Pith. sign in

REVIEW 4 major objections 5 minor 2 cited by

Methods for pitch analysis in contemporary popular music: phenomenological analysis of Primaal's commercial works

T0 review · 4 major / 5 minor · reviewed 2026-08-08 · deepseek-v4-flash

Challenge this review Re-run · record.json Download PDF Read on arXiv ↗

Pith's one-line read The paper claims that Primaal's commercial electronic music intentionally cultivates pitch uncertainty—inharmonic tones, boosted upper partials, and continuous glides—so that pitch behaves as a continuous, multidimensional field rather…

desk verdict A descriptively valuable, reproducible analysis of pitch in EDM whose central claim about deliberate pitch uncertainty rests on co-author self-report; separate the two and it's a solid contribution. read the letter →

arxiv 2502.08131 v4 pith:EU6IOMFS submitted 2025-02-12 cs.SD

Emmanuel Deruty , Luc Leroy , Yann Macé , David Meredith This is my paper · ORCID
classification cs.SD
keywords pitchuncertaintyphenomenologicalanalysispopularmusicinharmonicitymodalorganisationpolesandfinalTR-808bassdruminformationretrieval
verification ladder T0 review T1 audit T2 compute T3 formal

The pith

A machine-rendered reading of the paper's core claim, the machinery that carries it, and where it could break.

The reading

This paper sets out to show that pitch in Primaal, a commercially successful electronic music brand heard in global advertising, is organized on principles that differ radically from Western classical music: the producers' central aesthetic goal is to cultivate pitch uncertainty rather than to transmit clearly defined notes. Working from stems, signal analysis, and a six-day interview with the producers, the authors identify seven pitch-related parameters, including the origin of perceived pitch, the choice of a 'pole' frequency for each scale degree, the width $Q$ of the pitch distribution around that pole, pitch stability, and pitch strength, and they show that these parameters carry both large- and small-scale musical structure. If the analysis is right, this widely heard music is modal rather than tonal, with scale degrees realized as continuous distributions around a central 'final', and it resists reduction to discrete-note transcription.

What carries the argument

The load-bearing mechanism is the 'pole' model of pitch: each scale degree is realized as a probability distribution of frequencies centered on a most-probable 'pole', and the distribution's width, called $Q$, is set by the producer as a musical parameter. This model carries the argument by turning pitch uncertainty from a vague impression into a measurable object: continuous pitch trajectories—modeled on the Roland TR-808 bass drum's descending glide—and simultaneously sounding tracks with slightly mismatched tunings fill out the distributions, while inharmonicity and boosted upper partials decide which frequencies actually evoke pitch. The analytical method that makes this visible is phenomenological reduction, which brackets score-based preconceptions, combined with spectral analysis of stems weighted by an equal-loudness contour, with the conclusions validated by the producers.

What would settle it

Re-analyze the published stems with a computational model that outputs a probability distribution over perceived pitch rather than a single $f_0$ estimate; if the resulting distributions are consistently narrow, unimodal, and centered on equal-tempered note frequencies, the pole/width model would be contradicted. Alternatively, an independent study of a corpus of similarly successful commercial electronic tracks whose producers are not co-authors could test whether the same pitch-uncertainty features—inharmonicity, boosted partials, and wide distributions—actually recur as claimed.

Watch

Extended reading notes

Core claim

The paper's central claim is that pitch manipulation in Primaal's music differs significantly from its use in Western classical music of the 1650–1875 period, and that a central principle of this music is the deliberate cultivation of pitch uncertainty. In Primaal's tracks, tones are almost always inharmonic; low fundamentals often fail to evoke pitch; a single complex tone can evoke several simultaneous pitches and act as a chord; and perceived pitches are distributed around scale-degree 'poles' rather than sitting on discrete notes, with the width of the distribution used as an expressive parameter. Each song is organized modally around one or two salient degrees, one of which functions as a 'final' in the sense of early Western modal theory, and the music is typically 'mono-chordal' and non-directional rather than tonal. The producers report that the number of simultaneous pitches at a given moment is, by design, generally uncertain, a point corroborated by the paper's listening test 3.

Load-bearing premise

The paper's intentional story rests on the producers' own testimony about what they were trying to do, together with their sign-off on the conclusions; because the interview transcripts are withheld and the producers are co-authors, the claim that pitch uncertainty is deliberately cultivated cannot be checked independently.

Editorial extensions

If this is right

  • Automatic pitch trackers and transcription systems that assume one tone maps to one stable, harmonic pitch will systematically misread this music, since single complex tones can evoke multiple pitches and partials can carry the perceived pitch.
  • The discrete-note (MIDI/piano-roll) representation is lossy for this repertoire; the paper argues that representing pitch as a probability distribution centered on poles would be more faithful.
  • Large-scale form in this music can be articulated by tuning shifts, mode changes, and the occasional insertion of clearer tonality as a contrast, rather than by harmonic progression.
  • The same five-step method—song selection, critical listening with signal analysis, producer interviews, further analysis, and validation—could be applied to other commercial popular music.
  • Psychoacoustically, the results imply that partial audibility thresholds and probabilistic models of the number of simultaneous pitches deserve study, since the assumption that pitch-evoking sounds are harmonic complex tones is not universally valid.

Reading between the lines

Editorial extensions of the paper, not claims the author makes directly.

  • If pitch uncertainty is as widespread as this study suggests, then music information retrieval evaluation should shift from exact-note accuracy to distributional measures of perceived pitch, a step the paper motivates but does not itself implement.
  • The 'pole' and $Q$ parameters could be turned into a generative model for electronic music production, quantifying how much each producer deviates from equal temperament; this goes beyond the paper's descriptive analysis.
  • The historical parallel with medieval modality implies that analytical tools built for pre-tonal music—finals, reciting tones, and modal ambitus—might transfer to contemporary popular music more readily than tonal harmony does.
  • A direct behavioral measure, asking listeners to report the number of pitches heard in the full commercial mixes, would test whether the uncertainty reported by the producers is perceptually evident to the audience.
Share X Bluesky LinkedIn Reddit HN

Editorial analysis

A structured set of objections, weighed in public.

Desk editor's note, referee report, and a circularity audit.

Referee Report

4 major / 5 minor

Summary. The paper develops a phenomenological, signal-based method for analyzing pitch in contemporary popular music, applied to ten commercial tracks by the 'Primaal' brand of Hyper Music. The authors—two of whom are the producers—document acoustic features such as inharmonicity, boosted upper partials, divergence between autocorrelation-based pitch estimates and f0, continuous frequency glides, and tuned but weakly pitched drums. They argue that these features reflect a deliberate compositional principle, 'pitch uncertainty,' and that the music is organized modally around scale degrees implemented as probability distributions ('poles') with a controllable width ('Q'), rather than around discrete notes or tonal progressions. The study includes supplementary signal analyses, audio examples, six listening tests, and a historical contextualization of beating, combination tones, and 'hearing out' partials. The central claim, stated in the abstract and Section 9.1, is that pitch manipulation in Primaal's music differs significantly from Western classical practice and that cultivating pitch uncertainty is a central principle of the music.

