.ulrichsweb.com/ulrichsweb/). All Web sites were accessed on 23 November 2005 unless otherwise specified. New Titles Acoustics Research Letters Online (ARLO). Edited by D. Keith Wilson, US Army Cold Regions Research Laboratory. Acoustical Society of America. Quarterly. Vol. 1, no. 1 ( July 2000). Online format (PDF and PostScript). ISSN 1529-7853. Access: http://scitation.aip.org/ARLO/top.jsp. Subscription: Acoustical Society of America, Suite 1NO1, 2 Huntington Quadrangle, Melville, NY 11747-4502. E-mail: asa@aip.org. $150 institutions, free individuals. ARLO is the electronic journal of the Acoustical Society of America (ASA), a society devoted to all aspects of acoustics. A rapid publication journal posting articles as they become available, ARLO articles are processed on "PeerXpress—a web-based manuscript management system, which includes peer review using many associate editors and reviewers of The Journal of the Acoustical Society of America ( JASA). ARLO articles are searchable and linkable through the Scitation platform of the American Institute of Physics (AIP), which publishes and archives articles for ASA" (http://scitation.aip.org/ARLO/). Multimedia content is accepted. A bimonthly CD-ROM, currently only available to subscribers of JASA includes recently published ARLO articles along with the current issue of JASA. From March 1999 to September 2000 ARLO was published as a section of JASA. Articles published during this period are also available online at http://scitation.aip.org/arlo/archives/articles.jsp (PDF). All issues are browsable and keyword searchable. The subject coverage of ARLO includes speech, music and noise. In addition, ASA has a Technical Committee on Musical Acoustics, which is particularly interested in the "physics of musical sound production, psychoacoustics of musical perception, music cognition, and analysis and synthesis of musical sounds and composition." For more information on the Acoustical Society of America's Technical Committee on Musical Acoustics see: http://www.public.coe.edu/~jcotting/tcmu/. Chaise Magazine. Coedited by Bennett Barbakow, Michelle Higa, Noah Norman, and Chris Smith. Creative Arts Council, Brown University. Semiannual. Issue 1 (2004). DVD-ROM format. Subscription or inquires: Chaise Magazine, 97 N. 3rd St., No. 1F, Brooklyn, NY 11211. E-mail: info@chaisemagazine.org. Free (postage is required). For more information and specific postage amounts see the Chaise [End Page 769] Magazine Web site at: http://www.chaisemagazine.org/. Distributed free on DVD, Chaise Magazine is a collection of art and music featuring the work of artists, animators, filmmakers, computer programmers, and composers, particularly emerging artists. An interesting collaboration between art and technology, Chaise allows for the display of art and music without the traditional mediums of gallery spaces, concert halls and record stores. The companion Web site, http://www.chaisemagazine.org/, posts exhibitions, calls for artwork, tutorials and links to other art resources, and showcases artists from the magazine. The "patented CHAISE technology can support videos, films, music, radio plays, sound experiments, photography, digital stills, interactive text, paintings, performance/installation/sculpture documentation, 2D/3D animations, MAX/MSP/Jitter applications, Director/ Flash animations, Java applets and anything else that fits on a DVD/DVD-ROM." (http://www.chaisemagazine.org/about/). DOWN Magazine: Dedicated to Southern Hip-Hop Music and Culture. Down Enterprises. Bimonthly. No. 1 ( July 2005). ISSN 1554-8945. Print format; includes a compact disc. Subscription: Down, 124 Durham Ave., Metuchen NJ, 08840. $20. For more information see the magazine's Web site: http://www.downmagazine.com/. Jeremy Miller, a former Source: The Magazine of Hip-Hop Music, Culture & Politics executive, launched DOWN Magazine because "Southern artists are dominating the charts but are underrepresented on the newsstands." DOWN attempts to provide an alternative to what Miller calls an "East Coast" perspective in mainstream coverage of...

