Presenter: Donncha S. Ó Maidín OMDN at the C@merata 2016 Task: Approaches to and Issues Arising from Answering Natural Language Questions about Music Scores In Working Notes Proceedings of the MediaEval 2016 Workshop, Hilversum, Netherlands, October 20-21, CEUR-WS.org (2016) by Donncha Ó. Maidín Paper: http://ceur-ws.org/Vol-1739/MediaEval_2016_paper_58.pdf Video: https://youtu.be/9sTWdHdCP9c Abstract: The query is modeled as a parse tree where clauses from the query form children of the tree’s root. Children of each clause, in turn represent the query’s atomic units. A complete search involves visiting all score objects that are potential starting points for a match. Atomic units of the parse tree are compared, in sequence, with corresponding score objects. From each score object, appropriate paths are explored to find objects that match the sequence of tree’s atomic units. The parse tree is traversed in a depth first order. Iteration paths through the score follow either vertical or horizontal routes, the former for chord or harmonic interval comparisons, and the latter for melodic comparisons. Iteration between clauses results in the selection of new score staring points, appropriate to the temporal relationship between clauses. Results were limited on account of problems with importing some of the MusicXML files.

1. Donncha
S.
Ó Maidín
Approaches
to
and
Issues
Arising
from
Answering
Natural
Language
Questions
about
Music
Scores

4. Languages
FORTRAN
2D
FORTRAN
IV
ICL
FORTRAN
BASIC
PASCHAL
C
C++

5. C++
Object-­‐oriented
Hiding
complexity
Procedural
Available

6. A
Programmer's
Environment
for
Music
Analysis
National
University
of
Ireland
at
University
College
Cork
1995

7. CPNView
Score
Object
Encapsulation
Score
contents
accessed
through
iterators
Common
Practice
Notation

8. Principles
• Represent
primitve score
objects
– Clef
– Key
signature
– Time
signature
– Notes
– Rests
– Barlines
• One-­‐to-­‐one
correspondence
• Objective
– do
not
pre-­‐judge
– E.g.
phrase
mark
vs slur
vs bowing

9. Score
object
Creatable
from
various
file
representation
– ALMA
– EsAC
– *kern
– MusicXML

10. Demonstration
Find
the
range
of
pitches
beethoven_symphony_no3_mvt1_exposition

11. #include
"ScoreIterator.hpp”
using
namespace
CPN;
int main(int argc,
const char
*
argv[])
{
String
path("/Users/DOM5/mdb/XML/CamerataScores2015/beethoven_symphony_no3_mvt1_exposition.xml");
return
0;
}

12. #include
"ScoreIterator.hpp”
using
namespace
CPN;
int main(int argc,
const char
*
argv[])
{
String
path("/Users/DOM5/mdb/XML/CamerataScores2015/beethoven_symphony_no3_mvt1_exposition.xml");
Score
score(path);
return
0;
}

13. #include
"ScoreIterator.hpp”
using
namespace
CPN;
int main(int argc,
const char
*
argv[])
{
String
path("/Users/DOM5/mdb/XML/CamerataScores2015/beethoven_symphony_no3_mvt1_exposition.xml");
Score
score(path);
ScoreIterator finger(score);
finger.step(NOTE);
return
0;
}

14. long
highest
=
finger.getPitch12();
long
lowest
=
highest;
while(true)
{
if
(finger.step(NOTE))
{
long
pitch
=
finger.getPitch12();
if
(
highest
<
pitch
)
highest
=
pitch;
if
(
lowest
>
pitch
)
lowest
=
pitch;
}
else
break;
}

15. Score
has
a
range
of
65
semitones,
from
*
HV:18(0):(Eb 2)
Note:E 2
Quarter-­‐Note{up
stem},
cp={1/2},
cd={1/4},
rem={1/4},
bar
no
42
to
>*
HV:0(0):(Ab 7)
Note:A 7
Quarter-­‐Note{slur1,
down
stem},
cp={0/1},
cd={1/4},
rem={1/4},
bar
no
43

16. D4
G4
in
sixteenth
notes

17. Clauses
fermata
chord
B1
B2
D3
F#3
B3
in
measures
1-­‐103
D4
E4
F#4
followed
by
the
chord
B3
D4
G4
falling
fifth
in
the
bass
clef
against
a
rising
semitone
in
the
treble
clef
in
measures
20-­‐40

18. Challenges
• Basics
of
harmony
• Continue
to
explore
counterpoint
• Definitions
• Accuracy
and
completeness

19. Arpeggio
• A
chord
‘spread’
– i.e.
the
note
heard
one
after
the
other
from
the
bottom
upwards,
or
sometimes
from
the
top
downwards.
• Chord
– see
harmony.
• The
word
chord,
just
used,
may
be
defined
as
any
combination
of
notes
simultaneously
performed,
and
even
when
the
main
process
in
the
composer’s
mind
….
• Any
simultaneous
combination
of
notes,
but
usually
of
not
fewer
than
3.

20. Arpeggio
• Minimum
number
of
notes
• Octave
• Still
valid
to
call
a
feature
an
arpeggio
if
it
is
part
of
something
else
– a
broken
chord,
for
example?

21. Deire