Significance. If the descriptive findings hold, the paper is a valuable contribution to popular music analysis and to MIR: it demonstrates, with reproducible signal analysis and shared audio, that standard f0-based pitch tracking and score-based transcription are inadequate for a class of commercially successful electronic music, and it supplies a plausible alternative vocabulary (poles, distribution widths, pitch strength, pitch origin). The supplementary material—spectrograms, stems, and listening-test stimuli—is a real strength, and the historical framing (Sections 5.1–5.3) is scholarly and informative. The paper is less successful as an account of intention: the claim that pitch uncertainty is 'deliberately cultivated' is load-bearing, but it rests on self-reports by co-author producers whose interview transcripts are withheld, with the validation step consisting of the producers' own review of the conclusions. The paper's descriptive and methodological contributions are therefore stronger than its interpretive headline, and the latter needs either new evidence or reframing.

major comments (4)
  1. [Section 6.4 / 4.1.1 / Abstract / 9.1] The central claim that pitch uncertainty is 'deliberately cultivated' and 'results from deliberate production techniques' rests on producer self-report. The validation step (Section 6.4, step 5) is 'the producers reviewed and verified the conclusions,' and the producers are co-authors. The interview transcripts are withheld (Section 4.1.1, footnote 2). This is a circular validation loop: the intentionality claim cannot be independently checked. The acoustic observations in SM C are reproducible and consistent with the descriptive claims, but they are equally consistent with pitch uncertainty being an emergent side effect of standard production tools (TR-808 bass, distortion, EQ, unison) described in Section 7. To make the central claim load-bearing, the authors should either provide independent evidence of deliberateness—for example, pre-registered production experiments, blind evaluation of producer statements, or release of interview transcripts or detailed memos—or reframe the central claim as a descriptive account of pitch organization and perceived uncertainty, explicitly attributing intentionality to producer reports rather than to the analysis.
  2. [§8.3.3 / Figure 9 / Figure 1] The 'pole' and 'Q' constructs are central to the proposed model (Figure 1) and to the claim that distribution width is controlled as a musical parameter, but no operational definition or estimation procedure is given. Section 8.3.3 states that one f0 distribution is 'wider' than another and that the producers confirmed the widths, but it does not specify how the distributions were computed, how Q is measured, how poles are assigned, or how the widths are compared quantitatively. Figure 9 shows two distributions without axes or units. As a methods paper, this underspecification prevents a reader from reproducing or falsifying the central parametric claim. Please provide the signal-processing recipe—including how f0 sequences are extracted, how distributions around poles are estimated, and how Q is defined in terms of the distribution (e.g., standard deviation in cents)—and report the measured values for the examples in Figure 9.
  3. [§9.1 / SM A.3] Listening test 3 (SM A.3) is cited in Section 9.1 as confirming that 'the number of pitches at a given moment is generally uncertain.' Even if the test robustly demonstrates perceptual uncertainty, it does not test deliberateness; a listener's uncertainty about pitch count is compatible with the pitch count being a side effect of production techniques. Moreover, the main text does not report the test's number of participants, number and selection of stimuli, response format, or effect sizes, so the reader cannot assess the strength of the corroboration. Please report the design and quantitative results of listening test 3 in the main text where the claim is made, and do not use it to support the intentionality component of the central claim.
  4. [§8.4.1] The modal organization claim—that each song is built on a mode with a final and with scale degrees realized as distributions—is central to the paper, but the modes in Section 8.4.1 are identified 'by ear,' with the authors noting that identification is difficult for 'Danger' and 'Sweet Money' and impossible for '¡Fire!'. No independent annotation, inter-annotator agreement, or algorithmic verification is reported. Since the modal claim is used to argue that the music 'resists discrete-note transcription' and differs from Western classical pitch organization, the identification procedure should be specified and, ideally, validated by independent listeners or by a documented rule-based method on the provided f0 distributions.
minor comments (5)
  1. [§8.3.1] Typo: 'stabilzsing' should be 'stabilising' (or 'stabilizing').
  2. [References] The reference list entry for 'Skirllex (2013)' misspells Skrillex; the same entry appears to be cited in Section 8.6.3 as 'Skirllex'.
  3. [§6.4] The 'six-day interview' is described in a single sentence; please clarify the interview format (e.g., number of sessions, duration, who was present, whether it was recorded and transcribed) and provide at least an anonymized summary of the protocol, given that full transcripts are withheld.
  4. [Title / §1 / §9.4] The title and abstract generalize to 'contemporary popular music,' but the analyses cover ten songs from a single brand; Section 9.4 acknowledges this and proposes future work. Consider softening the title or the opening claim to reflect the case-study scope.
  5. [Disclosure statement] The Disclosure statement says 'The authors report there are no competing interests to declare,' but two authors are affiliated with Neodrome Entertainment, the parent company of Hyper Music, whose commercial motivation is stated in Section 9.4 ('The main motivation of the Primaal producers is to sell their music'). This should be clarified or corrected.

Circularity Check

2 steps flagged · score 7.0 of 10

The central claim that Primaal deliberately cultivates pitch uncertainty rests on a producer self-validation loop: the producers are co-authors, their withheld interviews are the only evidence of intention, and step 5 of the method is 'The producers reviewed and verified the conclusions.'

  1. other [Section 6.4 (Analytical process, step 5); Section 4.1.1, footnote 2; Abstract and Section 9.1]
    "5. Validation The producers reviewed and verified the conclusions. ... Literal statements from the producers are between single quotes. The producers ask that we do not disclose the original transcripts of the interviews."

    The paper's central claim is that pitch uncertainty is 'a central principle in Primaal's music' and is deliberately 'cultivated' (Abstract, §9.1). The only evidence for deliberateness is the producers' statements gathered in the six-day interview (§6.4 step 3) and quoted in §4.1.1. Step 5 then makes the same producers, who are co-authors, the verifiers: 'The producers reviewed and verified the conclusions.' The withheld transcripts (footnote 2) prevent any independent check. The causal component of the conclusion is therefore the producers' self-report recycled as validation: the input to the analysis and the verification of the analysis are the same source.

  2. other [Section 9.1 (Summary of observations), citing SM A.3 (listening test 3)]
    "As confirmed by listening test 3 (SM A.3), resulting from deliberate production techniques, the number of pitches at a given moment is generally uncertain."

    Listening test 3 is a perceptual test; it can at most show that listeners hear multiple or uncertain pitches. It contains no manipulation check for producer intention. The clause 'resulting from deliberate production techniques' attributes a cause that the test cannot measure, and that cause is imported from the same producer interviews that the paper elsewhere uses as its evidence of intention. Presenting the listening result as confirmation of the deliberate-production claim is therefore circular: the perceptual data are consistent with many production causes, and the deliberateness is not derived from the test but carried into it from the producer testimony.

full rationale

Most of the descriptive signal analysis is self-contained: Section 8 and SM C report measured inharmonicity, boosted partials, f0 distributions, and drum tunings, and listening tests 1-6 are genuine external perceptual checks. Self-citations (e.g., Deruty 2024; Deruty and Grachten 2022) support peripheral points and are not the engine of the central claim. The circularity is concentrated in the intentionality component. The producers are co-authors; their interviews are the only source for 'deliberate cultivation' and 'intentionally set' distribution widths; step 5 of the method makes the same producers the verifiers of the conclusions; and the transcripts are withheld. The central claim that pitch uncertainty is deliberately cultivated therefore reduces, for its causal component, to the authors' own testimony validated by the authors. This prevents a higher score because the physical measurements stand independently, but it prevents a lower score because the paper's distinctive claim is the deliberateness, not merely the acoustic description.

