Publications

• Moss, F. C. (in press). Transatlantic Transformations: How Riemannian Is Neo-Riemannian Theory?. In S. Keym & C. Hust (Eds.), Hugo Riemann: Musikforschung Zwischen Universalität, Nationalismus Und Internationaler Ausstrahlung.
  • [ BibTeX ]
  @incollection{Mossinpress_TransatlanticTransformationsHow, address = {{Leipzig, Germany}}, author = {Moss, Fabian C.}, booktitle = {Hugo {{Riemann}}: {{Musikforschung}} Zwischen {{Universalit\"at}}, {{Nationalismus}} Und Internationaler {{Ausstrahlung}}}, editor = {Keym, Stefan and Hust, Christoph}, keywords = {imported}, title = {Transatlantic Transformations: {{How Riemannian}} Is {{Neo-Riemannian}} Theory?}, year = {in press} }

• Bracks, C., & Moss, F. C. (2022). Totoli’s Art of Lelegesan: Analyzing Sociocultural Context and Musical Content. In I. Ali-MacLachlan & A. Holzapfel (Eds.), FMA2022: International Workshop on Folk Music Analysis (pp. 1-5). OSF Preprints. https://doi.org/10.31219/osf.io/5tsxa
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  We present the first musicological analysis of a Lelegesan performance, a form of musical expression of the Totoli people in Central Sulawesi. Our preliminary study of this participatory musical practice of an endangered language community describes the overall form of the Lelegesan, consisting of two-part stanzas with improvised lyrics but relatively stable melodic patterns. We report characteristics of a performance's frequency spectrum by drawing on computational methods, enabling us to approximate the underlying musical scale. Our analyses show that different phrase types are clearly distinguishable in terms of their frequency content, and that final tones of opening and closing phrases are generally about a major third apart.

  @inproceedings{Bracks2022_TotoliArtLelegesan, abstract = {We present the first musicological analysis of a Lelegesan performance, a form of musical expression of the Totoli people in Central Sulawesi. Our preliminary study of this participatory musical practice of an endangered language community describes the overall form of the Lelegesan, consisting of two-part stanzas with improvised lyrics but relatively stable melodic patterns. We report characteristics of a performance's frequency spectrum by drawing on computational methods, enabling us to approximate the underlying musical scale. Our analyses show that different phrase types are clearly distinguishable in terms of their frequency content, and that final tones of opening and closing phrases are generally about a major third apart.}, address = {{Sheffield, UK}}, author = {Bracks, Christoph and Moss, Fabian C.}, booktitle = {{{FMA2022}}: {{International Workshop}} on {{Folk Music Analysis}}}, editor = {{Ali-MacLachlan}, Islah and Holzapfel, Andr{\'e}}, keywords = {music}, month = {may}, pages = {1–5}, publisher = {{OSF Preprints}}, title = {Totoli's {{Art}} of {{Lelegesan}}: {{Analyzing Sociocultural Context}} and {{Musical Content}}}, year = 2022 }
• Harasim, D., Affatato, G., & Moss, F. C. (2022). midiVERTO: A Web Application to Visualize Tonality in Real Time. In M. Montiel, O. A. Agustín-Aquino, F. Gómez, J. Kastine, E. Lluis-Puebla, & B. Milam (Eds.), Mathematics and Computation in Music (pp. 363-368). Springer International Publishing. https://doi.org/10.1007/978-3-031-07015-0_31
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  This paper presents a web application for visualizing the tonality of a piece of musictextemdash the organization of its chords and scalestextemdash at a high level of abstraction and with coordinated playback. The application applies the discrete Fourier transform to the pitch-class domain of a user-specified segmentation of a MIDI file and visualizes the Fourier coefficients' trajectories. Since the coefficients indicate different musical properties, such as triadicity and diatonicity, the application isolates aspects of a piece's tonality and shows their development in time. The aim of the application is to bridge a gap between mathematical music theory, musicology, and the general public by making the discrete Fourier transform as applied to the pitch-class domain accessible without requiring advanced mathematical knowledge or programming skills up front.

  @inproceedings{Harasim2022_MidiVERTOWebApplication, abstract = {This paper presents a web application for visualizing the tonality of a piece of music\textemdash the organization of its chords and scales\textemdash at a high level of abstraction and with coordinated playback. The application applies the discrete Fourier transform to the pitch-class domain of a user-specified segmentation of a MIDI file and visualizes the Fourier coefficients' trajectories. Since the coefficients indicate different musical properties, such as triadicity and diatonicity, the application isolates aspects of a piece's tonality and shows their development in time. The aim of the application is to bridge a gap between mathematical music theory, musicology, and the general public by making the discrete Fourier transform as applied to the pitch-class domain accessible without requiring advanced mathematical knowledge or programming skills up front.}, address = {{Cham}}, author = {Harasim, Daniel and Affatato, Giovanni and Moss, Fabian C.}, booktitle = {Mathematics and {{Computation}} in {{Music}}}, editor = {Montiel, Mariana and {Agust{\'i}n-Aquino}, Octavio A. and G{\'o}mez, Francisco and Kastine, Jeremy and {Lluis-Puebla}, Emilio and Milam, Brent}, keywords = {transform,MIDI,Tonality,Visualization,Web}, pages = {363–368}, publisher = {{Springer International Publishing}}, series = {Lecture {{Notes}} in {{Computer Science}}}, title = {{{midiVERTO}}: {{A Web Application}} to {{Visualize Tonality}} in {{Real Time}}}, year = 2022 }
• Moss, F. C., Affatato, G., & Harasim, D. (2022). Phantom Curves: Scientific Discovery through Interactive Music Visualization. In L. Pugin (Ed.), 9th International Conference on Digital Libraries for Musicology (pp. 60-64). Association for Computing Machinery. https://doi.org/10.1145/3543882.3543886
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  We introduce phantom curves, a novel music-theoretical concept based on the discrete Fourier transform (DFT), and document the creative process that led to their discovery. In particular, we emphasize the importance of interactive web applications for music visualization and analysis. This is demonstrated using the example of the application midiVERTO which affords interactions with the pitch-class content of musical pieces encoded in MIDI format without requiring in-depth understanding of the underlying mathematics. We illustrate the analytical value of studying families of phantom curves by applying the concept to music from a Broadway musical, a video game, and a Hollywood movie. This process of discovery thus testifies to the fact that digital tools can bridge disciplinary boundaries between music theory and mathematics, and this interaction can generate new scientific knowledge.

