Proceedings of the Third International Workshop on Folk Music Analysis (FMA2013) 6 and 7 June, 2013 Amsterdam, Netherlands Editors: Peter van Kranenburg Christina Anagnostopoulou Anja Volk Amsterdam: Meertens Institute Utrecht: Department of Information and Computing Sciences, Utrecht University Title Proceedings of the Third International Workshop on Folk Music Analysis (FMA2013) Editors P. van Kranenburg, C. Anagnostopoulou, A. Volk Publishers Meertens Institute; Department of Information and Computing Sciences, Utrecht University ISBN 978-90-70389-78-9 Copyright © 2013 The authors ii Program Committee Chairs • Christina Anagnostopoulou (University of Athens) • Anja Volk (Utrecht University, Netherlands) Members • Aggelos Pikrakis (University of Piraeus) • Andre Holzapfel (Universitat Pompeu Fabra) • Aline Honingh (University of Amsterdam) • Ashley Burgoyne (University of Amsterdam) • Bas de Haas (Utrecht University) • Damien Sagrillo (University of Luxembourg) • Darrell Conklin (Universidad del País Vasco UPV/EHU) • Emilios Cambouropoulos (Aristotle University of Thessaloniki) • Ewa Dahlig (The Institute of Art of the Polish Academy of Sciences) • Joren Six (University College Ghent, Belgium) • Matija Marolt (University of Ljubljana) • Olivier Lartillot (University of Geneva) • Olmo Cornelis (University College Ghent, Belgium) • Paco Gomez (Technical University of Madrid) • Polina Proutskova (Goldsmiths, London) Organizing Committee • Peter van Kranenburg (Meertens Institute, Amsterdam) • Berit Janssen (Meertens Institute, Amsterdam) • Anja Volk (Utrecht University) • Frans Wiering (Utrecht University) • Dániel P. Biró (University of Victoria) iii Preface The present volume contains the proceedings of the Third International Workshop on Folk Music Analysis. As the third in a series, this workshop offers an excellent opportunity to present and discuss ongoing research in the area of computational ethnomusicology. There are two important motivations. Firstly, recent advances in computer science, artificial intelligence, etc. have great potential to be employed for (ethno)musicology. This implies an empirical approach to music studies. The current research in this area is only in its beginnings. Therefore, much attention should be paid to explore these methods and their relation to the research traditions of musicology. Secondly, most of the current research in music information retrieval is exclusively aimed at western music. With this workshop we want to stimulate a broader focus that also includes non-western musics. Computational study of music is inherently interdisciplinary. Musicologists, computer scientists, engineers and programmers need to collaborate. Therefore, we are exited that this workshop will bring together researchers from different backgrounds. We are grateful to everybody who made this event possible, including The Meertens Institute, for hosting the workshop and for practical support (in particular Hetty Garcia and Marianne van Zuijlen); The members of the program committee; The members of discussion panel; The e-Humanities Group of the Royal Netherlands Academy of Arts and Sciences for sponsoring the keynote talk; the Study Group on Digital Musicology of the International Musicological Society; and of course the authors and participants. Amsterdam, June 2013 The organizers iv Contents Full papers Tempo and prosody in Turkish taksim improvisation André Holzapfel 1 Quantifying timbral variations in traditional Irish flute playing Islah Ali-Maclachlan, Münevver Köküer, Peter Jancovi˘ c,˘ Ian Williams and Cham Athwal 7 Idiom-independent harmonic pattern recognition based on a novel chord transition representation Emilios Cambouropoulos, Andreas Katsiavalos and Costas Tsougras 14 Variability as a key concept: when different is the same (and vice versa) Stéphanie Weisser and Didier Demolin 21 Traditional asymmetric rhythms: a refined model of meter induction based on asymmetric meter templates Thanos Fouloulis, Aggelos Pikrakis and Emilios Cambouropoulos 28 Investigating non-western musical timbre: a need for joint approaches Stéphanie Weisser and Olivier Lartillot 33 Melodic contour representations in the analysis of children’s songs Christina Anagnostopoulou, Mathieu Giraud and Nick Poulakis 40 An original optical-based retrieval system applied to automatic music transcription of the marovany zither Dorian Cazau, Marc Chemillier and Olivier Adam 44 Traces of equidistant scale in Lithuanian traditional songs Rytis Ambrazevicius˘ and Robertas Budrys 51 Wavelet-filtering of symbolic music representations for folk tune segmentation and classification Gissel Velarde, Tillman Weyde and David Meredith 56 A more informative segmentation model, empirically compared with state of the art on tra- ditional