Assumptions & free parameters 0 free parameters · 4 assumptions · 2 invented entities

The central claim rests on four domain assumptions: producer self-reports are accurate, ISO226 weighting reflects perception, Primaal is representative, and phenomenological bracketing works. No numerical free parameters are fitted. The new constructs 'pole' and 'Q' have no independent falsifiable handle beyond the corpus described by the same authors.

assumptions (4)
  • domain assumption Producer statements about their own intentions and techniques accurately describe the music's expressive content.
    Section 6.4 steps 3 and 5: six-day interview and validation by the producers; transcripts withheld (footnote 2).
  • domain assumption ISO226:2023 50-phon equal-loudness weighting before spectral analysis improves perceptual relevance.
    Section 6.4: 'We apply the ISO226:2023 50-phon equal-loudness contour before spectral analysis to produce results that better reflect what listeners actually hear.'
  • domain assumption Primaal's production techniques reflect shared practices in the music industry.
    Section 2: 'We therefore assume that Primaal's production techniques reflect shared practices in the music industry.'
  • domain assumption Phenomenological reduction can bracket out cultural preconceptions and biases.
    Section 6.2.3: open listening with minimal prior information; this is the stated methodological basis for the analysis.
invented entities (2)
  • 'pole' (scale degree as probability distribution)
    purpose: Replaces discrete notes with probabilistic pitch centers in the model.
    Introduced in Section 4.1.1; width and location are producer-set or analyst-measured, with no falsifiable prediction outside the ten analyzed tracks.
  • 'Q' (distribution width parameter)
    purpose: Expressive control over pitch spread around a pole.
    Section 8.3.3 states the widths are confirmed by the producers; no independent measurement or predictive test is provided.

how reviews work

0 comments
Cite this review

Pith. "Pith review of Methods for pitch analysis in contemporary popular music: phenomenological analysis of Primaal's commercial works." pith.science (2026). https://pith.science/paper/EU6IOMFS

@misc{pith2026250208131,
  author       = {Pith},
  title        = {Pith review of: Methods for pitch analysis in contemporary popular music: phenomenological analysis of Primaal's commercial works},
  year         = {2026},
  howpublished = {\url{https://pith.science/paper/EU6IOMFS}},
  note         = {Machine review of arXiv:2502.08131}
}
read the original abstract

This article uses phenomenological analysis to examine pitch-related elements in commercial popular music, focusing on Primaal, a successful electronic music brand whose works have been licensed by major international companies. Working in collaboration with the producers, we identify musical parameters related to pitch and document how their treatment differs radically from Western classical music conventions. Central to Primaal's aesthetic is the deliberate cultivation of \emph{pitch uncertainty}, achieved through multiple techniques: tone inharmonicity, quasi-harmonic tones designed to evoke multiple simultaneous pitches, strategic boosting of upper partials, and continuous frequency trajectories inspired by the Roland TR-808 bass drum. Rather than discrete notes, pitches are distributed around scale degrees (`poles'), with the distribution width serving as an expressive parameter. The music is organised modally rather than tonally, typically focusing on a few degrees with one functioning as a `final'. We show how these pitch-related parameters articulate both large-scale and small-scale musical structure. Signal analysis, supported by psychoacoustic weighting, serves as our transcription method, avoiding the biases inherent in score-based notation. The findings contribute to music analysis, music information retrieval, computational creativity, and psychoacoustics, suggesting that pitch in contemporary popular music often operates as a continuous, multidimensional phenomenon that resists reduction to discrete note representations.

Figures

Figures reproduced from arXiv: 2502.08131 by the authors.

Figure 1
Figure 1. Summary of pitch-related processes in the elaboration of Primaal’s music. [PITH_FULL_IMAGE:figures/full_fig_p004_1.png] view at source ↗
Figure 2
Figure 2. (a) Alt-J, ‘Hunger of the Pine’, 4’30 to 4’47, weighted audio (see Section 6.4), FT. (b) [PITH_FULL_IMAGE:figures/full_fig_p008_2.png] view at source ↗
Figure 3
Figure 3. Frequency beating from the superposition of two harmonic tones. [PITH_FULL_IMAGE:figures/full_fig_p010_3.png] view at source ↗
Figures from the paper (8 more)
Figure 4
Figure 4. Figure 4: Development over history in attitudes towards acoustic beating in music. [PITH_FULL_IMAGE:figures/full_fig_p011_4.png]
Figure 5
Figure 5. Figure 5: Development over history in attitudes towards combination tones in music. [PITH_FULL_IMAGE:figures/full_fig_p012_5.png]
Figure 6
Figure 6. Figure 6: ‘808 Woofer Warfare’ patch, key controls. [PITH_FULL_IMAGE:figures/full_fig_p018_6.png]
Figure 7
Figure 7. Figure 7: Omnisphere, Seismic Shock library, ‘808 Woofer Warfare’ patch, STFT for the seven [PITH_FULL_IMAGE:figures/full_fig_p018_7.png]
Figure 8
Figure 8. Figure 8: ‘Boom’, bass, vocals, and kick drum track, 0’16 to 0’18. Difference between pitch derived [PITH_FULL_IMAGE:figures/full_fig_p021_8.png]
Figure 9
Figure 9. Figure 9: Distribution of f0 values over time, excluding contrasts (see Section 8.7). (a) ‘Cardinal’, vocal loop. (b) ‘Yada Yada’, flute loop. 8.3.4 Examples of continuous distribution simultaneously stemming from the relations between tracks and from continuous frequencies over…
Figure 10
Figure 10. Figure 10: Possible determination of poles from the final. [PITH_FULL_IMAGE:figures/full_fig_p026_10.png]
Figure 11
Figure 11. Figure 11: Large-scale structures: (a) ‘R U Ready’; (b) ‘Silver’; (c) ‘Elevate’; (d) ‘Cardinal’. Top [PITH_FULL_IMAGE:figures/full_fig_p028_11.png]

Discussion (0). Continue with ORCID to comment.

Forward citations

Cited by 2 Pith papers

Reviewed papers in the Pith corpus that reference this work. Sorted by Pith novelty score. Full citation record

  1. Methods for pitch analysis in contemporary popular music: multiple pitches from harmonic tones in Vitalic's music

    cs.SD 2025-06 unverdicted novelty 5.0 of 10

    Single quasi-harmonic tones in Vitalic's electronic music are perceived by listeners as carrying multiple simultaneous pitches, an effect the paper argues producers use deliberately.

  2. Evolving music theory for emerging musical languages

    cs.SD 2025-06 conditional novelty 3.5 of 10

    Pitch in electronic music is better understood as a listener-dependent perceptual construct than an objective property of the sound.

