Computational Musicology

Tonality is a fundamental organizing principle of Western music. However, the gradual transition from common-practice tonality to atonality around the turn of the twentieth century cannot be captured by binary labels. To characterize intermediate tonal states and trace this evolution, we propose a multidimensional framework for quantifying tonal strength, grounded in tonal theory and mechanisms underlying tonal dissolution. This framework operationalizes the global statistical regularity, temporal coherence, and local perceptual alignment of tonal organization through three complementary features: pitch-class distribution uniformity, temporal stability of tonal centers, and local tonal clarity, respectively. To validate the model, we introduce two new datasets: a binary dataset comprising 196 tonal and atonal pieces, and a historical MIDI corpus of 1,561 compositions by 21 composers spanning the Baroque era to the early twentieth century. The proposed model achieves high discriminative performance on the binary classification task (F_1=0.985), and quantitatively reveals a continuous historical trajectory from established tonality through progressive weakening to eventual dissolution. Computational analysis of representative composers further confirms significant declines in tonal strength throughout the careers of late-Romantic and modernist figures. Additionally, analysis of EMOPIA dataset reveals a weak but statistically significant positive correlation between higher tonal strength values and positive emotional valence. This work establishes a unified quantitative model for analyzing tonal evolution and provides a continuous measure for future behavioral and neurophysiological investigations of the relationships among tonal organization, musical emotion, and cognition.

This paper addresses the general problem of extracting music-theoretic and psychological features from symbolically encoded melodies. We review existing melodic feature extraction toolboxes, enumerate their features, and organise them into a common taxonomy. We then describe a new software library that provides implementations of all of these features in a straightforward Python package. We then demonstrate the combined feature set on the Essen Folksong Collection, using the dataset to produce a series of style classification models. These models help us answer key questions about the interpretability and dimensionality of the feature set. Our results show excellent classification accuracy using the full feature set, and promising performance for an eight-dimensional factor-analytic solution that improves the interpretability of the classifier. We distribute our new toolbox as an open-source Python package, $\mathtt{melody-features}$, which can easily be used in various applications within music analysis, music psychology, and music information retrieval.

PLEASE CHECK AND REFER TO THE PUBLISHED VERSION OF THIS PAPER ON https://doi.org/10.5334/tismir.357 This paper presents the MPB Corpus, a dataset of Brazilian Popular Music (Musica Popular Brasileira, MPB) comprising derived symbolic annotations for 500 pieces across four musical parameters -- melodic contour, melodic rhythm, harmony, and the melody-harmony relationship -- making it the most comprehensive dataset to date for computational musicology of Brazilian music. It is released under a CC-BY-4.0 license in an open, machine-readable tabular format, with documentation and reproducible analysis code. Because the annotations were derived from copyrighted musical scores, the corpus contains no audio recordings or score-level representations such as MIDI or MusicXML; it nonetheless provides a reusable resource for MIR research on a culturally significant repertoire that remains underrepresented in existing datasets. To support the encoding process, we introduce analytical models for capturing rhythmic and melodic information, along with tailored visualizations and summary metrics. Finally, we present a brief exploratory analysis illustrating the dataset's potential for formulating and addressing musicological questions about the genre.

Digitized musical heritage collections offer new opportunities to examine how stylistic traditions change over historical time, but computational analyses often reduce musical works to static classifications or similarity scores. This article proposes a representation-to-dynamics framework for studying cross-cultural harmonic change in Western art music. Starting from symbolic chord sequences, we derive contextual chord embeddings, project work-level representations into a shared harmonic space, and reconstruct country-level trajectories through temporally causal Kalman filtering. These trajectories are then modeled with DeGroot and Friedkin--Johnsen dynamics, yielding interpretable influence-like networks and estimates of stylistic anchoring. We apply the framework to a curated corpus of 480 dated works from 1875 to 1940 across Russia, France, Germany, Austria, and a heterogeneous ''Others'' group. Models fitted on 1875--1925 are evaluated through recursive forecasts for 1930--1940, testing whether the estimated dependency structure remains informative across a potentially changing historical and stylistic regime. The estimated trajectories and influence patterns are broadly consistent with established music-historical accounts of late Romantic and early modernist exchange, including the close relationship between German and Austrian traditions and historically plausible cross-currents between Russian and French traditions. PCA-variance-weighted estimation provides modest improvements while preserving a single interpretable influence network. Rather than treating the estimated matrices as direct causal evidence, the framework offers a reproducible quantitative layer for cultural heritage research, complementing archival and musicological interpretation.