Popular music and cultural identity in the Cape Verdean post-Colonial diaspora

Popular music is a powerful medium for representing, contesting, and negotiating changing cultural identities within shifting global diasporas. Music indexes continuity and change, sustains and renegotiates connection across transnational space, and reshapes generational relations. Popular music across the global Cape Verdean diaspora – spanning the archipelago, Europe, North America, and Africa – offers a vital musical dialogue on issues of memory, identity, race, and post-coloniality. Today’s newer musics, such as cabo-zouk and hip-hop, give voice to realities of diasporic youth within multi-ethnic urban communities of color in the Global North. Cape Verdean youth increasingly identify with a multi-ethnic, transnational black African diaspora, mostly urban-based, but often still retain Cape Verdean ethnic identity. Embracing Africa, their music today spurns Europe and rejects older lusophone frameworks inherited from the Portuguese colonial era.

Automatic music classification and summarization

Automatic music classification and summarization are very useful to music indexing, content-based music retrieval and on-line music distribution, but it is a challenge to extract the most common and salient themes from unstructured raw music data. In this paper, we propose effective algorithms to automatically classify and summarize music content. Support vector machines are applied to classify music into pure music and vocal music by learning from training data. For pure music and vocal music, a number of features are extracted to characterize the music content, respectively. Based on calculated features, a clustering algorithm is applied to structure the music content. Finally, a music summary is created based on the clustering results and domain knowledge related to pure and vocal music. Support vector machine learning shows a better performance in music classification than traditional Euclidean distance methods and hidden Markov model methods. Listening tests are conducted to evaluate the quality of summarization. The experiments on different genres of pure and vocal music illustrate the results of summarization are significant and effective.

Searching PubMed/MEDLINE, Ingenta, and the Music Therapy World Journal Index for articles published in the Journal of Music Therapy.

The purpose of this study was to carry out a comparison between references to articles published in the Journal of Music Therapy before December 2002 identified through searching PubMed/MEDLINE, the Ingenta database and those actually published in the journal. To carry out this comparison we have created a new database, called the Music Therapy World Journal Index, which includes complete indexes of selected music therapy journals. All articles published in the Journal of Music Therapy since its commencement in 1964 are referenced in this database. We found a large number of articles that are not identified by searching PubMed/MEDLINE. There is an under-representation of both the amount of articles published in this journal and in the range of areas for clinical application and research in music therapy. The Ingenta database is comprehensive but limited in its coverage of the early years. To carry out a comprehensive research of the literature, it is necessary to consult an expert database, such as the Music Therapy World Journal Index, that guarantees an unequivocal level of completeness.

East Indian Music in the West Indies: Tan-Singing, Chutney, and the Making of Indo-Caribbean Culture. By Peter Manuel. Philadelphia: Temple University Press, 2000. 252 pp., with a Compact Disc. $89.50 (cloth); $29.95 (paper).

List of Maps, Illustrations, and Musical Examples Preface Acknowledgments 1. Introduction 2. The Development of Local-Classical Music 3. The 1960s to the Present: Efflorescence and Decline 4. Tradition, Innovation, and Identity in Tan-Singing Aesthetics 5. Style and Subgenre in Tan-Singing 6. The Chutney Phenomenon 7. Conclusion: Music and the Dynamics of a Diaspora Glossary Selections of the Compact Disc Selected Hindi Songs in Devnagari Script Notes Bibliography Discography of Local-Classical Music Index

A Descriptive Study of Subject Indexing and Abstracting in International Index of Music Periodicals, RILM Abstracts of Music Literature, and The Music Index Online