Reference graph

Works this paper leans on

153 extracted references · 48 canonical work pages · cited by 2 Pith papers

  1. [1]

    AI song contest

    AI song contest (2024). AI song contest. https://www.aisongcontest.com/

    2024

  2. [2]

    Hunger of the pine [song]

    Alt-J (2014). Hunger of the pine [song]. Album: This is all yours. Label: Infectious Music. https://youtu.be/Vk-GJDlAYVA?t=284

    2014

  3. [3]

    Alter K (2024). Alter K . https://www.alter-k.com/

    2024

  4. [4]

    Aluas, L. F. (1996). The ``Quatour pincipalia musicae'': A critical edition and translation, with introduction and commentary . PhD thesis, Indiana University. https://www.proquest.com/openview/251d1cbafdc43d407c5a5557263cd619

    1996

  5. [5]

    Anderson, J. (2000). A provisional history of spectral music. Contemporary Music Review , 19(2):7--22. https://doi.org/10.1080/07494460000640231

    work page doi:10.1080/07494460000640231 2000

  6. [6]

    Antunes, P. R. (2017). Is it possible to tune a drum? Journal of Computational Physics , 338:91--106. https://www.sciencedirect.com/science/article/abs/pii/S0021999117301596

    2017

  7. [7]

    and O'Dette, P

    Ashworth, J. and O'Dette, P. (2012). Basso continuo. In A Performer's Guide to Seventeenth-Century Music , pages 317--346. Indiana University Press. https://www.jstor.org/stable/j.ctt16gzcwn.24

    2012

  8. [8]

    Atcherson, W. (1973). Key and mode in seventeenth-century music theory books. Journal of Music Theory , 17(2):204--232. https://www.jstor.org/stable/843342

    1973

Show all 153 references
  1. [9]

    Four of the best stem separation tools

    Attack Magazine (2022). Four of the best stem separation tools. https://youtu.be/9oNHoE4wHc8&t=870 and t=1181

    2022

  2. [10]

    and Thurlow, A

    Baggaley, J. and Thurlow, A. (2023). Mechanisms of absolute pitch: I. A coustical beating. Musicae Scientiae , 27(2):471--483. https://doi.org/10.1177/10298649221085205

    2023 doi

  3. [11]

    Benetos, E., Dixon, S., Duan, Z., and Ewert, S. (2018). Automatic music transcription: An overview. IEEE Signal Processing Magazine , 36(1):20--30. https://doi.org/10.1109/MSP.2018.2869928

    2018

  4. [12]

    Benson, B. E. (2011). Phenomenology of music. In The Routledge companion to Philosophy and music , pages 581--591. Routledge. https://www.taylorfrancis.com/chapters/edit/10.4324/9780203830376-59/phenomenology-music-bruce-ellis-benson

    2011 doi

  5. [14]

    Bimbot, F., Deruty, E., Sargent, G., and Vincent, E. (2012). Semiotic structure labeling of music pieces: Concepts, methods and annotation conventions. In Proceedings of the 13th International Society for Music Information Retrieval Conference , pages 235--240. ISMIR. https://...

    2012

  6. [15]

    Bimbot, F., Deruty, E., Sargent, G., and Vincent, E. (2016). System & contrast: a polymorphous model of the inner organization of structural segments within music pieces. Music Perception: An Interdisciplinary Journal , 33(5):631--661. https://inria.hal.science/hal-01188244v1

    2016

  7. [16]

    Bimbot, F., Le Blouch, O., Sargent, G., and Vincent, E. (2010). Decomposition into autonomous and comparable blocks: a structural description of music pieces. Technical report, IRISA, Rennes, France. https://inria.hal.science/inria-00553526v1

    2010

  8. [17]

    Bimbot, F., Sargent, G., Deruty, E., Guichaoua, C., and Vincent, E. (2014). Semiotic description of music structure: An introduction to the Quaero/Metiss structural annotations. In AES 53rd International Conference on Semantic Audio . Audio Engineering Society. https://inria.h...

    2014

  9. [18]

    Brackett, D. (2023). Interpreting Popular Music: With a new preface by the author . University of California Press. https://www.ucpress.edu/book/9780520225411/interpreting-popular-music

    2023

  10. [19]

    Bregman, A. S. (1994). Auditory scene analysis: The perceptual organization of sound . MIT press. https://mitpress.mit.edu/9780262521956/

    1994

  11. [20]

    Bregman, A. S. and Ahad, P. A. (1996). Demonstrations to Accompany Bregman's Auditory Scene Analysis . Cambridge, MA, and London: MIT Press

    1996

  12. [21]

    Briot, J.-P., Hadjeres, G., and Pachet, F.-D. (2020). Deep learning techniques for music generation (Vol.1) . Springer. https://link.springer.com/book/10.1007/978-3-319-70163-9

    2020 doi

  13. [22]

    Work bitch [song]

    Britney Spears (2013). Work bitch [song]. Album: Britney Jean. Label: RCA. https://youtu.be/pt8VYOfr8To

    2013

  14. [23]

    Burke, G. (2019). 808 bass and beyond: Evolution of an iconic sound. https://futureaudioworkshop.com/808-bass-and-beyond-part-i/

    2019

  15. [24]

    Caccini, G. (1602). Le Nuove Musiche . Firenze: Giorgio Marescotti. https://imslp.org/wiki/Le_nuove_musiche_(Caccini,_Giulio)

  16. [26]

    Caplin, W. E. (1998). Classical form: A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven . Oxford University Press. https://global.oup.com/academic/product/classical-form-9780195143997

    1998

  17. [27]

    Carter, C. (1997). Roland TR808 Rhythm Composer (Retro) . Sound on Sound , May 1997. https://www.soundonsound.com/reviews/roland-tr808

    1997

  18. [28]

    Chion, M. (1983). Guide des objets sonores: Pierre Schaeffer et la recherche musicale . Buchet/Chastel. https://searchworks.stanford.edu/view/1507533

    1983

  19. [29]

    G., Stoica, P., Jakobsson, A., and Jensen, S

    Christensen, M. G., Stoica, P., Jakobsson, A., and Jensen, S. H. (2008). Multi-pitch estimation. Signal Processing , 88(4):972--983. https://doi.org/10.1007/978-3-031-02558-7

    2008 doi

  20. [30]

    Christensen, T. (2006). The Cambridge history of Western music theory . Cambridge University Press. https://doi.org/10.1017/CHOL9780521623711

    2006 doi

  21. [31]

    C urdevey, A. (1998). Histoire du langage musical occidental . Presses Universitaires de France. https://www.iremus.cnrs.fr/sites/default/files/aclangage_musical_1.pdf

    1998

  22. [32]

    Conklin, D. (2010). Discovery of distinctive patterns in music. Intelligent Data Analysis , 14(5):547--554. https://dl.acm.org/doi/10.5555/1859240.1859243

    2010

  23. [33]

    Costa, L. d. F. (2019). Modeling consonance and its relationships with temperament, harmony, and electronic amplification. arXiv preprint arXiv:1906.06559

    2019 arXiv

  24. [34]

    Daily Analog (2024). Unison. https://dailyanalog.com/glossary/unison/

    2024

  25. [35]

    The mystery of MacBook speakers

    Dave2D (2022). The mystery of MacBook speakers. https://youtu.be/LkYB931iUjc

    2022

  26. [37]

    De Boer, E. (1956). Pitch of inharmonic signals. Nature , 178(4532):535--536. https://www.nature.com/articles/178535a0

    1956

  27. [38]

    D \'e guernel, K., Giraud, M., Groult, R., and Gulluni, S. (2022). Personalizing AI for co-creative music composition from melody to structure. In Sound and Music Computing (SMC 2022) , pages 314--321. https://hal.science/hal-03618015/

    2022

  28. [39]

    and Hurst, W

    Delson, D. and Hurst, W. E. (1980). Delson's Dictionary of Radio & Record Industry Terms . Bradson Press. https://books.google.com/books/about/Delson_s_Dictionary_of_Radio_Record_Indu.html?id=Ju_yPQAACAAJ

    1980

  29. [40]

    Deruty, E. (2024). Prioritizing register over pitch values in recent popular music: the example of the Roland TR-808 bass drum. In Proceedings of the 25th International Society for Music Information Retrieval Conference . ISMIR. https://arxiv.org/abs/2502.07524

    2024 arXiv

  30. [41]

    Deruty, E., Bimbot, F., and Van Wymeersch, B. (2013). Methodological and musicological investigation of the system & contrast model for musical form description. Technical report, INRIA. https://inria.hal.science/hal-00965914/

    2013

  31. [42]

    and Grachten, M

    Deruty, E. and Grachten, M. (2022). `` M elatonin'': A case study on AI -induced musical style. In Proceedings of the 3rd Conference on AI Music Creativity . AIMC. https://doi.org/10.5281/zenodo.7088302

    2022 doi

  32. [43]

    Deruty, E., Grachten, M., Lattner, S., Nistal, J., and Aouameur, C. (2022). On the development and practice of AI technology for contemporary popular music production. Transactions of the International Society for Music Information Retrieval , 5(1). https://transactions.ismir....