We present vega-mir, an open-source Python library that bundles nine information-theoretic and statistical metrics for the analysis of symbolic music corpora behind a small, tested, citable API, and demonstrates two of them at corpus scale in case studies not addressed by the upstream Cygnus paper. Of the nine metrics, three (Shannon entropy, Kullback-Leibler divergence, Zipfian fits) were deployed in the companion Cygnus arXiv preprint; two (network analysis on chord-transition graphs and spectral analysis of rubato curves) are deployed in full case studies here; the four remaining (multi-dimensional Gini, chi-squared stationarity, Higuchi fractal dimension, interval distribution) are validated against analytic anchors and exercised as sanity checks on a bundled 8-composer dataset. The two case studies yield two main observations. First, on the fourteen MAESTRO composers with N >= 10 pieces, the PageRank value of the gravity-centre node correlates with the marginal Kullback-Leibler distance at rho = 0.61 (Spearman, composer-level jackknife N = 14); the categorical gravity-centre identity takes five distinct values across the corpus but is not itself correlated with marginal KL (rho = 0.13, p = 0.21). Second, on the 247-piece Bach multi-master corpus (Schiff, Gould, Richter), Gould holds the highest periodicity ratio of the three performers, not the lowest, inverting the cliché that low scalar rubato reads as "metronomic": Gould's rubato is small in amplitude but structured in time, with a median dominant period of 66 beats against Schiff's 102 and Richter's 104.

A musical score provides the essential instructions for its performance while containing indications - at times implicit - regarding the composer's intentions. The presence of authorial variants, and even more so complex series of revisions associated with a single text, presents a challenging path for analytical study. This research, situated within the application of Scientific Methodologies to Music Philology, proposes a methodological approach oriented toward the structural analysis of one of the many settings composed by Gioachino Rossini on the same Metastasio arietta ``Mi lagnerò tacendo''. Through Computational Analysis - incorporating parsing, data mining, and graph theory - the melodic, harmonic, and textual compositional choices have been rigorously explored. The results constitute a significant unicum in the field, laying the foundation for a systematic study that supports philological research and paves the way for the use of generative models to investigate the creative process.

We present an audio-to-analysis pipeline that produces composer-level information-theoretic profiles : reflecting compositional vocabulary as it emerges from aggregated performances : from raw recordings, built on a transcription layer whose accuracy we certify on a standard benchmark (F1 = 0.9791 on the MAESTRO v3.0.0 test set). Applied to 1,238 pieces and 15 MAESTRO composers with at least ten attributed pieces, spanning the Baroque through the early twentieth century, the pipeline derives empirical distributions over harmonic scale degrees and analyzes them through Shannon entropy, asymmetric Kullback-Leibler divergence, and Zipfian rank-frequency modeling. The resulting profiles (i) order composers along an interpretable axis of harmonic predictability, with a narrow entropy range (3.33-3.86 bits) that reveals the marginal-level similarity of tonal vocabularies; (ii) recover known stylistic lineages (Haydn-Beethoven, Liszt-Rachmaninoff, Schubert-Schumann) through the smallest KL divergences in the corpus, with Mendelssohn emerging as a stable outlier within this corpus; and (iii) separate contemporary neoclassical artists (Richter, Frahm, Glass, Arnalds, Jóhannsson) from historical composers on the quality of Zipfian fit to the transition distribution, with mean $R^2 = 0.78$ for neoclassical versus 0.46 for historical (N $\geq$ 10 pieces each). This gap is larger than the spread within either group and is consistent with a minimalist compositional tendency: a compact transition vocabulary used with sharper frequency-rank regularity than historical composers. All estimates are reported with Laplace-smoothed bootstrap 95% confidence intervals.

