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SEGMENTATION IN MUSIC: GENERALIZING A PIECE-SENSITIVE APPROACH

SEGMENTATION IN MUSIC: GENERALIZING A PIECE-SENSITIVE APPROACH terval and duration. In a melodic line, segmentations are made wherever one finds a larger pitch interval surrounded by smaller intervals, along with wherever a larger duration is surrounded by a smaller durations. Thus, the lines in Examples 1 & 2 would both be segmented after the F. Tenney and Polansky’s segmentations coincide with those determined on a more ad hoc basis to a surprising degree. Their theory also has a builtin hierarchical component: after determining the lowest-level segmentations, the same algorithm is applied to a comparison of the mean pitch and duration of each segment (“clang”) with those of its neighbors to yield higher-level groupings of segments (“sequences”). Despite its elegant simplicity, in practice there are several problems with the algorithm. In Example 3, for instance, there is a conflict between interval (which indicates a segment after the G) and duration (which would segment the line after the F). Tenney and Polansky address this issue by applying an arbitrary and unique weighting system to intervallic and durational distances for each piece they analyze. While this produced admirable results, the process by which they arrive at their weighting values is not made explicit. Another shortcoming, as the authors http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

SEGMENTATION IN MUSIC: GENERALIZING A PIECE-SENSITIVE APPROACH

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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-44-1-171
Publisher site
See Article on Publisher Site

Abstract

terval and duration. In a melodic line, segmentations are made wherever one finds a larger pitch interval surrounded by smaller intervals, along with wherever a larger duration is surrounded by a smaller durations. Thus, the lines in Examples 1 & 2 would both be segmented after the F. Tenney and Polansky’s segmentations coincide with those determined on a more ad hoc basis to a surprising degree. Their theory also has a builtin hierarchical component: after determining the lowest-level segmentations, the same algorithm is applied to a comparison of the mean pitch and duration of each segment (“clang”) with those of its neighbors to yield higher-level groupings of segments (“sequences”). Despite its elegant simplicity, in practice there are several problems with the algorithm. In Example 3, for instance, there is a conflict between interval (which indicates a segment after the G) and duration (which would segment the line after the F). Tenney and Polansky address this issue by applying an arbitrary and unique weighting system to intervallic and durational distances for each piece they analyze. While this produced admirable results, the process by which they arrive at their weighting values is not made explicit. Another shortcoming, as the authors

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2000

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