    2022 doi

  33. [44]

    Nicky Da B (2012)

    Diplo feat. Nicky Da B (2012). Express yourself [song]. Album: Express Yourself EP. Record label: Mad Decent Protocol. https://youtu.be/BKaL7WL-onI

    2012

  34. [45]

    Dixon Ward, W. (1970). Musical perception. In Tobias, J., editor, Foundations of Modern Auditory Theory , volume 1, pages 405--446. Academic Press. https://shop.elsevier.com/books/foundations-of-modern-auditory-theory/tobias/978-0-12-691901-1

    1970

  35. [46]

    Drugman, T., Huybrechts, G., Klimkov, V., and Moinet, A. (2018). Traditional machine learning for pitch detection. IEEE Signal Processing Letters , 25(11):1745--1749. https://doi.org/10.1109/LSP.2018.2874155

    2018

  36. [47]

    How to tune drums in four steps

    Drum Magazine (2010). How to tune drums in four steps. https://drummagazine.com/how-to-tune-drums-in-four-steps/

    2010

  37. [48]

    Dunn, A. (2015). 808 (documentary film). https://youtu.be/KClqn0oN1lY

    2015

  38. [49]

    Elvander, F., Ding, J., and Jakobsson, A. (2020). On harmonic approximations of inharmonic signals. In 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) , pages 5360--5364. IEEE. https://doi.org/10.1109/ICASSP40776.2020.9054139

    2020

  39. [50]

    Emmerson, S. (1977). Ring modulation and structure. Contact: A Journal for Contemporary Music (1971-1990) , 17:14--20. https://doi.org/10.25602/GOLD.cj.v0i17.1076

    1977 doi

  40. [51]

    and Palisca, C

    Erickson, R. and Palisca, C. V. (1995). Musica Enchiriadis and Scolica Enchiriadis . Yale University Press. https://archive.org/details/erickson-1995-musica-enchiriadis-and-scolica-enchiriadis/mode/2up

    1995

  41. [52]

    Everett, W. (1986). Fantastic remembrance in J ohn L ennon's `` S trawberry F ields F orever'' and `` J ulia''. The Musical Quarterly , 72(3):360--393. https://www.jstor.org/stable/948147

    1986

  42. [53]

    Everett, W. (2000). Confessions from blueberry hell. In Everett, W., editor, Expression in pop-rock music: a collection of critical and analytical essays . Taylor & Francis. https://https://books.google.rs/books/about/Expression_in_Pop_rock_Music.html?id=tAA73ebsa0sC

    2000

  43. [54]

    Ewert, S., Pardo, B., Muller, M., and Plumbley, M. D. (2014). Score-informed source separation for musical audio recordings: An overview. IEEE Signal Processing Magazine , 31(3):116--124. https://doi.org/10.1109/MSP.2013.2296076

    2014

  44. [55]

    Ferrara, L. (1984). Phenomenology as a tool for musical analysis. The Musical Quarterly , 70(3):355--373. https://www.jstor.org/stable/742043

    1984

  45. [56]

    Fitzgerald, D. (2010). Harmonic/percussive separation using median filtering. In Proceedings of the 13th International Conference on Digital Audio Effects (DAFx-10) . h International Conference on Digital Audio Effects. https://arrow.tudublin.ie/argcon/67/

    2010

  46. [57]

    Fletcher, H. (1924). The physical criterion for determining the pitch of a musical tone. Physical Review , 23(3):427. https://doi.org/10.1103/PhysRev.23.427

    1924 doi

  47. [58]

    D., and Stratton, R

    Fletcher, H., Blackham, E. D., and Stratton, R. (1962). Quality of piano tones. The Journal of the Acoustical Society of America , 34(6):749--761. https://doi.org/10.1121/1.1918192

    1962 doi

  48. [59]

    and Munson, W

    Fletcher, H. and Munson, W. A. (1933). Loudness, its definition, measurement and calculation. Bell System Technical Journal , 12(4):377--430. https://doi.org/10.1002/j.1538-7305.1933.tb00403.x

    1933

  49. [60]

    Forte, A. (1979). Tonal Harmony In Concept & Practice: Third Edition . Holt, Rinehart, & Winston. https://books.google.com/books/about/Tonal_Harmony_In_Concept_Practice_Third.html

    1979

  50. [61]

    1236a sam studio monitor

    Genelec (2024). 1236a sam studio monitor. technical specifications. https://www.genelec.com/1236a#section-technical-specifications

    2024

  51. [62]

    Grachten, M., Deruty, E., and Tanguy, A. (2019). Auto-adaptive resonance equalization using dilated residual networks. In Proceedings of the 20th International Society for Music Information Retrieval Conference , pages 405--411. ISMIR. https://doi.org/10.5281/zenodo.3527830

    2019 doi

  52. [63]

    Grachten, M., Lattner, S., and Deruty, E. (2020). Bassnet: A variational gated autoencoder for conditional generation of bass guitar tracks with learned interactive control. Applied Sciences , 10(18):6627. https://doi.org/10.3390/app10186627

    2020 doi

  53. [64]

    Hasnain, Z. (2017). How the Roland TR-808 revolutionized music / T he drum machine that blurred lines between genres. The Verge . https://www.theverge.com/2017/4/3/15162488/roland-tr-808-music-drum-machine-revolutionized-music

    2017

  54. [65]

    Helmholtz, H. L. F. v. (1885). On the sensations of tone as a physiological basis for the theory of music . Longmans, Green, and Co. Translated by Alexander John Ellis. https://archive.org/details/onsensationsofto00helmrich

  55. [66]

    Hindemith, P. (1941). The Craft of Musical Composition. Book 1: Theory . Schott Music. https://www.schott-music.com/en/the-craft-of-musical-composition-noc41227.html

    1941

  56. [67]

    A., Koops, H

    Huang, C.-Z. A., Koops, H. V., Newton-Rex, E., Dinculescu, M., and Cai, C. (2020). AI song contest: Human-AI co-creation in songwriting . In Proceedings of the 21st International Society for Music Information Retrieval Conference , pages 708--716, Montreal, Canada. ISMIR. http...