  @inproceedings{Moss2022_PhantomCurvesScientific, abstract = {We introduce phantom curves, a novel music-theoretical concept based on the discrete Fourier transform (DFT), and document the creative process that led to their discovery. In particular, we emphasize the importance of interactive web applications for music visualization and analysis. This is demonstrated using the example of the application midiVERTO which affords interactions with the pitch-class content of musical pieces encoded in MIDI format without requiring in-depth understanding of the underlying mathematics. We illustrate the analytical value of studying families of phantom curves by applying the concept to music from a Broadway musical, a video game, and a Hollywood movie. This process of discovery thus testifies to the fact that digital tools can bridge disciplinary boundaries between music theory and mathematics, and this interaction can generate new scientific knowledge.}, address = {{New York, NY, USA}}, author = {Moss, Fabian C. and Affatato, Giovanni and Harasim, Daniel}, booktitle = {9th {{International Conference}} on {{Digital Libraries}} for {{Musicology}}}, editor = {Pugin, Laurent}, keywords = {visualization,scientific}, month = {jul}, pages = {60–64}, publisher = {{Association for Computing Machinery}}, series = {{{DLfM2022}}}, title = {Phantom {{Curves}}: {{Scientific Discovery}} through {{Interactive Music Visualization}}}, year = 2022 }
• Moss, F. C., Nápoles López, N., Köster, M., & Rizo, D. (2022). Challenging Sources: A New Dataset for OMR of Diverse 19th-Century Music Theory Examples. In J. Calvo-Zaragoza, A. Pacha, & E. Shatri (Eds.), Proceedings of the 4th International Workshop on Reading Music Systems (WoRMS 2022) (pp. 4-8). https://sites.google.com/view/worms2022/proceedings
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  A major limitation of current Optical Music Recognition (OMR) systems is that their performance strongly depends on the variability in the input images. What for human readers seems almost trivial---e.g., reading music in a range of different font types in different contexts---can drastically reduce the output quality of OMR models. This paper introduces the 19MT-OMR corpus that can be used to test OMR models on a diverse set of sources. We illustrate this challenge by discussing several examples from this data set.

  @inproceedings{Moss2022_ChallengingSourcesNew, abstract = {A major limitation of current Optical Music Recognition (OMR) systems is that their performance strongly depends on the variability in the input images. What for human readers seems almost trivial—e.g., reading music in a range of different font types in different contexts—can drastically reduce the output quality of OMR models. This paper introduces the 19MT-OMR corpus that can be used to test OMR models on a diverse set of sources. We illustrate this challenge by discussing several examples from this data set.}, address = {{Online}}, author = {Moss, Fabian C. and N{\'a}poles L{\'o}pez, N{\'e}stor and K{\"o}ster, Maik and Rizo, David}, booktitle = {Proceedings of the 4th {{International Workshop}} on {{Reading Music Systems}} ({{WoRMS}} 2022)}, editor = {{Calvo-Zaragoza}, Jorge and Pacha, Alexander and Shatri, Elona}, keywords = {imported}, pages = {4–8}, title = {Challenging Sources: A New Dataset for {{OMR}} of Diverse 19th-Century Music Theory Examples}, year = 2022 }
• Moss, F. C., Nápoles López, N., Köster, M., & Rizo, D. (2022). 19MT-OMR: A Dataset for Multimodal Optical Music Recognition. OSF. https://doi.org/10.17605/osf.io/QM9Z5
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  A dataset of 19th-century music theory textbooks with music examples, useful for training OMR models. - 19theory-a: complete transcriptions of all sources of the Dualism project - 19theory-b: only pages containing music examples - 19theory-c: only the music examples For more info about the Dualism project, see: [ANONYMIZED FOR PEER REVIEW] Hosted on the Open Science Framework

  @techreport{Moss2022_19MTOMRDatasetMultimodal, abstract = {A dataset of 19th-century music theory textbooks with music examples, useful for training OMR models. - 19theory-a: complete transcriptions of all sources of the Dualism project - 19theory-b: only pages containing music examples - 19theory-c: only the music examples For more info about the Dualism project, see: [ANONYMIZED FOR PEER REVIEW] Hosted on the Open Science Framework}, author = {Moss, Fabian C. and N{\'a}poles L{\'o}pez, N{\'e}stor and K{\"o}ster, Maik and Rizo, David}, institution = {{OSF}}, keywords = {imported}, month = {sep}, title = {{{19MT-OMR}}: A Dataset for Multimodal {{Optical Music Recognition}}}, type = {Data {{Report}}}, year = 2022 }
• Moss, F. C., Neuwirth, M., & Rohrmeier, M. (2022). The Line of Fifths and the Co-Evolution of Tonal Pitch-Classes. Journal of Mathematics and Music, 1-25. https://doi.org/10.1080/17459737.2022.2044927
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  In this study, we determine the fundamental role of the line of fifths for the organization of tonal material by applying dimensionality reduction to a large historical corpus of pitch-class counts (ca. 1360\textendash 1940). We observe a historically growing trend in the exploitation of the fifths range, i.e. the size of segments that pitch-class distributions cover on the line of fifths. Moreover, we introduce the novel concept of pitch-class (co-)evolution, which traces the changing co-occurrence of pitch classes over time and likewise reaffirms the centrality of this linear tonal space from a historical angle, allowing us also to distinguish between historical periods in terms of the usage of pitch classes.

  @article{Moss2022_LineFifthsCoevolution, abstract = {In this study, we determine the fundamental role of the line of fifths for the organization of tonal material by applying dimensionality reduction to a large historical corpus of pitch-class counts (ca. 1360\textendash 1940). We observe a historically growing trend in the exploitation of the fifths range, i.e. the size of segments that pitch-class distributions cover on the line of fifths. Moreover, we introduce the novel concept of pitch-class (co-)evolution, which traces the changing co-occurrence of pitch classes over time and likewise reaffirms the centrality of this linear tonal space from a historical angle, allowing us also to distinguish between historical periods in terms of the usage of pitch classes.}, author = {Moss, Fabian C. and Neuwirth, Markus and Rohrmeier, Martin}, journal = {Journal of Mathematics and Music}, keywords = {reduction,Line}, month = {mar}, pages = {1–25}, title = {The Line of Fifths and the Co-Evolution of Tonal Pitch-Classes}, year = 2022 }
• Viaccoz, C., Harasim, D., Moss, F. C., & Rohrmeier, M. (2022). Wavescapes: A Visual Hierarchical Analysis of Tonality Using the Discrete Fourier Transform. Musicae Scientiae, 10298649211034906. https://doi.org/10.1177/10298649211034906
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  Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.

