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Two Web Applications for Exploring Melodic Patterns in Jazz Solos

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Two Web Applications for Exploring Melodic Patterns in Jazz Solos TWO WEB APPLICATIONS FOR EXPLORING MELODIC PATTERNS IN JAZZ SOLOS Klaus Frieler1∗ Frank Höger1 Martin Pfleiderer1 Simon Dixon2 1 Institute for Musicology, University of Music “Franz Liszt” Weimar, Germany 2 Center for Digital Music, Queen Mary University of London, UK ∗Please direct correspondence to: [email protected] ABSTRACT formal definition as ‘repeated sub-sequences’ (over a suit- able sequence space) contrasts with more specific usages This paper presents two novel user interfaces for investi- in jazz theory and practice, where patterns are often called gating the pattern content in monophonic jazz solos and ‘formulas’, ‘licks’, ‘stock-phrases’, and ‘riffs’. The main exemplifies how these interfaces could be used for research differences between these terms lie in their supposed ori- on jazz improvisation. In jazz improvisation, patterns are gin, their function, and their musical characteristics . of particular interest for the analysis of improvisation styles, A formula is mostly understood as a rather short pattern, the oral transmission of musical language, the practice of which is well-rehearsed by an improviser. A formula is improvisation, and the psychology of creative processes. generally not musically autonomous, i. e., it can be rhyth- The ongoing project “Dig That Lick” is devoted to address- mized differently or embedded in other formulas to make ing these questions with the help of a large database of jazz longer phrases (e. g., John Coltrane’s solo on “Giant Steps” solo transcriptions generated by automated melody extrac- [9]). The term ‘lick’ (or stock-phrase) usually refers to a tion algorithms. To expose these transcriptions to jazz re- melodic unit with a distinctive recognizable character. In searchers, two prototypes of user interfaces were designed some cases, licks trace their origin to an individual per- that work currently with the 456 manually transcribed jazz former or even to a single solo. For example, Charlie Parker solos of the Weimar Jazz Database. The first one is a Shiny created many licks that were used by other jazz musicians application that allows exploring a set of 653 of the most [14]. In most cases, however, licks cannot be attributed to common patterns by eminent players. The second one is a single originator. Thus, they form specific music vocabu- a web interface for a general two-staged pattern search in laries of smaller and wider scope. A riff can be regarded as the Weimar Jazz Database featuring regular expressions. a lick which is constantly repeated as an accompaniment These applications aim on the one hand at an expert audi- and has thus a different musical function than a normal ence of jazz researchers to facilitate generating and testing lick [12]. Other special cases are short quotations of pop- hypotheses about patterns in jazz improvisation, and on the ular tunes which are often used to humorous effect or for other hand at a wider audience of jazz teachers, students, the cultural practice of inter-textuality (‘intermusicality’), and fans. or ‘signifyin’ [11]. Given the significance of patterns and licks in jazz, sev- eral research questions arise. Some concern historical is- 1. INTRODUCTION sues, e. g., the oral tradition of licks and the development Music Information Retrieval offers exciting options for mu- of a typical jazz language; some are of a more systematic sicological research, particularly for methodologies which nature, e. g., the psychology of the creative process, where are hard (or impossible) to carry out manually, e. g., large patterns and formulas can be regarded as necessary to ac- corpus studies and measuring acoustical properties. One complish the highly virtuoso feat of modern jazz improvi- such field of application is the mining of patterns. Pat- sation. Some of these research questions are: terns – and repetitions in general – play an important role in nearly all music styles [10] and are thus of interest for • To what extent are patterns and licks used to shape many sub-fields of musicology. In particular, they form a an improvisation? crucial component of jazz improvisation [1, 13, 14]. The • When and by whom are patterns and licks created concept of ‘pattern’ can be defined in different ways and and how are they transmitted between players over appears under different names in the literature. The more time (pattern archeology)? • Does pattern usage change with time and styles? c Klaus Frieler, Frank Höger, Martin Pfleiderer, Simon Dixon. Licensed under a Creative Commons Attribution 4.0 International • Is there an influence of jazz education on pattern us- License (CC BY 4.0). Attribution: Klaus Frieler, Frank Höger, Martin age (e. g., by published pattern collections)? Pfleiderer, Simon Dixon. “Two web applications for exploring melodic patterns in jazz solos”, 19th International Society for Music Information • How are patterns used to build phrases, e. g., to con- Retrieval Conference, Paris, France, 