    2020 doi

  57. [68]

    Huber, D. M. and Runstein, R. (2013). Modern recording techniques . Routledge. https://doi.org/10.4324/9780240824642

    2013 doi

  58. [69]

    and Berec, J

    Huron, D. and Berec, J. (2009). Characterizing idiomatic organization in music: A theory and case study of musical affordances. Empirical Musicology Review , 4(1):103--122. https://oa.mg/work/10.18061/1811/44531

    2009 doi

  59. [70]

    Husserl, E. (1983). Ideas pertaining to a pure phenomenology and to a phenomenological philosophy. First book: General introduction to a pure phenomenology. Translated by F. Kersten. Martinus Nijhoff publishers. https://link.springer.com/book/9789024725038

    1983

  60. [71]

    Hyper M usic

    Hyper Music (2024). Hyper M usic. https://www.hyper-music.com/

    2024

  61. [72]

    Ingarden, R. (1986). The Work of Music and the Problem of its Identity . University of California Press. https://doi.org/10.1007/978-1-349-09254-3

    1986 doi

  62. [73]

    Normal equal-loudness level contours-ISO 226: 2023

    ISO (2023). Normal equal-loudness level contours-ISO 226: 2023 . Standard, International Organization for Standardization, Geneva, Switzerland. https://www.iso.org/standard/83117.html

    2023

  63. [74]

    Gosh [song]

    Jamie xx (2016). Gosh [song] . Single. Label: Young Turks. https://youtu.be/hTGJfRPLe08

    2016

  64. [75]

    a rvel \

    J \"a rvel \"a inen, H., V \"a lim \"a ki, V., and Karjalainen, M. (1999). Audibility of inharmonicity in string instrument sounds, and implications to digital sound synthesis. In Proceedings of the 25th International Computer Music Conference, ICMC 1999, Beijing, China . http...

    1999

  65. [76]

    a rvel \

    J \"a rvel \"a inen, H., Verma, T. S., and V \"a lim \"a ki, V. (2000). The effect of inharmonicity on pitch in string instrument sounds. In Proceedings of the 26th International Computer Music Conference, ICMC 2000, Berlin, Germany . http://hdl.handle.net/2027/spo.bbp2372.2000.176

    2000

  66. [77]

    Silence [song]

    Jedi Mind Tricks (2009). Silence [song]. Album: Greatest Features. Label: Babygrande. https://youtu.be/oeac4GFzWXw

    2009

  67. [78]

    Just Isn't Music

    Just Isn't Music (2024). Just Isn't Music . https://justisntmusic.com/

    2024

  68. [79]

    On Sight [song]

    Kanye West (2013). On Sight [song]. Album: Yeezus. Record labels: Def Jam, Roc-A-Fella. https://youtu.be/uU9Fe-WXew4

    2013

  69. [80]

    Keil, C. M. (1966). Motion and feeling through music. Journal of aesthetics and art criticism , 24(3):337--349. https://www.jstor.org/stable/427969

    1966

  70. [81]

    W., Salamon, J., Li, P., and Bello, J

    Kim, J. W., Salamon, J., Li, P., and Bello, J. P. (2018). Crepe: A convolutional representation for pitch estimation. In 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) , pages 161--165. IEEE, IEEE. https://doi.org/10.1109/ICASSP.2018.8461329

    2018

  71. [82]

    and Keaton, K

    Klickstein, G. and Keaton, K. (1993). Tuning the guitar. American String Teacher , 43(3):55--59. https://doi.org/10.1177/000313139304300321

    1993 doi

  72. [84]

    Kursell, J. (2015). A third note: Helmholtz, P alestrina, and the early history of musicology. Isis , 106(2):353--366. https://doi.org/10.1086/682003

    2015 doi

  73. [85]

    Lavoie, A. (2020). What is an 808? 7 ways to make huge 808 kicks. https://blog.landr.com/what-is-an-808/

    2020

  74. [88]

    Massenburg, G. (1972). Parametric equalization. In Audio Engineering Society Convention 42 . Audio Engineering Society. https://aes2.org/publications/elibrary-page/?id=16171

    1972

  75. [89]

    Angel [song]

    Massive Attack (1998). Angel [song]. Album: Mezzanine. Label: Virgin. https://youtu.be/hbe3CQamF8k

    1998

  76. [90]

    McAdams, S. (1999). Perspectives on the contribution of timbre to musical structure. Computer music journal , 23(3):85--102. https://www.jstor.org/stable/3681242

    1999

  77. [91]

    and O'Mard, L

    Meddis, R. and O'Mard, L. P. (2006). Virtual pitch in a computational physiological model. The Journal of the Acoustical Society of America , 120(6):3861--3869. https://doi.org/10.1121/1.2372595

    2006 doi

  78. [92]

    Mee \`u s, N. (2013). Modalit \'e de la polyphonie pr \'e -tonale. In Gonnard, H., editor, Regards sur la tonalit \'e , pages 169--178. \'Editions Delatour France. http://nicolas.meeus.free.fr/NMTheorie/ModaliteTonalite.pdf

    2013

  79. [93]

    Mee\` u s, N. (2023). Theoretical aspects of the modal and tonal organization of renaissance polyphony. In Proceedings of the 9th European Music Analysis Conference (EuroMAC 9) . CREAA / GREAM. https://creaa.unistra.fr/websites/gream/Activites/Euromac_2017_-_Postprint_-_Extend...

    2023

  80. [94]

    Mellers, W. (1974). Twilight of the gods: The music of the Beatles . New-York: Viking Books. https://books.google.com/books/about/Twilight_of_the_Gods.html?id=j33uAAAAMAAJ

    1974

  81. [95]

    Mersenne, M. (1636). Harmonie Universelle . Paris: chez S\'ebastien Cramoisy. https://imslp.org/wiki/Harmonie_universelle_(Mersenne,_Marin)

  82. [96]

    Meyers, O. (2003). Roland TR-808 Rhythm Composer . https://citeseerx.ist.psu.edu/document? repid=rep1&type=pdf&doi= 1d22775d2720a67c23a6602974354e226851dcc1

    2003

  83. [97]

    Middleton, R. (1990). Studying popular music . McGraw-Hill Education (UK). https://books.google.com/books/about/Studying_Popular_Music.html?id=FJlKLwEACAAJ

    1990

  84. [98]

    Monelle, R. (2014). Linguistics and semiotics in music . Routledge. https://www.taylorfrancis.com/books/mono/10.4324/9781315076942/linguistics-semiotics-music-raymond-monelle

    2014 doi

  85. [99]

    Moog, R. A. (1965). A voltage-controlled low-pass high-pass filter for audio signal processing. In Audio Engineering Society Convention 17 . Audio Engineering Society. https://aes2.org/publications/elibrary-page/?id=1027

    1965

  86. [100]

    Moore, A. F. (2016). Song means: Analysing and interpreting recorded popular song . Routledge. https://doi.org/10.4324/9781315609898

    2016 doi

  87. [101]

    Moore, A. F. and Martin, R. (2018). Rock: The primary text. Developing a musicology of rock . Routledge. https://doi.org/10.4324/9780429490170

    2018 doi

  88. [102]

    Moore, B. C. (2012). An introduction to the psychology of hearing . Emerald Group Publishing Limited. https://www.google.com/books/edition/An_Introduction_to_the_Psychology_of_Hea/LM9U8e28pLMC

    2012

  89. [103]

    Nagle, P. (2015). Spectrasonics Omnisphere 2 . Sound on Sound , Aug. 2015. https://www.soundonsound.com/reviews/spectrasonics-omnisphere-2

    2015

  90. [104]

    Newell, P. (2017). Recording studio design . Taylor & Francis. https://doi.org/10.4324/9781315675367

    2017 doi

  91. [105]

    R., Holland, K

    Newell, P. R., Holland, K. R., and Newell, J. P. (2001). The Y amaha NS10M : twenty years a reference monitor. W hy? Proceedings of the Institute of Acoustics , 23(8):29--40. https://www.ioa.org.uk/system/files/proceedings/pr_newell_kr_holland_jp_newell_the_yamaha_ns10m_twenty...