  @article{Viaccoz2022_WavescapesVisualHierarchical, abstract = {Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.}, author = {Viaccoz, C{\'e}dric and Harasim, Daniel and Moss, Fabian C. and Rohrmeier, Martin}, journal = {Musicae Scientiae}, keywords = {transform,keyscapes,music}, month = {jan}, pages = 10298649211034906, title = {Wavescapes: {{A}} Visual Hierarchical Analysis of Tonality Using the Discrete {{Fourier}} Transform}, year = 2022 }

• Moss, C., … Neuwirth, M. (Eds.). (2021). Special Issue on Open Science in Musicology. Empirical Musicology Review, 16(1), 1-4. https://doi.org/10.18061/emr.v16i1.8246
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  @article{Moss2021_SpecialIssueOpen, editor = {{Moss, C.}, Fabian and Neuwirth, Markus}, journal = {Empirical Musicology Review}, keywords = {imported}, number = 1, pages = {1–4}, title = {Special {{Issue}} on {{Open Science}} in {{Musicology}}}, volume = 16, year = 2021 }
• Anzuoni, E., Ayhan, S., Dutto, F., McLeod, A., Moss, F. C., & Rohrmeier, M. (2021). A Historical Analysis of Harmonic Progressions Using Chord Embeddings. In D. A. Mauro, S. Spagnol, & A. Valle (Eds.), Proceedings of the 18th Sound and Music Computing Conference (pp. 284-291). https://doi.org/10.5281/zenodo.5038910
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  This study focuses on the exploration of the possibilities arising from the application of an NLP word-embedding method (Word2Vec) to a large corpus of musical chord sequences, spanning multiple musical periods. First, we analyse the clustering of the embedded vectors produced by Word2Vec in order to probe its ability to learn common musical patterns. We then implement an LSTM-based neural network which takes these vectors as input with the goal of predicting a chord given its surrounding context in a chord sequence. We use the variability in prediction accuracy to quantify the stylistic differences among various composers in order to detect idiomatic uses of some chords by some composers. The historical breadth of the corpus used allows us to draw some conclusions about broader patterns of changing chord usage across musical periods from Renaissance to Modernity.

  @inproceedings{Anzuoni2021_HistoricalAnalysisHarmonic, abstract = {This study focuses on the exploration of the possibilities arising from the application of an NLP word-embedding method (Word2Vec) to a large corpus of musical chord sequences, spanning multiple musical periods. First, we analyse the clustering of the embedded vectors produced by Word2Vec in order to probe its ability to learn common musical patterns. We then implement an LSTM-based neural network which takes these vectors as input with the goal of predicting a chord given its surrounding context in a chord sequence. We use the variability in prediction accuracy to quantify the stylistic differences among various composers in order to detect idiomatic uses of some chords by some composers. The historical breadth of the corpus used allows us to draw some conclusions about broader patterns of changing chord usage across musical periods from Renaissance to Modernity.}, address = {{Virtual}}, author = {Anzuoni, Elia and Ayhan, Sinan and Dutto, Federico and McLeod, Andrew and Moss, Fabian C and Rohrmeier, Martin}, booktitle = {Proceedings of the 18th {{Sound}} and {{Music Computing Conference}}}, editor = {Mauro, Davide Andrea and Spagnol, Simone and Valle, Andrea}, keywords = {imported}, month = {jun}, pages = {284–291}, title = {A {{Historical Analysis}} of {{Harmonic Progressions Using Chord Embeddings}}}, year = 2021 }
• Harasim, D., Moss, F. C., Ramirez, M., & Rohrmeier, M. (2021). Exploring the Foundations of Tonality: Statistical Cognitive Modeling of Modes in the History of Western Classical Music. Humanities and Social Sciences Communications, 8(1), 1-11. https://doi.org/10.1057/s41599-020-00678-6
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  Tonality is one of the most central theoretical concepts for the analysis of Western classical music. This study presents a novel approach for the study of its historical development, exploring in particular the concept of mode. Based on a large dataset of approximately 13,000 musical pieces in MIDI format, we present two models to infer both the number and characteristics of modes of different historical periods from first principles: a geometric model of modes as clusters of musical pieces in a non-Euclidean space, and a cognitively plausible Bayesian model of modes as Dirichlet distributions. We use the geometric model to determine the optimal number of modes for five historical epochs via unsupervised learning and apply the probabilistic model to infer the characteristics of the modes. Our results show that the inference of four modes is most plausible in the Renaissance, that two modestextendash corresponding to major and minortextendash are most appropriate in the Baroque and Classical eras, whereas no clear separation into distinct modes is found for the 19th century.

  @article{Harasim2021_ExploringFoundationsTonality, abstract = {Tonality is one of the most central theoretical concepts for the analysis of Western classical music. This study presents a novel approach for the study of its historical development, exploring in particular the concept of mode. Based on a large dataset of approximately 13,000 musical pieces in MIDI format, we present two models to infer both the number and characteristics of modes of different historical periods from first principles: a geometric model of modes as clusters of musical pieces in a non-Euclidean space, and a cognitively plausible Bayesian model of modes as Dirichlet distributions. We use the geometric model to determine the optimal number of modes for five historical epochs via unsupervised learning and apply the probabilistic model to infer the characteristics of the modes. Our results show that the inference of four modes is most plausible in the Renaissance, that two modes\textendash corresponding to major and minor\textendash are most appropriate in the Baroque and Classical eras, whereas no clear separation into distinct modes is found for the 19th century.}, author = {Harasim, Daniel and Moss, Fabian C. and Ramirez, Matthias and Rohrmeier, Martin}, journal = {Humanities and Social Sciences Communications}, keywords = {imported}, month = {jan}, number = 1, pages = {1–11}, publisher = {{Palgrave}}, title = {Exploring the Foundations of Tonality: Statistical Cognitive Modeling of Modes in the History of {{Western}} Classical Music}, volume = 8, year = 2021 }
• Hentschel, J., Moss, F. C., McLeod, A., Neuwirth, M., & Rohrmeier, M. (2021). Towards a Unified Model of Chords in Western Harmony. In D. Rizo & S. Münnich (Eds.), Music Encoding Conference Proceedings 2021.
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  @inproceedings{Hentschel2021_UnifiedModelChords, address = {{Alicante, Spain [hybrid]}}, author = {Hentschel, Johannes and Moss, Fabian C and McLeod, Andrew and Neuwirth, Markus and Rohrmeier, Martin}, booktitle = {Music {{Encoding Conference Proceedings}} 2021}, editor = {Rizo, David and M{\"u}nnich, Stefan}, keywords = {mec-proceedings,mec-proceedings-2021}, title = {Towards a {{Unified Model}} of {{Chords}} in {{Western Harmony}}}, year = 2021 }
• Hentschel, J., Moss, F. C., Neuwirth, M., & Rohrmeier, M. (2021). A Semi-Automated Workflow Paradigm for the Distributed Creation and Curation of Expert Annotations. In J. H. Lee, A. Lerch, Z. Duan, J. Nam, P. Rao, P. van Kranenburg, & A. Srinivasamurthy (Eds.), Proceedings of the 22nd International Society for Music Information Retrieval Conference, ISMIR 2021, Online, November 7-12, 2021 (pp. 262-269). https://archives.ismir.net/ismir2021/paper/000032.pdf
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  @inproceedings{Hentschel2021_SemiautomatedWorkflowParadigm, author = {Hentschel, Johannes and Moss, Fabian C. and Neuwirth, Markus and Rohrmeier, Martin}, booktitle = {Proceedings of the 22nd {{International Society}} for {{Music Information Retrieval Conference}}, {{ISMIR}} 2021, {{Online}}, {{November}} 7-12, 2021}, editor = {Lee, Jin Ha and Lerch, Alexander and Duan, Zhiyao and Nam, Juhan and Rao, Preeti and van Kranenburg, Peter and Srinivasamurthy, Ajay}, keywords = {imported}, pages = {262–269}, title = {A Semi-Automated Workflow Paradigm for the Distributed Creation and Curation of Expert Annotations}, year = 2021 }
• Herff, S. A., Moss, F. C., & Rohrmeier, M. (2021). Evidence for Cognitive Tonal Hierarchies in Cadential but Not Scalar Contexts. OSF. https://osf.io/yz957/
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  When listeners hear stimuli drawn from a Western classical context and are asked to rate the perceived fit of subsequent probe tones, a tonal hierarchy emerges that is consistent with several music-theoretical accounts. The perceptual reality underlying tonal hierarchies has seen much empirical support within and beyond Western classical music. However, a recurrent concern is that such hierarchies may be an artifact of the presence or absence of a probe in a given context. Furthermore, it is currently unclear how the perceived fit varies between different idiomatically valid contexts within the same musical style. Here, 40 participants provided fit ratings in a probe-tone paradigm using scalar and cadential Western classical contexts in both the major and minor mode. The ratings are compared with four models of the tonal hierarchy. The first model derives from average listeners' ratings in a prior perceptual study, and another one is a music-theoretically motivated adjustment of it. Additionally, two models derived from pitch-class distributions in musical corpora are tested. Using Bayesian Mixed Effects models and a model-comparison approach, the four models of tonal hierarchy as well as their combinations are used to predict the new behavioral data. The results are compared with a baseline model that encodes if and how often a given probe tone was contained in the context. Our findings reveal that scalar and cadential contexts can induce differences in perceived tonal fit, with the ratings obtained within cadential contexts showing greater resemblance to models of tonal hierarchies. Additionally, while little evidence is observed in scalar contexts that the models of tonal hierarchy carry incremental predictive power over the baseline model, such evidence is abundant in cadential contexts. The results suggest that probe-tone profiles induced by cadential contexts are shaped by cognitive long-term representations of musical structure, while probe-tone profiles induced by scalar contexts are predominantly guided by lower-level short-term sensory priming. *SAH and FCM contributed equally. Hosted on the Open Science Framework