There are now three major online databases dedicated to current indexing of the literature of music: The Music Index (hereafter MI); RILM Abstracts of Music Literature (RILM); and International Index to Music Periodicals (IIMP). [1] The online version of MI provides citations, but not abstracts, for periodical literature in music going back to 1979, and is available both on CD-ROM and via the Internet. It is produced by Harmonie Park Press, which has published the print version of MI since 1949. The Web version was used in the present study. Chadwyck-Healey, after briefly marketing an earlier CD-ROM version of MI, launched its own music database, IIMP, in 1996. Now owned by Bell & Howell Information and Learning, IIMP, provides indexing and abstracts for music periodical literature since 1996 and is steadily adding citations (without abstracts) for pre-1996 literature. IIMP is available on CD-ROM and in two Web versions: a basic product with traditional citations and abstracts, and IIMP Full Text, which add s access to the full text of articles from over forty journals. Trial access to IIMP, Full Text was used for the present study, though no use was made of the full-text options. RILM is a joint project of the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centers. Since 1967, it has published abstracts of the whole range of scholarly literature in music, going beyond journal articles to include books, dissertations, catalogs, Festschriften, conference proceedings, and other formats. RILM exists in two electronic versions: it is available on CD-ROM and via the Web from National Information Services Corporation (NISC USA), and Web access is also provided through OCLC FirstSearch. The OCLC product was the primary means of access for the present study, though trial access to the NISC product was arranged for comparison of a few points. These three databases differ greatly in the ways in which they index the literature. The present study identifies a group of articles that have been treated by all three databases and compares those treatments in both quantitative and qualitative terms. [2] The quantitative section involved randomly selecting a large group of articles and comparing the number of subjects assigned, total words in the subjects, and unique words in the subjects in each of the three databases, and the number of words in the abstracts in RILM and IIMP. The qualitative aspect required looking more closely at a smaller number of items to compare the appropriateness of subjects chosen for indexing, the content and style of abstracts (for IIMP and RILM), and the accessibility of vocabulary in both. A search of the library literature found no studies comparing both indexing and abstracting of the same articles by different databases. Though many articles can be found comparing various utilities' coverage of particular topics or journals, very few actually examine subject access at the individual record level. MaryEllen C. Sievert and Alison F. Verbeck [3] come closest with a document-level comparison of subject indexing of the literature of online searching in Library and Information Science Abstracts and the education database ERIC, but their study did not include comparison of abstracts. QUANTITATIVE ANALYSIS In order to carry out the comparisons envisioned for this study, it was necessary to generate a group of articles for which full treatment could be found in all three databases. This study was meant to be descriptive rather than predictive, and care was taken to make the sample generation process as objective as possible. The sample was limited to articles from 1996 in order to eliminate pre-1996 citation-only records in IIMP and post-1996 brief records added to RILM as part of its current citations project. A list was created of ninety-eight journals which each of the three databases claimed to index comprehensively. …

Keeping Up with the Times

International Index to Music Periodicals (IIMP), The Music Index, and RILM s of Music Literature were evaluated in a number of performance aspects, including the number of titles selectively and comprehensively indexed, timeliness of indexing, breadth of language coverage, and periodical subject area coverage. Concerning timeliness of indexing, it appears the more titles each index tries to control, the less current their indexing. RILM attempts to comprehensively index far fewer titles than the other two databases, but is much more consistent over time, with current issue indexing available for more than half of their comprehensively indexed titles. IIMP also has a respectable number of titles with current issue indexing available, including many quarterly and monthly magazines, but the majority of their titles have a significant indexing gap of one year or more. Music Index has significantly more titles under comprehensive indexing control, but lags behind the others in currency. Concerning language, RILM clearly has the best international coverage, while IIMP indexes relatively few non-English titles. Lastly, there is a surprisingly low degree of overlap of periodical title coverage between the three databases, particularly among the musicology, popular music, and performance-related periodicals.

Comprehensiveness of Indexing in Three Music Periodical Index Databases

International Index to Music Periodicals, Music Index Online, and RILM s of Music Literature are the principal databases for music research. While similarities exist between these databases in terms of titles indexed, as well as in terms of the depth and extent of coverage, the differences are significant. An understanding of indexing practices will influence subscription decisions and the selection of databases for particular research needs. One measure of the effectiveness of an index is the comprehensiveness of its indexing; that is, the extent to which single issues are analyzed. In this study six widely-subscribed music periodicals were exhaustively searched in all three indexes. In addition to typographical errors, spelling errors, and incorrect page numbers, all three databases exhibited significant lacunae, technical problems that interfere with data retrieval, and less-than-precise claims for coverage.