    2001

  92. [106]

    Dialogus de musica

    Odo (2001). Dialogus de musica. In Patrologiae Cursus Completus: Series Latina, electronic version: Thesaurus Musicarum Latinarum , volume 133, pages 757--74. Migne, Jacques-Paul and Hayes, Stephen E. and Slemon, Peter and Mathiesen, Thomas J. https://chmtl.indiana.edu/tml/

    2001

  93. [107]

    U ber die D efinition des T ones, nebst daran gekn \

    Ohm, G. S. (1843). \"U ber die D efinition des T ones, nebst daran gekn \"u pfter T heorie der S irene und \"a hnlicher tonbildender V orrichtungen. Annalen der Physik , 135(8):513--565. https://doi.org/10.1002/andp.18431350802

    doi

  94. [108]

    Ono, N., Miyamoto, K., Kameoka, H., and Sagayama, S. (2008). A real-time equalizer of harmonic and percussive components in music signals. In Proceedings of the 9th International Conference on Music Information Retrieval , pages 139--144. ISMIR. https://doi.org/10.5281/zenodo.1415044

    2008 doi

  95. [109]

    Oxenham, A. J. (2012). Pitch perception. Journal of Neuroscience , 32(39):13335--13338. https://doi.org/10.1523/JNEUROSCI.3815-12.2012

    2012 doi

  96. [110]

    Park, S. K. and Hazra, R. (1993). Aliasing as noise: a quantitative and qualitative assessment. In Infrared Imaging Systems: Design, Analysis, Modeling, and Testing IV , volume 1969, pages 54--65. SPIE. https://doi.org/10.1117/12.154738

    1993 doi

  97. [111]

    Parker, J. (2011). A simple digital model of the diode-based ring-modulator. In Proceedings of the 14th International Conference on Digital Audio Effects (DAFx-11) , pages 163--166. https://www.dafx.de/paper-archive/2011/Papers/66_e.pdf

    2011

  98. [112]

    L., Susini, P., Misdariis, N., and McAdams, S

    Peeters, G., Giordano, B. L., Susini, P., Misdariis, N., and McAdams, S. (2011). The timbre toolbox: Extracting audio descriptors from musical signals. The Journal of the Acoustical Society of America , 130(5):2902--2916. https://doi.org/10.1121/1.3642604

    2011 doi

  99. [113]

    Plomp, R. (1964). The ear as a frequency analyzer. The Journal of the Acoustical Society of America , 36(9):1628--1636. https://doi.org/10.1121/1.1919256

    1964 doi

  100. [114]

    Plomp, R. (1976). Aspects of tone sensation: A psychophysical study . Academic Press. https://books.google.com/books/about/Aspects_of_Tone_Sensation.html?id=DOpqAAAAMAAJ

    1976

  101. [115]

    Plomp, R. (2001). The intelligent ear: On the nature of sound perception . Psychology Press. https://doi.org/10.4324/9781410604255

    2001 doi

  102. [116]

    Dior [song]

    Pop Smoke (1998). Dior [song]. Single. Labels: Victor Victor, Republic. https://youtu.be/oorVWW9ywG0

    1998

  103. [117]

    Powers, H. (2013). Is mode real? 1. P ietro A ron, the octenary system, and polyphony. In Judd, C. C., editor, Musical Theory in the Renaissance , pages 163--207. Routledge. https://www.taylorfrancis.com/chapters/edit/10.4324/9781315090689-4/mode-real-1-harold-powers

    2013 doi

  104. [118]

    Powers, H. S. (1981). Tonal types and modal categories in R enaissance polyphony. Journal of the American Musicological Society , 34(3):428--470. https://www.jstor.org/stable/831189

    1981

  105. [121]

    Raffel, C. (2016). Learning-Based Methods for Comparing Sequences, with Applications to Audio-to-MIDI Alignment and Matching . PhD thesis, Columbia University. https://www.proquest.com/docview/1802531589

    2016

  106. [122]

    and Ellis, D

    Raffel, C. and Ellis, D. P. (2016). Optimizing DTW-based audio-to-MIDI alignment and matching. In 2016 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) , pages 81--85. IEEE, IEEE. https://doi.org/10.1109/ICASSP.2016.7471641

    2016

  107. [123]

    Rameau, J. P. (1722). Trait\'e de l'Harmonie R\'eduite \`a ses Principes Naturels . Paris: Ballard. https://gallica.bnf.fr/ark:/12148/btv1b86232459

  108. [124]

    Rameau, J. P. (1737). G\'en\'eration harmonique . Paris: chez Prault fils. https://gallica.bnf.fr/ark:/12148/btv1b8623285t/

  109. [125]

    Rameau, J. P. (1750). D\'emonstration du Principe de L'Harmonie, Servant de base \`a tout l'Art Musical th\'eorique et pratique . Paris: Durand et Pissot. https://gallica.bnf.fr/ark:/12148/bpt6k1082246/

  110. [126]

    and Plomp, R

    Rasch, R. and Plomp, R. (1982). The perception of musical tones. In Deutsch, D., editor, The Psychology of Music , pages 89--112. Academic Press. https://doi.org/10.1016/B978-012213564-4/50005-6

    1982 doi

  111. [127]

    Richardson, P. G. (2010). Acoustic analysis and tuning of cylindrical membranophones . PhD thesis, Anglia Ruskin University. https://core.ac.uk/download/pdf/77282289.pdf

    2010

  112. [129]

    Riou, A., Lattner, S., Hadjeres, G., and Peeters, G. (2023). Pesto: Pitch estimation with self-supervised transposition-equivariant objective. In Proceedings of the 24th International Society for Music Information Retrieval Conference , pages 535--544. ISMIR. https://hal.scien...

    2023

  113. [130]

    Roads, C. (1979). A tutorial on non-linear distortion or waveshaping synthesis. Computer Music Journal , pages 29--34. https://www.jstor.org/stable/3680281

    1979

  114. [131]

    Robinson, D. W. and Dadson, R. S. (1956). A re-determination of the equal-loudness relations for pure tones. British Journal of Applied Physics , 7(5):166. https://doi.org/10.1088/0508-3443/7/5/302

    1956 doi

  115. [132]

    Roederer, J. G. (2008). The physics and psychophysics of music: An introduction , volume 4. Springer. https://doi.org/10.1007/978-0-387-09474-8

    2008 doi

  116. [133]

    Find the best speakers for your needs

    RTings.com (2024). Find the best speakers for your needs. https://www.rtings.com/speaker

    2024

  117. [134]

    Rump, H., Miyabe, S., Tsunoo, E., Ono, N., and Sagayama, S. (2010). Autoregressive MFCC models for genre classification improved by harmonic-percussion separation. In Proceedings of the 11th International Society for Music Information Retrieval Conference , pages 87--92. ISMIR...