  @misc{Herff2021_EvidenceCognitiveTonal, abstract = {When listeners hear stimuli drawn from a Western classical context and are asked to rate the perceived fit of subsequent probe tones, a tonal hierarchy emerges that is consistent with several music-theoretical accounts. The perceptual reality underlying tonal hierarchies has seen much empirical support within and beyond Western classical music. However, a recurrent concern is that such hierarchies may be an artifact of the presence or absence of a probe in a given context. Furthermore, it is currently unclear how the perceived fit varies between different idiomatically valid contexts within the same musical style. Here, 40 participants provided fit ratings in a probe-tone paradigm using scalar and cadential Western classical contexts in both the major and minor mode. The ratings are compared with four models of the tonal hierarchy. The first model derives from average listeners' ratings in a prior perceptual study, and another one is a music-theoretically motivated adjustment of it. Additionally, two models derived from pitch-class distributions in musical corpora are tested. Using Bayesian Mixed Effects models and a model-comparison approach, the four models of tonal hierarchy as well as their combinations are used to predict the new behavioral data. The results are compared with a baseline model that encodes if and how often a given probe tone was contained in the context. Our findings reveal that scalar and cadential contexts can induce differences in perceived tonal fit, with the ratings obtained within cadential contexts showing greater resemblance to models of tonal hierarchies. Additionally, while little evidence is observed in scalar contexts that the models of tonal hierarchy carry incremental predictive power over the baseline model, such evidence is abundant in cadential contexts. The results suggest that probe-tone profiles induced by cadential contexts are shaped by cognitive long-term representations of musical structure, while probe-tone profiles induced by scalar contexts are predominantly guided by lower-level short-term sensory priming. *SAH and FCM contributed equally. Hosted on the Open Science Framework}, author = {Herff, Steffen Alexander and Moss, Fabian C. and Rohrmeier, Martin}, keywords = {imported}, month = {oct}, publisher = {{OSF}}, title = {Evidence for Cognitive Tonal Hierarchies in Cadential but Not Scalar Contexts}, year = 2021 }
• Moss, F. C., Köster, M., Femminis, M., Métrailler, C., & Bavaud, F. cois. (2021). Digitizing a 19th-Century Music Theory Debate for Computational Analysis. In M. Ehrmann, F. Karsdorp, M. Wevers, T. L. Andrews, M. Burghardt, M. Kestemont, E. Manjavacas, M. Piotrowski, & J. van Zundert (Eds.), CHR 2021: Computational Humanities Research Conference, November 17textendash 19, 2021, Amsterdam, The Netherlands (pp. 159-170). http://ceur-ws.org/Vol-2989/short_paper31.pdf
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  We report the progress of the ongoing project ``Digitizing the Dualism Debate: a case study in the computational analysis of historical music theory sources''. First, we give a brief introduction to the dualism debate, a central discussion in 19th-century German music theory. We then describe the transcription pipeline with which we process the digitized sources in order to arrive at a corpus of computationally feasible representations, and discuss a number of encountered challenges, e.g. the assignment of structural types and idiosyncratic symbols. Employing text similarity measures and topic modeling, we present some preliminary analyses. Future steps include text annotation, music encoding, and the presentation of the corpus with an online interface.

  @inproceedings{Moss2021_Digitizing19thCenturyMusic, abstract = {We report the progress of the ongoing project ``Digitizing the Dualism Debate: a case study in the computational analysis of historical music theory sources''. First, we give a brief introduction to the dualism debate, a central discussion in 19th-century German music theory. We then describe the transcription pipeline with which we process the digitized sources in order to arrive at a corpus of computationally feasible representations, and discuss a number of encountered challenges, e.g. the assignment of structural types and idiosyncratic symbols. Employing text similarity measures and topic modeling, we present some preliminary analyses. Future steps include text annotation, music encoding, and the presentation of the corpus with an online interface.}, address = {{Amsterdam, The Netherlands}}, author = {Moss, Fabian C and K{\"o}ster, Maik and Femminis, Melinda and M{\'e}trailler, Coline and Bavaud, Fran{\c c}ois}, booktitle = {{{CHR}} 2021: {{Computational Humanities Research Conference}}, {{November}} 17\textendash 19, 2021, {{Amsterdam}}, {{The Netherlands}}}, editor = {Ehrmann, Maud and Karsdorp, Folgert and Wevers, Melvin and Andrews, Tara Lee and Burghardt, Manuel and Kestemont, Mike and Manjavacas, Enrique and Piotrowski, Michael and {van Zundert}, Joris}, keywords = {imported}, pages = {159–170}, title = {Digitizing a 19th-{{Century Music Theory Debate}} for {{Computational Analysis}}}, year = 2021 }
• Moss, F. C., & Neuwirth, M. (2021). FAIR, Open, Linked: Introducing the Special Issue on Open Science in Musicology. Empirical Musicology Review, 16(1), 1-4. https://doi.org/10.18061/emr.v16i1.8246
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  • [ DOI ]
  No abstract available.

