Transitions of Tonality: A Model-Based Corpus Study
Transitions of Tonality: A Model-Based Corpus Study
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DOI：
10.5075/epfl-thesis-9808
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发表时间：
2019
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影响因子：
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通讯作者：
Fabian C. Moss
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作者：
Fabian C. Moss
几个世纪以来，调性一直是西方音乐理论话语的基石。这项研究运用传统的音乐分析、数据驱动的语料库方法和计算模型，集中于调性的历史变化，特别关注19世纪。本文从微观、中观和宏观三个层面展开分析，处于特殊和一般的两极之间。微观层面对李斯特的《47度彼特拉卡奏鸣曲，第161号，第4号》(1858年)进行了详细的分析，以说明乐曲上的创新，证明了19世纪调性的根本变化。这一分析例证了这些新鲜事是如何渗透到那个时期的音乐作品中的，也暴露了人工音乐分析的好处和局限性。中观层面考察了贝多芬、舒伯特、肖邦、李斯特、Dvořák、格里格、柴可夫斯基、德彪西和梅特纳作品的和声注释语料库，包含超过75,000个和弦符号。提出了一个大型语料库中和弦符号分析的综合模型，以研究和弦及其之间的进展。虽然各个作曲家的和弦词汇差异很大--归功于和声的惯用方法--但研究表明，和弦分布的总体相似之处表明，他们和声语言的相似性超过了个人特征，可以用齐普夫定律和希普斯定律来模拟。提出了一种基于熵的方法，系统地研究了某些特征对弦预测的影响，结果表明，悬架是最强的预测因子。研究表明，和弦进行在很大程度上是不对称的，并且大部分是以五分之一为基础进行的；然而，在研究期间，第三基数进行变得越来越普遍。宏观层面探索了75位作曲家创作的2000多首曲子中近300万个音符的语料库，包括大约600年的历史范围。数据的编码区分了不和谐的等值音符，因此提供了比以往经验音乐研究中的大多数方法更大的音符词汇量。主成分分析(PCA)表明，五音线可以从音调基音类别的共现和共同进化中获得。此外，使用被称为潜在狄利克雷分配(LDA)的层次主题模型来发现潜在声调轮廓。这些在很大程度上对应于连续的五分之一音段的分布，而且表明五分之一以及大调和小调三分之一作为最频繁音符之间的音程的作用增强。这促使人们将作品建模为Tonnetz上的分发。为此，一种新的模式，
Tonality has been the cornerstone of Western music-theoretical discourse for centuries. This study addresses the subject, using traditional music analysis, data-driven corpus methods, and computational models, concentrating on historical changes of tonality with a particular focus on the 19th century. The thesis engages three analytical levels of increasing scope— micro, meso, and macro—and is thus located between the poles of the particular and the general. The micro-level presents a detailed analysis of Franz Liszt’s Sonetto 47 del Petrarca, S. 161, no. 4 (1858), in order to illustrate compositional innovations testifying to the radical changes in tonality within the 19th century. The analysis exemplifies how these novelties permeate musical compositions in that period, and also expose the benefits and limitations of manual music analysis. The meso-level examines a corpus of harmonic annotations of pieces by Beethoven, Schubert, Chopin, Liszt, Dvořák, Grieg, Tchaikovsky, Debussy, and Medtner, containing over 75,000 chord symbols. It presents a comprehensive model for the analysis of chord symbols in large corpora in order to study chords and the progressions between them. Whilst the individual composers’ chord vocabularies vary considerably—paying tribute to idiomatic usages of harmony—it is shown that the overarching similarities of the chord distributions point to similarities in their harmonic language that surpass individual traits and that can be modeled by Zipf’s and Heaps’s laws. An entropy-based method is presented to systematically study the effect of certain features on chord prediction, revealing that suspensions are the strongest predictors. The study shows that chord progressions are largely asymmetrical and proceed mostly by fifths; however, third-based progressions become increasingly prevalent within the studied period. The macro-level explores a corpus of nearly 3 million notes in more than 2000 pieces created by 75 composers, comprising a historical range of approximately 600 years. The encoding of the data distinguishes enharmonically equivalent notes, hence providing a larger note vocabulary than most previous approaches in empirical music research. A Principal Component Analysis (PCA) shows that the line of fifths can be derived from the co-occurrence as well as the coevolution of tonal pitch-classes. Moreover, the hierarchical topic model known as Latent Dirichlet Allocation (LDA) is used to discover latent tonal profiles. These largely correspond to distributions on contiguous line-of-fifths segments and moreover demonstrate the elevated roles of fifths as well as major and minor thirds as intervals between the most frequent notes. This motivates to model pieces as distributions on the Tonnetz. To that end, a new model, the