William Walton: music and literature

Contents: Preface Michael Pope The Songs Alan Cuckston Sacred Music John Coggrave FaA ade: a noise like amber Kevin McBeath Belshazzar and BBC Bureaucracy: the Origins of a Masterpiece Michael Kennedy The Symphonies and the Concertos Robert Meikle Film Music Stephen Lloyd 'All the things that might have been': Christopher Columbus Zelda Lawrence-Curran 'A Lost Child': a Study of the Genesis of Troilus and Cressida Scott Price Recorded Works Lyndon Jenkins Walton's Words Lewis Foreman Bibliography Index of Walton's music Index of names.

SIMILARITY BETWEEN ACOUSTIC INDICATORS OF AN REAL HALL AND ITS MODEL/REALIOS SALĖS IR JOS MODELIO AKUSTINIŲ RODIKLIŲ PANAŠUMAS

The similarity between acoustic indicators of an real hall and its model has been examined. A rectangular hall is 13.6 m long, 10.7 m wide and 7.0 m high. Its floor and ceiling are horizontal. The hall has plastered walls, parquet floor, and reinforced-concrete-slab ceiling. Thus, all surfaces of the hall are made of materials that reflect sound well. A hall model scaled 1:25 was made. The floor and ceiling of the model were made of fabric-based laminate and the walls were made of veneer 8 mm thick, lacquered three times. Therefore, the materials used to produce the model are similar to those of the real hall by their sound absorption properties. A 9 calibre sound pistol was used as a sound source for the investigations in the real hall. The sound signal was stored in the computer memory via a ½′ microphone, an amplifier and an analog-to-digital converter, then analysed by means of a acoustical signal analysis program developed by us. The signal was analysed within the frequency range of 50—5000 Hz. The main objective and subjective acoustical indicators of the hall were calculated using this program. A spark sound source was used for the experiments with the hall model. It was thrust through a hole in the floor in order to improve the radiation directivity diagram. The position of the sound source and a ¼′ microphone was the same in the real hall and its model. The signal was fed from the microphone to the amplifier, then to the analog-to-digital converter and recorded in the computer memory. The signal may be recorded via several different buffers allowing to record signals of varied length. The range of the frequencies investigated was from 1250 to 50000 Hz, the model scale being 1:25. The signal digitization frequency was 166.6 kHz and the digitization time was 6 mks. The decrease of the sound field of a non-filtered signal is of a similar nature during the first and the last 400 ms, i e during the early and the late periods of decrease. In the intermediate period, approximately from 500 to 3000 ms, the sound field decrease in the model exceeds the one in the real hall by only 1–3 dB. In the real hall, the sound field decrease is close to the straight line up to 2500 ms, while in the model—up to 1000 ms only, and the decrease is faster than in actual practice. The further field decrease has the character of a curve and the diffusive properties of the field are impaired. These results show that the sound field decrease in the real hall and in the model is quite similar. Investigations show that the sound field decrease in the real hall and in the model is almost analogous when the decrease is approximated every 10 dB from 0 to—30 dB. The reverberation time difference is 0.16–0.5 s and is lower than 10%. As the field decrease is approximated from − 5 to −35 dB, the reverberation time of the model exceeds that of the real hall by about 1 s, which makes up about 15%. The difference between the early reverberation time of the real hall and its model is only − 0.2 − 0.8 s even up to 500 Hz. This is mainly determined by the air sound absorption in the model at the ultrasound frequencies. As the sound field decrease is approximated from 0 to − 30 dB and from −5 to −35 dB, the difference between the reverberation time of the hall and its model in the frequency range up to 500 Hz is slight, only 0.2–0.9 s, which is less than 15%. The character of change in the sound absorption is analogous to that of the sound absorption coefficients. In the range up to 500 Hz, the sound absorption of the real hall and its model differs by 1–2 m2 only. As frequency increase, the difference reaches − 20 m2. For a non-filtered signal, the music sound clarity index C 80 is 5.6 dB for the real hall and 4.9 dB for the model.