  @article{Moss2021_FAIROpenLinked, abstract = {No abstract available.}, author = {Moss, Fabian C. and Neuwirth, Markus}, journal = {Empirical Musicology Review}, keywords = {imported}, month = {dec}, number = 1, pages = {1–4}, title = {{{FAIR}}, {{Open}}, {{Linked}}: {{Introducing}} the {{Special Issue}} on {{Open Science}} in {{Musicology}}}, volume = 16, year = 2021 }
• Moss, F. C., & Rohrmeier, M. (2021). Discovering Tonal Profiles with Latent Dirichlet Allocation. Music & Science, 4. https://doi.org/10.1177/20592043211048827
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  Music analysis, in particular harmonic analysis, is concerned with the way pitches are organized in pieces of music, and a range of empirical applications have been developed, for example, for chord recognition or key finding. Naturally, these approaches rely on some operationalization of the concepts they aim to investigate. In this study, we take a complementary approach and discover latent tonal structures in an unsupervised manner. We use the topic model Latent Dirichlet Allocation and apply it to a large historical corpus of musical pieces from the Western classical tradition. This method conceives topics as distributions of pitch classes without assuming a priori that they correspond to either chords, keys, or other harmonic phenomena. To illustrate the generative process assumed by the model, we create an artificial corpus with arbitrary parameter settings and compare the sampled pieces to real compositions. The results we obtain by applying the topic model to the musical corpus show that the inferred topics have music-theoretically meaningful interpretations. In particular, topics cover contiguous segments on the line of fifths and mostly correspond to diatonic sets. Moreover, tracing the prominence of topics over the course of music history over {\($\sim\sim<$\)}math display="inline" id="mml-inline1" overflow="scroll" altimg="eq-00001.gif"{\($><$\)}mo{\($>\sim<$\)}/mo{\($><$\)}/math{\($>$\)600 years reflects changes in the ways pitch classes are employed in musical compositions and reveals particularly strong changes at the transition from common-practice to extended tonality in the 19th century.

  @article{Moss2021_DiscoveringTonalProfiles, abstract = {Music analysis, in particular harmonic analysis, is concerned with the way pitches are organized in pieces of music, and a range of empirical applications have been developed, for example, for chord recognition or key finding. Naturally, these approaches rely on some operationalization of the concepts they aim to investigate. In this study, we take a complementary approach and discover latent tonal structures in an unsupervised manner. We use the topic model Latent Dirichlet Allocation and apply it to a large historical corpus of musical pieces from the Western classical tradition. This method conceives topics as distributions of pitch classes without assuming a priori that they correspond to either chords, keys, or other harmonic phenomena. To illustrate the generative process assumed by the model, we create an artificial corpus with arbitrary parameter settings and compare the sampled pieces to real compositions. The results we obtain by applying the topic model to the musical corpus show that the inferred topics have music-theoretically meaningful interpretations. In particular, topics cover contiguous segments on the line of fifths and mostly correspond to diatonic sets. Moreover, tracing the prominence of topics over the course of music history over {$\sim\sim<$}math display="inline" id="mml-inline1" overflow="scroll" altimg="eq-00001.gif"{$><$}mo{$>\sim<$}/mo{$><$}/math{$>$}600 years reflects changes in the ways pitch classes are employed in musical compositions and reveals particularly strong changes at the transition from common-practice to extended tonality in the 19th century.}, author = {Moss, Fabian C. and Rohrmeier, Martin}, journal = {Music \& Science}, keywords = {studies,Latent}, month = {jan}, title = {Discovering {{Tonal Profiles}} with {{Latent Dirichlet Allocation}}}, volume = 4, year = 2021 }
• Rohrmeier, M., & Moss, F. C. (2021). A Formal Model of Extended Tonal Harmony. In J. H. Lee, A. Lerch, Z. Duan, J. Nam, P. Rao, P. van Kranenburg, & A. Srinivasamurthy (Eds.), Proceedings of the 22nd International Society for Music Information Retrieval Conference, ISMIR 2021, Online, November 7-12, 2021 (pp. 569-578). https://archives.ismir.net/ismir2021/paper/000071.pdf
  • [ BibTeX ]
  @inproceedings{Rohrmeier2021_FormalModelExtended, author = {Rohrmeier, Martin and Moss, Fabian C.}, booktitle = {Proceedings of the 22nd {{International Society}} for {{Music Information Retrieval Conference}}, {{ISMIR}} 2021, {{Online}}, {{November}} 7-12, 2021}, editor = {Lee, Jin Ha and Lerch, Alexander and Duan, Zhiyao and Nam, Juhan and Rao, Preeti and van Kranenburg, Peter and Srinivasamurthy, Ajay}, keywords = {imported}, pages = {569–578}, title = {A {{Formal Model}} of {{Extended Tonal Harmony}}}, year = 2021 }

• Lieck, R., Moss, F. C., & Rohrmeier, M. (2020). The Tonal Diffusion Model. Transactions of the International Society for Music Information Retrieval, 3(1), 153-164. https://doi.org/10.5334/tismir.46
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  Pitch-class distributions are of central relevance in music information retrieval, computational musicology and various other fields, such as music perception and cognition. However, despite their structure being closely related to the cognitively and musically relevant properties of a piece, many existing approaches treat pitch-class distributions as fixed templates. In this paper, we introduce the Tonal Diffusion Model, which provides a more structured and interpretable statistical model of pitch-class distributions by incorporating geometric and algebraic structures known from music theory as well as insights from music cognition. Our model explains the pitch-class distributions of musical pieces by assuming tones to be generated through a latent cognitive process on the Tonnetz, a well-established representation for harmonic relations. Specifically, we assume that all tones in a piece are generated by taking a sequence of interval steps on the Tonnetz starting from a unique tonal origin. We provide a description in terms of a Bayesian generative model and show how the latent variables and parameters can be efficiently inferred. The model is quantitatively evaluated on a corpus of 248 pieces from the Baroque, Classical, and Romantic era and describes the empirical pitch-class distributions more accurately than conventional template-based models. On three concrete musical examples, we demonstrate that our model captures relevant harmonic characteristics of the pieces in a compact and interpretable way, also reflecting stylistic aspects of the respective epoch.