Turkish music Olivier Lartillot, Z. Funda Yazıcı and Esra Mungan 63 v Extended Abstracts Computer-assisted transcription of ethnic music Joren Six and Olmo Cornelis 71 An content-based emotion categorisation analysis of Chinese cultural revolution songs Mi Tian, Dawn A.A. Black, György Fazekas and Mark Sandler 73 Introducing the Jazzomat project and the MeloPy library Klaus Frieler, Martin Pfleiderer, Jakob Abesser and Wolf-Georg Zaddach 76 A probabilistic study of culture-dependent note association paradigms in folk music Zoltán Juhász 78 The churches’ tuning Enric Guaus and Jaume Ayats 81 Descriptive rule mining of Basque folk music Kerstin Neubarth, Colin G. Johnson and Darrell Conklin 83 On finding repeated stanzas in folk song recordings Ciril Bohak and Matija Marolt 86 A computational study of choruses in early Dutch popular music Jan Van Balen, Frans Wiering and Remco Veltkamp 88 Comparative description of pitch distribution in Cypriot melodies by analysing polyphonic music recordings Maria Panteli and Hendrik Purwins 90 MIR model of vocal timbre in world’s cultures – where do we start Polina Proutskova 93 Timbre and tonal similarities between the Turkish, Western and Cypriot monophonic songs using machine learning techniques Andreas Neocleous, Maria Panteli, Nicolai Petkov and Christos N. Schizas 95 Towards a comprehensive and modular framework for music transcription and analysis Olivier Lartillot and Mondher Ayari 97 Folk tune classification with multiple viewpoints Darrell Conklin 99 Some quantitative indexes in the study of traditional musical scales and their genesis Rytis Ambrazevicius˘ 100 On computational modeling in ethnomusicological research: beyond the tool Peter Van Kranenburg 102 Analysis of “Polish rhythms” Ewa Dahlig-Turek 104 vi Proceedings of the Third International Workshop on Folk Music Analysis, June 6-7, 2013. Amsterdam, Netherlands. P. van Kranenburg, C. Anagnostopoulou, and A. Volk (Eds.). Amsterdam: Meertens Institute, Utrecht: Department of Information and Computing Sciences, Utrecht University. TEMPO AND PROSODY IN TURKISH TAKSIM IMPROVISATION Andre´ Holzapfel Bogazic¸i˘ University, Istanbul, Turkey xyzapfel @gmail.com { } ABSTRACT the style predominating the recording period. The creation of a tempo in taksim is discussed, and relations to speech Instrumental improvisation in Turkish makam music, the taksim, is considered to be free-rhythm, that is its rhythm develops with- utterances are pointed out. out the underlying template of a meter or continuous organized pulsation. In this paper, we want to examine how in this set- ting, rhythmic idioms are formed and maintained throughout a 2. PROCESSING APPROACH: DESCRIPTION, performance. For this, we will apply a simple signal processing MOTIVATION AND EXAMPLES approach. We show differences that can be observed between performers, and raise the question if a tempo could be evoked by First, we need to emphasize signal transients which are certain regularities in the occurring rhythmic elaborations. positioned at the time instances where the player hits a string. For this, we convert our original audio signal to an 1. INTRODUCTION onset function by examining positive changes in its spec- tral magnitude (Holzapfel et al., 2010). Then autocorrela- In Makam music of Turkey, we can distinguish between tions of this onset function are computed in small shifting metered pieces and free-rhythm improvisation. In our pa- windows of 3s length and a hop size from one window to per, we focus on the latter in the form of instrumental im- the next of 0.5s, similar to Holzapfel & Stylianou (2011). provisation, which is called taksim in Turkish art music. The obtained autocorrelation vectors are stringed together While rhythm in metered pieces of Turkish music was an- in a two-dimensional representation, referred to as pulsa- alyzed previously by Holzapfel & Bozkurt (2012), a de- tion matrix hereafter. This matrix has the time of the initial tailed study of rhythm in Turkish improvisation still re- recording on its x-axis, and the lags of the autocorrelations mains to be approached. Until now studies on taksim con- (in seconds) on the y-axis. centrated on aspects of melodic development (Stubbs, 1994), and scale aspects (Bozkurt, 2008). A study on rhythm is timely because improvisation in Turkish music is widely considered as free-rhythm (Clayton, 2009), which means 0.6s 100bpm that its surface rhythm is not related to an organized and continuous pulsation. Instead, it has been mentioned that 1.2s 50bpm taksim is characterized by pulsations in non-metrical flow- ing rhythm (Feldman, 1993). To the best of my knowledge it has not been investigated how such a pulsation is formed; Lag (s) / Frequency (bpm) 1.8s 33.3bpm 1 10 19 28 37 i.e. how it appears throughout