Archive

_Mathematica_ searches a local user directory (see $UserDirectory) in addition to the system-wide location for add-on packages. The musictheory/src directory needs to be added to this path. This can be done in two possible ways:

1. Create a symbolic link in $UserDirectory to the musictheory/src directory. Using Terminal:

cd ~/Library/Mathematica/Applications

Open up the notebook musictheory/nb/Introduction.nb and evaluate its contents.

- If the MusicTheory subpackages were not found, then the installation was not done correctly.
- If you did not install LilyPond, the demonstrations using Notate[] will not work.

Details on the features of major subpackages.

# Features

- Imports a MIDI type 0, 1, or 2 file and parses into a series of chunks (headers, track), and events (channel, meta, sysex).

# Planned

- Convert parsed MIDI data into a score
- MIDI export

# Features

- Defines a collection of symbols for standard western notation
- Defines symbols used in score representation

# Planned

- More symbols for advanced notation requirements

# Maybe

- Some way to deal with generalized pitch classes

# Features

- PitchClass
- DiatonicToChromatic
- Pitch to numeric
- PitchToInteger
- IntegerToPitch
- Duration to numeric
- DurationToRational
- RationalToDuration
- TotalDuration
- DurationToOnset
- OnsetToDuration
- Score reduction
- ExtractDurations
- ExtractPitchInstances

# Planned

- Score to/from piano roll

# Features

- GeneratePolyrhythm

# Planned

- TBD

# Features

- Notate
Renders and returns an image given a Score or Notes as input.

# Planned

- Ability to export to various formats (all possible using the Lilypond backend)
- EPS
- PDF
- MusicXML
- MIDI
- Support for rhythmic notation e.g., "Tubs" notation and polygon visualizations

Modes are defined as a list of intervals relative to the root of a scale.

# Features

- Modes of limited transposition
- Standard musical modes:
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian

# Planned

- More scales...

A collection of ancient Hindu rhythms popularized by Olivier Messiaen.

# Features

- Decitalas = { {i, name, {Duration[...], ...}, {...}, ... }

# Planned

- N/A

[inline-left:MusicTheoryDemo.png]

# Features

- TBD

# Planned

- Stream segregation
- Rhythmic analysis
- Harmonic analysis
- Key inference

This is software for music theoretic programming in the Mathematica environment.

It contains several sub-packages that comprise symbolic representation of music scores and events, operations and transformations on musical objects, music data formats import/export, music notation and visualization, and generative composition.

The install process breaks down as follows:

1. Install a subversion client (optional, but recommended)
2. Obtain the project source code from the repository
3. Configure _Mathematica_ so that it will find the package
4. Install Lilypond (optional, but highly recommended)
5. Open and evaluate the demo notebook to verify that everything works

[http://lilypond.org/web/|LilyPond] is an open-source project that does music typesetting using a TeX-style syntax and similar layout-optimization algorithms. The MusicTheory\`Notation\` subpackage uses LilyPond as a rendering engine to present musical fragments directly in the _Mathematica_ notebook interface.

# Features

- Logical operators
- EnharmonicQ
- EnharmonicClassQ
- SameDurationQ
- Pitch operators
- PitchInstance + Interval
- Duration operations
- Duration + Duration
- Duration - Duration
- Dot[Duration] (Duration + 1/2 Duration)
- Duration * Integer|Rational
- Duration / Integer|Rational
- Duration^-1

# Planned

- Note operators

This dissertation addresses the problem of
musical knowledge acquisition by investigating humans' learning
of a novel and unfamiliar musical system. This chapter details
the novel musical system, including how and why it is used in
composition and in the following experiments.

The Bohlen-Pierce Scale

The human experience of music is a
complex process. The human brain recruits multiple neural
processes to convert signals from the outside world into the
multidimensional musical experience. These processes enable the
perception and memory of pitch, rhythm, melody, harmony,
tonality, and timbre, as well as knowledge of musical

Familiarity,
Expectation, and Preference

The present chapter
demonstrates the human ability to learn a new musical system.
Using the two finite-state musical grammars described in the
previous chapter, we explore the learning of new music via
passive exposure. In all experiments in the next two chapters,

The previous chapter demonstrated the
possibility that humans can learn grammatical and frequency
structures of sounds from limited exposure. Results suggest
that the human brain is efficient at learning relationships
between sounds and deriving a novel musical experience. Many
questions can be raised regarding this learning ability: what