  @article{Lieck2020_TonalDiffusionModel, abstract = {Pitch-class distributions are of central relevance in music information retrieval, computational musicology and various other fields, such as music perception and cognition. However, despite their structure being closely related to the cognitively and musically relevant properties of a piece, many existing approaches treat pitch-class distributions as fixed templates. In this paper, we introduce the Tonal Diffusion Model, which provides a more structured and interpretable statistical model of pitch-class distributions by incorporating geometric and algebraic structures known from music theory as well as insights from music cognition. Our model explains the pitch-class distributions of musical pieces by assuming tones to be generated through a latent cognitive process on the Tonnetz, a well-established representation for harmonic relations. Specifically, we assume that all tones in a piece are generated by taking a sequence of interval steps on the Tonnetz starting from a unique tonal origin. We provide a description in terms of a Bayesian generative model and show how the latent variables and parameters can be efficiently inferred. The model is quantitatively evaluated on a corpus of 248 pieces from the Baroque, Classical, and Romantic era and describes the empirical pitch-class distributions more accurately than conventional template-based models. On three concrete musical examples, we demonstrate that our model captures relevant harmonic characteristics of the pieces in a compact and interpretable way, also reflecting stylistic aspects of the respective epoch.}, author = {Lieck, Robert and Moss, Fabian C. and Rohrmeier, Martin}, journal = {Transactions of the International Society for Music Information Retrieval}, keywords = {imported}, number = 1, pages = {153–164}, publisher = {{Ubiquity Press}}, title = {The {{Tonal Diffusion Model}}}, volume = 3, year = 2020 }
• Moss, F. C. (2020). A Computational Model for Note Distributions in Musical Pieces. In Digital and Cognitive Musicology Lab News Blog. https://www.epfl.ch/labs/dcml/computational-model-note-dists/
  • [ BibTeX ]
  @misc{Moss2020_ComputationalModelNote, author = {Moss, Fabian C.}, journal = {Digital and Cognitive Musicology Lab News Blog}, keywords = {imported}, month = {oct}, title = {A Computational Model for Note Distributions in Musical Pieces}, year = 2020 }
• Moss, F. C. (2020). Tracing Historical Changes in the Exploration of Tonal Space. In Digital and Cognitive Musicology Lab News Blog. https://www.epfl.ch/labs/dcml/tracing-historical-changes/
  • [ BibTeX ]
  @misc{Moss2020_TracingHistoricalChanges, author = {Moss, Fabian C.}, journal = {Digital and Cognitive Musicology Lab News Blog}, keywords = {imported}, month = {sep}, title = {Tracing Historical Changes in the Exploration of Tonal Space}, year = 2020 }
• Moss, F. C. (2020). Choro Songbook Corpus. Zenodo. https://doi.org/10.5281/zenodo.3881347
  • [ BibTeX ]
  • [ DOI ]
  @misc{Moss2020_ChoroSongbookCorpus, author = {Moss, Fabian C.}, keywords = {imported}, month = {jun}, publisher = {{Zenodo}}, title = {Choro {{Songbook Corpus}}}, year = 2020 }
• Moss, F. C., Neuwirth, M., & Rohrmeier, M. (2020). Tonal Pitch-Class Counts Corpus ({{TP3C}}). Zenodo. https://doi.org/10.5281/zenodo.3600088
  • [ BibTeX ]
  • [ DOI ]
  @misc{Moss2020_TonalPitchClassCounts, author = {Moss, Fabian C. and Neuwirth, Markus and Rohrmeier, Martin}, keywords = {tusic}, publisher = {{Zenodo}}, title = {Tonal {{Pitch-Class Counts Corpus}} ({{TP3C}})}, year = 2020 }
• Moss, F. C., Souza, W. F., & Rohrmeier, M. (2020). Harmony and Form in Brazilian Choro: A Corpus-Driven Approach to Musical Style Analysis. Journal of New Music Research, 49(5), 416-437. https://doi.org/10.1080/09298215.2020.1797109
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  This corpus study constitutes the first quantitative style analysis of Choro, a primarily instrumental music genre that emerged in Brazil at the end of the 19th century. We evaluate its description in a recent comprehensive textbook by transcribing the chord symbols and formal structure of the 295 representative pieces in the Choro Songbook. Our approach uncovers central stylistic traits of this musical idiom on empirical grounds. It thus advances data-driven musical style analysis by studying both harmony and form in a musical genre that lies outside the traditional canon.

  @article{Moss2020_HarmonyFormBrazilian, abstract = {This corpus study constitutes the first quantitative style analysis of Choro, a primarily instrumental music genre that emerged in Brazil at the end of the 19th century. We evaluate its description in a recent comprehensive textbook by transcribing the chord symbols and formal structure of the 295 representative pieces in the Choro Songbook. Our approach uncovers central stylistic traits of this musical idiom on empirical grounds. It thus advances data-driven musical style analysis by studying both harmony and form in a musical genre that lies outside the traditional canon.}, author = {Moss, Fabian C. and Souza, Willian Fernandes and Rohrmeier, Martin}, journal = {Journal of New Music Research}, keywords = {style}, number = 5, pages = {416–437}, title = {Harmony and Form in {{Brazilian Choro}}: {{A}} Corpus-Driven Approach to Musical Style Analysis}, volume = 49, year = 2020 }