    2010 doi

  118. [136]

    Sancti Amandi, H. (ca. 900a). Musica enchiridis. In Patrologia Latina, De Scriptoribus Ecclesiae Relatis, Documenta Catholica Omnia , volume MPL132, pages 957--982. Migne, Jacques-Paul. https://www.documentacatholicaomnia.eu/04z/z_0840-0930__Hucbaldus_Sancti_Amandi__Musica_Enc...

  119. [137]

    Sancti Amandi, H. (ca. 900b). Musica enchiridis [scholia]. In Patrologia Latina, De Scriptoribus Ecclesiae Relatis, Documenta Catholica Omnia , volume MPL132, pages 982--1026. Migne, Jacques-Paul. https://www.documentacatholicaomnia.eu/04z/z_0840-0930__Hucbaldus_Sancti_Amandi_...

  120. [139]

    Schenker, H. (1935). Der Freie Satz . Wien: Universal Edition. https://imslp.org/wiki/Der_freie_Satz_(Schenker,_Heinrich)

    1935

  121. [140]

    and Frieler, K

    Schneider, A. and Frieler, K. (2009). Perception of harmonic and inharmonic sounds: Results from ear models. In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music: 5th International Symposium, CMMR 2008 Copenhagen, Denmark, May 19-23, 2008 Revised Pap...

    2009 doi

  122. [141]

    Schoenberg, A. (1967). Fundamentals of musical composition . Faber and Faber. https://ia903208.us.archive.org/1/items/MusicTheoryGeorgeThaddeusJones1974/A.schoenberg-FundamentalsOfMusicalComposition_text.pdf

    1967

  123. [142]

    Seebeck, A. (1843). Ueber die definition des T ones. Annalen der Physik und Chemie , LXIII(11). https://doi.org/10.1002/andp.18441391102

    doi

  124. [143]

    and Moore, B

    Sek, A. and Moore, B. C. (1995). Frequency discrimination as a function of frequency, measured in several ways. The Journal of the Acoustical Society of America , 97(4):2479--2486. https://doi.org/10.1121/1.411968

    1995 doi

  125. [144]

    Serhan, E. (2022). The phenomenological reduction and music. In Proceedings of the Western Sydney University Undergraduate Musicology Conference 2022 , pages 1--15. Western Sydney University. https://researchdirect.westernsydney.edu.au/islandora/object/uws:69794/datastream/PDF...

    2022

  126. [145]

    Shier, J., Caspe, F., Robertson, A., Sandler, M., Saitis, C., and McPherson, A. (2023). Differentiable modelling of percussive audio with transient and spectral synthesis. arXiv preprint arXiv:2309.06649

    2023 arXiv

  127. [146]

    Rumble [song]

    Skirllex (2013). Rumble [song]. Album: USB. Label: Atlantic Records. https://youtu.be/7z25ZZ3DHds

    2013

  128. [147]

    and Nielsen, S

    Skovenborg, E. and Nielsen, S. H. (2004). Evaluation of different loudness models with music and speech material. In Audio Engineering Society Convention 117 . Audio Engineering Society. https://aes2.org/publications/elibrary-page/?id=12891

    2004

  129. [148]

    Scary monsters and nice sprites [song]

    Skrillex (2011). Scary monsters and nice sprites [song]. EP: Scary Monsters and Nice Sprites. Label: Big Beat. https://youtu.be/WSeNSzJ2-Jw

    2011

  130. [149]

    Storch, S. (2022). Masterclass: becoming a hitmaker with Scott Storch . C hapter 8, `` D efining a bass line''. https://www.aulart.com/masterclass/scott-storch-becoming-a-hitmaker/

    2022

  131. [150]

    Taboada, S. (2022). Sony WH-1000XM5 review - improvement, but is it enough for 2022? https://headphones.com/blogs/reviews/sony-wh-1000xm5-review

    2022

  132. [151]

    Tagg, P. (1982). Analysing popular music: theory, method and practice. Popular music , 2:37--67. https://www.jstor.org/stable/pdf/852975.pdf

    1982

  133. [152]

    Tagg, P. (2009). Everyday tonality . The Mass Media Music Scholars' Press. https://tagg.org/xpdfs/TOCsample.pdf

    2009

  134. [153]

    Terhardt, E. (1979). Calculating virtual pitch. Hearing research , 1(2):155--182. https://doi.org/10.1016/0378-5955(79)90025-X

    1979 doi

  135. [154]

    C., Robinson, P., and Richardson, P

    Toulson, R., Crigny, C. C., Robinson, P., and Richardson, P. (2009). The perception and importance of drum tuning in live performance and music production. The Journal on the Art of Record Production , 4. https://www.arpjournal.com/asarpwp/theme/drum-tuning/

    2009

  136. [155]

    Turner, R. S. (1977). The Ohm-Seebeck dispute , Hermann von Helmholtz , and the origins of physiological acoustics. The British Journal for the History of Science , 10(1):1--24. https://www.jstor.org/stable/pdf/4025578.pdf

    1977

  137. [156]

    Vincent, E., Bertin, N., and Badeau, R. (2008). Harmonic and inharmonic nonnegative matrix factorization for polyphonic pitch transcription. In 2008 IEEE International Conference on Acoustics, Speech and Signal Processing , pages 109--112. IEEE. https://doi.org/10.1109/ICASSP....

    2008

  138. [157]

    J., Abel, J

    Werner, K. J., Abel, J. S., and Smith III, J. O. (2014). A physically-informed, circuit-bendable, digital model of the Roland TR-808 bass drum circuit. In Proceedings of the 17th International Conference on Digital Audio Effects (DAFx-14) , pages 159--166. International Audio ...

    2014

  139. [158]

    White, W. B. (1917). Modern piano tuning and allied arts . Edward Lyman Bill, Incorporated. https://dn790003.ca.archive.org/0/items/modernpianotunin00whit/modernpianotunin00whit.pdf

    1917

  140. [159]

    Wicke, P. (2003). Popmusik in der Analyse . Acta musicologica , 75:107--126. https://www.jstor.org/stable/25071212

    2003

  141. [160]

    and Ledbetter, D

    Williams, P. and Ledbetter, D. (2001). Continuo [basso continuo] (It.) . In Grove Music Online . Oxford Music Online. https://doi.org/10.1093/gmo/9781561592630.article.06353

    2001

  142. [161]

    Yoo, J., Kim, M., Kang, K., and Choi, S. (2010). Nonnegative matrix partial co-factorization for drum source separation. In 2010 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) , pages 1942--1945. IEEE. https://doi.org/10.1109/ICASSP.2010.5495305

    2010

  143. [162]

    Yost, W. A. (2009). Pitch perception. Attention, Perception, & Psychophysics , 71(8):1701--1715. https://doi.org/10.3758/APP.71.8.1701

    2009 doi

  144. [163]

    Young, R. W. (1952). Inharmonicity of plain wire piano strings. The Journal of the Acoustical Society of America , 24(3):267--273. https://doi.org/10.1121/1.1906888

    1952 doi

  145. [164]

    and Fastl, H

    Zwicker, E. and Fastl, H. (1990). Pitch and pitch strength. In Psychoacoustics: Facts and Models , pages 111--149. Springer-Verlag, New York. https://doi.org/10.1007/978-3-662-09562-1_5

    1990 doi

Pith tools

Reviewed August 8, 2026 · model on record in the stance chip above.