Empirical studies of recorded performance have conventionally modelled tempo change as a unidirectional historical process, fitting linear regression lines to tempo data plotted against recording year. This paper argues that such approaches impose a false narrative of uniform stylistic evolution on what is, in fact, a plurality of coexisting interpretive traditions. Applying k-means clustering (k=3) to bar-level BPM data from over one hundred recordings of Beethoven's five piano and cello sonatas (Op. 5 Nos. 1 and 2; Op. 69; Op. 102 Nos. 1 and 2) spanning 1930-2012, this study reveals that every movement supports at least two, and usually three, discrete tempo traditions (slow, mid-range, and fast), whose internal regression slopes are negligible (R-squared <= 0.25 in all but one case), demonstrating that each tradition is independently stable across eight decades. The mid-range cluster dominates in all movements, typically comprising 55-70% of recordings. A slow cluster is absent from fast-character movements (Op. 5 Rondos, Op. 69 Scherzo), reflecting a shared rhetorical consensus about their character. The single case of significant intra-cluster drift (Op. 102 No. 1 Allegro con brio, R-squared=0.246, p=0.013) indicates a moderate mid-range deceleration of approximately 3.2 BPM across the study period. No correlation is found between cluster membership and performers' generational, national, or pedagogical backgrounds, suggesting that tempo tradition reflects individual interpretive choice rather than collective cultural inheritance. The paper proposes an ecological model of stylistic change - coexisting traditions shifting in relative prevalence rather than a single tradition evolving - and argues that this reframing has broad implications for how empirical performance studies interpret corpus-level tempo data.

Symbolic music research has relied almost exclusively on MIDI-based datasets; text-based engraving formats such as LilyPond remain unexplored for music understanding. We present BMdataset, a musicologically curated dataset of 393 LilyPond scores (2,646 movements) transcribed by experts directly from original Baroque manuscripts, with metadata covering composer, musical form, instrumentation, and sectional attributes. Building on this resource, we introduce LilyBERT (weights can be found at https://huggingface.co/csc-unipd/lilybert), a CodeBERT-based encoder adapted to symbolic music through vocabulary extension with 115 LilyPond-specific tokens and masked language model pre-training. Linear probing on the out-of-domain Mutopia corpus shows that, despite its modest size (~90M tokens), fine-tuning on BMdataset alone outperforms continuous pre-training on the full PDMX corpus (~15B tokens) for both composer and style classification, demonstrating that small, expertly curated datasets can be more effective than large, noisy corpora for music understanding. Combining broad pre-training with domain-specific fine-tuning yields the best results overall (84.3% composer accuracy), confirming that the two data regimes are complementary. We release the dataset, tokenizer, and model to establish a baseline for representation learning on LilyPond.

Arvo Pärt is one of the most popular contemporary composers, known for his highly original tintinnabuli style. Works in this style are typically composed according to precise procedures and have even been described as algorithmic compositions. To understand how algorithmic Pärt's music exactly is, this paper presents an analysis by synthesis: it proposes an algorithm that almost completely reconstructs the score of Summa, his "most strictly constructed and most encrypted work," according to Pärt himself in 1994. The piece is analyzed and then formalized using so-called tintinnabuli processes. An implementation of the resulting algorithm generates a musical score matching Summa in over 93% of the notes. Due to interdependencies between the voices, only half of the mistakes (3.5%) need to be corrected to reproduce the original score faithfully. This study shows that Summa is a largely algorithmic composition and offers new perspectives on the music of Arvo Pärt.

Computational musicology enables systematic analysis of performative and structural traits in recorded music, yet existing approaches remain largely tailored to notated, score-based repertoires. This study advances a methodology for analyzing voice-guitar interaction in Carlos Paredes's vocal collaborations - an oral-tradition context where compositional and performative layers co-emerge. Using source-separated stems, physics-informed harmonic modelling, and beat-level audio descriptors, we examine melodic, harmonic, and rhythmic relationships across eight recordings with four singers. Our commonality-diversity framework, combining multi-scale correlation analysis with residual-based detection of structural deviations, reveals that expressive coordination is predominantly piece-specific rather than corpus-wide. Diversity events systematically align with formal boundaries and textural shifts, demonstrating that the proposed approach can identify musically salient reorganizations with minimal human annotation. The framework further offers a generalizable computational strategy for repertoires without notated blueprints, extending Music Performance Analysis into oral-tradition and improvisation-inflected practices.