• Landnes, K., Mehrabyan, L., Wiklund, V., Lieck, R., Moss, F. C., & Rohrmeier, M. (2019). A Model Comparison for Chord Prediction on the Annotated Beethoven Corpus. In I. Barbancho, L. J. Tardón, A. Peinado, & A. M. Barbancho (Eds.), Proceedings of the 16th Sound & Music Computing Conference (SMC 2019) (pp. 250-254). https://doi.org/10.5281/zenodo.3249335
  • [ BibTeX ]
  • [ DOI ]
  @inproceedings{Landnes2019_ModelComparisonChord, address = {{M\'alaga, Spain}}, author = {Landnes, Kristoffer and Mehrabyan, Liana and Wiklund, Victor and Lieck, Robert and Moss, Fabian C. and Rohrmeier, Martin}, booktitle = {Proceedings of the 16th {{Sound}} \& {{Music Computing Conference}} ({{SMC}} 2019)}, editor = {Barbancho, Isabel and Tard{\'o}n, Lorenzo J. and Peinado, Alberto and Barbancho, Ana M.}, keywords = {imported}, pages = {250–254}, title = {A {{Model Comparison}} for {{Chord Prediction}} on the {{Annotated Beethoven Corpus}}}, year = 2019 }
• Moss, F. C. (2019). Transitions of Tonality: A Model-Based Corpus Study [PhD dissertation, École Polytechnique Fédérale de Lausanne]. https://doi.org/10.5075/epfl-thesis-9808
  • [ BibTeX ]
  • [ DOI ]
  @phdthesis{Moss2019_TransitionsTonalityModelbased, address = {{Lausanne, Switzerland}}, author = {Moss, Fabian C.}, keywords = {imported}, school = {\'Ecole Polytechnique F\'ed\'erale de Lausanne}, title = {Transitions of Tonality: A Model-Based Corpus Study}, year = 2019 }
• Moss, F. C., Loayza, T., & Rohrmeier, M. (2019). Pitchplots. https://doi.org/10.5281/ZENODO.3265393
  • [ BibTeX ]
  • [ DOI ]
  @misc{Moss2019_Pitchplots, author = {Moss, Fabian C. and Loayza, Timothy and Rohrmeier, Martin}, keywords = {imported}, month = {jul}, title = {Pitchplots}, year = 2019 }
• Moss, F. C., Neuwirth, M., Harasim, D., & Rohrmeier, M. (2019). Statistical Characteristics of Tonal Harmony: A Corpus Study of Beethoven’s String Quartets. PLoS ONE, 14(6), e0217242. https://doi.org/10.1371/journal.pone.0217242
  • [ BibTeX ]
  • [ DOI ]
  @article{Moss2019_StatisticalCharacteristicsTonal, author = {Moss, Fabian C. and Neuwirth, Markus and Harasim, Daniel and Rohrmeier, Martin}, journal = {PLoS ONE}, keywords = {imported}, number = 6, pages = {e0217242}, title = {Statistical Characteristics of Tonal Harmony: A Corpus Study of {{Beethoven}}'s String Quartets}, volume = 14, year = 2019 }
• Popescu, T., Neuser, M. P., Neuwirth, M., Bravo, F., Mende, W., Boneh, O., Moss, F. C., & Rohrmeier, M. (2019). The Pleasantness of Sensory Dissonance Is Mediated by Musical Style and Expertise. Scientific Reports, 9(1), 1070. https://doi.org/10.1038/s41598-018-35873-8
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  Western musical styles use a large variety of chords and vertical sonorities. Based on objective acoustical properties, chords can be situated on a dissonant-consonant continuum. While this might to some extent converge with the unpleasant-pleasant continuum, subjective liking might diverge for various chord forms from music across different styles. Our study aimed to investigate how well appraisals of the roughness and pleasantness dimensions of isolated chords taken from real-world music are predicted by Parncutt's established model of sensory dissonance. Furthermore, we related these subjective ratings to style of origin and acoustical features of the chords as well as musical sophistication of the raters. Ratings were obtained for chords deemed representative of the harmonic language of three different musical styles (classical, jazz and avant-garde music), plus randomly generated chords. Results indicate that pleasantness and roughness ratings were, on average, mirror opposites; however, their relative distribution differed greatly across styles, reflecting different underlying aesthetic ideals. Parncutt's model only weakly predicted ratings for all but Classical chords, suggesting that listeners' appraisal of the dissonance and pleasantness of chords bears not only on stimulus-side but also on listener-side factors. Indeed, we found that levels of musical sophistication negatively predicted listeners' tendency to rate the consonance and pleasantness of any one chord as coupled measures, suggesting that musical education and expertise may serve to individuate how these musical dimensions are apprehended.

  @article{Popescu2019_PleasantnessSensoryDissonance, abstract = {Western musical styles use a large variety of chords and vertical sonorities. Based on objective acoustical properties, chords can be situated on a dissonant-consonant continuum. While this might to some extent converge with the unpleasant-pleasant continuum, subjective liking might diverge for various chord forms from music across different styles. Our study aimed to investigate how well appraisals of the roughness and pleasantness dimensions of isolated chords taken from real-world music are predicted by Parncutt's established model of sensory dissonance. Furthermore, we related these subjective ratings to style of origin and acoustical features of the chords as well as musical sophistication of the raters. Ratings were obtained for chords deemed representative of the harmonic language of three different musical styles (classical, jazz and avant-garde music), plus randomly generated chords. Results indicate that pleasantness and roughness ratings were, on average, mirror opposites; however, their relative distribution differed greatly across styles, reflecting different underlying aesthetic ideals. Parncutt's model only weakly predicted ratings for all but Classical chords, suggesting that listeners' appraisal of the dissonance and pleasantness of chords bears not only on stimulus-side but also on listener-side factors. Indeed, we found that levels of musical sophistication negatively predicted listeners' tendency to rate the consonance and pleasantness of any one chord as coupled measures, suggesting that musical education and expertise may serve to individuate how these musical dimensions are apprehended.}, author = {Popescu, Tudor and Neuser, Monja Pascale and Neuwirth, Markus and Bravo, Fernando and Mende, Wolfgang and Boneh, Oren and Moss, Fabian C. and Rohrmeier, Martin}, journal = {Scientific Reports}, keywords = {behaviour}, month = {dec}, number = 1, pages = 1070, publisher = {{Nature Publishing Group}}, title = {The Pleasantness of Sensory Dissonance Is Mediated by Musical Style and Expertise}, volume = 9, year = 2019 }

• Neuwirth, M., Harasim, D., Moss, F. C., & Rohrmeier, M. (2018). The Annotated Beethoven Corpus ({{ABC}}): A Dataset of Harmonic Analyses of All Beethoven String Quartets. Frontiers in Digital Humanities, 5(July), 1-5. https://doi.org/10.3389/fdigh.2018.00016
  • [ BibTeX ]
  • [ DOI ]
  @article{Neuwirth2018_AnnotatedBeethovenCorpus, author = {Neuwirth, Markus and Harasim, Daniel and Moss, Fabian C. and Rohrmeier, Martin}, journal = {Frontiers in Digital Humanities}, keywords = {truth,harmony,music,Music,music;}, number = {July}, pages = {1–5}, publisher = {{Frontiers}}, title = {The {{Annotated Beethoven Corpus}} ({{ABC}}): {{A Dataset}} of {{Harmonic Analyses}} of {{All Beethoven String Quartets}}}, volume = 5, year = 2018 }

• Moss, F. C. (2017). [Review of David Huron. Voice Leading: The Science behind a Musical Art}}]. Music Theory & Analysis, 4(1), 119-130. https://doi.org/10.11116/MTA.4.1.7 1
  • [ BibTeX ]
  • [ DOI ]
  @article{Moss2017_ReviewDavidHuron, author = {Moss, Fabian C.}, journal = {Music Theory \& Analysis}, keywords = {imported}, number = 1, pages = {119–130}, publisher = {{Leuven University Press}}, title = {[{{Review}} of {{David Huron}}. {{Voice Leading}}: {{The Science}} behind a {{Musical Art}}]}, volume = 4, year = 2017 }

• Moss, F. C. (2014). Tonality and Functional Equivalence: A Multi-Level Model for the Cognition of Triadic Progressions in 19th Century Music. In K. Jakubowski, N. Farrugia, & D. Müllensiefen (Eds.), International Conference of Students of Systematic Musicology textendash Proceedings (pp. 1-8). http://ojs.gold.ac.uk/index.php/sysmus14/article/view/243
  • [ Abstract ]
  • [ BibTeX ]
  The subject of this paper is the cognition of triadic progressions in 19th century tonal music. Music psychological research concerning the cognition of harmonic progressions mainly relies on diatonic music in which triads are easily relatable to a key. Triadic distance is therefore measured in terms of root relationships to the tonal center, the tonic (Krumhansl \& Kessler, 1982). This conception is not directly applicable to chromatic music where musical coherence is not only obtained by common a key. Transformational music theory puts strong emphasis on voice-leading parsimony as a measure of distance. The most efficient transformations between major and minor triads are P (parallel), R (relative) and L (leading-tone exchange), which is also in accordance with empirical findings of diatonic triadic relatedness (Krumhansl, 1998). Notably, P and R generate an octatonic scale containing eight major and minor triads which are claimed to be functionally equivalent. Transformational analyses result in sequential patterns of triadic progressions and an overarching key is not required. Based on an extended notion of function and acknowledging that there are compelling arguments for both hierarchical and sequential representations of the cognition of harmonic progressions a multi-level model is proposed that combines both approaches, adopting features of the generative model by Rohrmeier (2011). The two main components of the model are the concept of functional equivalence and the distinction between the hierarchic-syntactic cognition of functional progressions and the schematic cognition of functional values.