2018. struct a typical bebop line? 777 778 Proceedings of the 19th ISMIR Conference, Paris, France, September 23-27, 2018 • Which role do external musical influences such as An older but still functional melody search engine is quotes and signifying references play in jazz impro- Themefinder 3 , which interfaces with some large databases visation? of folk and classical music in **kern format. The search works well and is fast, though it does not offer metadata In this paper, two web tools which could help to address filters, regular expressions, or a multi-staged search. these questions are introduced. First, the research back- Musipedia 4 is branded as a “Wikipedia for Music” and ground and some similar tools are discussed (Sect. 2), be- is based on a user-generated database of melodies. Search fore we describe the tools in detail in Sect. 3, including two queries are given in Lilypond format, but a piano-like user use case examples. The web applications are still proto- interface to enter queries with the help of the mouse is types under active development, but they are already help- also provided. The search is based on similarity match- ful to make some interesting observations which will be ing [22] and, hence, always fuzzy; it is not possible to en- reported in Sect. 4. Thoughts on future prospects of these force only exact matches. The result set always comprises tools conclude the paper (Sect. 5). full melodies without indicating the matching location for the query. The underlying corpus is not clearly specified, 2. BACKGROUND but it seems that some well-known databases such as the Essen Folk Song Collection [21] are incorporated. The project “Dig That Lick: Analysing Large-Scale Data Furthermore, Gulati [7] developed a system for melodic for Melodic Patterns in Jazz Performances” (DTL) is a pattern discovery in Indian Art Music based on automati- two-year project within the fourth “T-AP Digging Into Data cally extracted pitch contours and a large set of special- 1 Challenge”. It sets out to investigate some of the afore- ized methods. A demo for browsing patterns in a large au- mentioned research questions using an interdisciplinary ap- dio corpus and a visualization of pattern networks includ- proach combining musicology, computer science, MIR, and ing audio snippets can be found on the accompanying web jazz research. The project aims, first, at developing tools site 5 . for pattern mining on symbolic as well as audio data, and, The investigation of patterns in jazz has rather different second, at understanding psychological and social aspects requirements compared to those melody search engines. of patterns and licks in jazz. The development of appropri- Particularly, the hybrid format of the Weimar Jazz Data- ate tools consists of three main pillars: base, which combines transcriptions with audio, as well as the greater length of jazz solos (as compared to, for in- 1. Automatic transcription of jazz solo improvisations stance, incipits, and folk songs) demands fine grained and from audio informed by discographic metadata. controlled access to pattern instances. Furthermore, to as- 2. Pattern mining and search in the melody transcrip- sist users during exploration, providing scores and audio tions. snippets along with more abstract representations is im- portant in order to connect to established methodological 3. Development of suitable user interfaces. standards in jazz research and practice. Since the project is still in its initial phase, we will focus in this paper on the second and third issues by describing 3. TWO PATTERN MINING APPLICATIONS two prototypes of user interfaces for pattern mining in the 3.1 The Pattern History Explorer Weimar Jazz Database [18] which was created by the Jaz- zomat Research Project [19] 2 . The main goal of the Pattern History Explorer 6 , an inter- In recent years, several scientific or commercial web- active Shiny web application [2], is to enable the explo- based melody search engines with interfaces for different ration of interval patterns in jazz solos by providing infor- databases of different provenance and quality have been mation from many different angles. It provides an overview implemented, all of which are scored-based. A web search of interval patterns frequently used by a selected subset of showed that many of these projects are now defunct or dis- performers and traces their usage in the Weimar Jazz Da- continued. To name a few: C-Brahms (defunct), Midomi tabase, allowing for the discovery of cross-artist and cross- (discontinued, but seemingly functional), Hymnar (active, temporal relationships. only hymns), Mutopia, Music N-gram Viewer (discontin- Currently, 653 interval patterns with 11,630 instances ued, but functional), Best Classical Tunes (outdated, but are included. The pattern corpus was created by mining for functional), and Melody Search (discontinued, functional- interval patterns in solos of eminent performers using the ity unclear due to Flash player issues). The large number partition mode of the melpat module from the MeloSpy- of abandoned sites suggests that melody search is not very Suite [6].
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