A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice

By Dmitri Tymoczko. 2011

309 citations recorded by the source corpus.

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MuseGAN: Symbolic-domain Music Generation and Accompaniment with Multi-track Sequential Generative Adversarial Networks (2017, background): “In the music theory, we can find extensive discussion on composition disciplines for relating sounds, such as harmony (Tymoczko 2010) and counterpoint (Jeppesen 2013).”
MuseGAN: Multi-track Sequential Generative Adversarial Networks for Symbolic Music Generation and Accompaniment (2017, background): “e tracks interact with one another closely and unfold over time interdependently. In the music theory, we can ﬁnd extensive discussion on composition disciplines for relating sounds, such as harmony (Tymoczko 2010) and counterpoint (Jeppesen 2013). Lastly, while the target output for image and video”
A Group-Theoretic Approach to Abstraction: Hierarchical, Interpretable, and Task-Free Clustering (2018, background): “Known music transformations of ﬁxed-size chords (Tymoczko, 2010; Lewin, 2010) can be summarized as a subset of the following parametrization set where H M Z n := { 1 , (12 Z ) n , 1 (cid:105)∨ (12 Z ) n } is a ﬁnite collection of music translation subgroups including music transpositions, octave…”
On Musical Dissonance (2012, background): “Similarly, the voice leading from one chord to another may also affect the perception of consonance or dissonance (Tymoczko, 2011).”