  @inproceedings{Moss2014_TonalityFunctionalEquivalence, abstract = {The subject of this paper is the cognition of triadic progressions in 19th century tonal music. Music psychological research concerning the cognition of harmonic progressions mainly relies on diatonic music in which triads are easily relatable to a key. Triadic distance is therefore measured in terms of root relationships to the tonal center, the tonic (Krumhansl \& Kessler, 1982). This conception is not directly applicable to chromatic music where musical coherence is not only obtained by common a key. Transformational music theory puts strong emphasis on voice-leading parsimony as a measure of distance. The most efficient transformations between major and minor triads are P (parallel), R (relative) and L (leading-tone exchange), which is also in accordance with empirical findings of diatonic triadic relatedness (Krumhansl, 1998). Notably, P and R generate an octatonic scale containing eight major and minor triads which are claimed to be functionally equivalent. Transformational analyses result in sequential patterns of triadic progressions and an overarching key is not required. Based on an extended notion of function and acknowledging that there are compelling arguments for both hierarchical and sequential representations of the cognition of harmonic progressions a multi-level model is proposed that combines both approaches, adopting features of the generative model by Rohrmeier (2011). The two main components of the model are the concept of functional equivalence and the distinction between the hierarchic-syntactic cognition of functional progressions and the schematic cognition of functional values.}, address = {{London}}, author = {Moss, Fabian C.}, booktitle = {International {{Conference}} of {{Students}} of {{Systematic Musicology}} \textendash{} {{Proceedings}}}, editor = {Jakubowski, Kelly and Farrugia, Nicolas and M{\"u}llensiefen, Daniel}, keywords = {imported}, pages = {1–8}, title = {Tonality and Functional Equivalence: {{A}} Multi-Level Model for the Cognition of Triadic Progressions in 19th Century Music}, year = 2014 }

• Moss, F. C. (2012). "Theorie Der Tonfelder" Nach Simon Und "Neo-Riemannian Theory": Systematik, Historische Bezüge Und Analytische Praxis Im Vergleich [Master thesis, Hochschule für Musik und Tanz Köln]. https://doi.org/10.5281/zenodo.4748512
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  In dieser Arbeit werden zwei Konzeptionen vorgestellt, die für sich in Anspruch nehmen, Musik aus dem vage umschriebenen Zeitraum der ,Musik des 19. Jahrhunderts` theoretisch angemessen zu erfassen: die Theorie der Tonfelder nach Albert Simon und die Neo-Riemannian Theory. Sie beziehen sich beide vorwiegend auf das früh- bis spätromantische Repertoire, es gibt aber auch vereinzelte Beispiele, die diesen Rahmen in beide Richtungen erweitern. Durch diese Überlappung der Interessensgebiete bietet sich ein Vergleich der beiden Theorien an.

  @mastersthesis{Moss2012_TheorieTonfelderNach, abstract = {In dieser Arbeit werden zwei Konzeptionen vorgestellt, die f\"ur sich in Anspruch nehmen, Musik aus dem vage umschriebenen Zeitraum der ,Musik des 19. Jahrhunderts` theoretisch angemessen zu erfassen: die Theorie der Tonfelder nach Albert Simon und die Neo-Riemannian Theory. Sie beziehen sich beide vorwiegend auf das fr\"uh- bis sp\"atromantische Repertoire, es gibt aber auch vereinzelte Beispiele, die diesen Rahmen in beide Richtungen erweitern. Durch diese \"Uberlappung der Interessensgebiete bietet sich ein Vergleich der beiden Theorien an.}, author = {Moss, Fabian C.}, keywords = {der}, month = {nov}, school = {Hochschule f\"ur Musik und Tanz K\"oln}, title = {"{{Theorie}} Der {{Tonfelder}}" Nach {{Simon}} Und "{{Neo-Riemannian Theory}}": {{Systematik}}, Historische {{Bez\"uge}} Und Analytische {{Praxis}} Im {{Vergleich}}}, year = 2012 }

• Moss, F. C. (2011). Albert Simons Theorie der Tonfelder und John Cloughs Flip-Flop Circles im Vergleich. Zenodo. https://doi.org/10.5281/zenodo.3944462
  • [ Abstract ]
  • [ BibTeX ]
  • [ DOI ]
  Dass Mathematik und Musik eine ganze Menge gemeinsam haben, ist kein Novum. Hebamme der abendländischen Musik war schliess lich kein geringerer als Pythagoras von Samos (ca. 570-510 v. Chr.), der entdeckte, dass Konsonanz von Tönen eine Frage ganzzahliger Schwingungsverhältnisse ist. Die Meister der westlichen Musik hatten ihren Geburtshelfer jedoch~bald schon vergessen, bzw. verdrängt, denn das berühmte pythagoräische Komma, die Differenz von sieben Oktaven und zwölf Quinten, machte ein perfektes, ,,wohl temperiertes`` System~bewiesenermass en mathematisch unmöglich. Doch damit konnte und kann man durchaus gut~leben. Vor allem Komponisten der späten Klassik und der Romantik machen schamlos von enharmonischen Verwechslungen Gebrauch und erreichen so ungeahnte Höhen der Musik, die~sich nun nicht mehr im sicheren Hafen der Diatonik bewegt, sondern die gesamte Chromatik~beansprucht. Die Analyse der Musik des späten 18. bis frühen 20. Jahrhunderts steht somit auch vor anderen Herausforderungen als bei Bachschen Chorälen oder Schützschen Motetten. In diesem Artikel wird zunächst John Cloughs (1930-2003) Begriff der Flip-Flip Circles~vorgestellt und deren gruppentheoretische Aspekte erläutert. Eine interessante Anwendung finden sie in der Theorie der Tonfelder von Albert Simon (1926-2000), die dieser auf der Basis harmonischer Analysen entwickelte. Da davon auszugehen ist, dass beide voneinander keine~Kenntnis hatten, ist es umso interessanter, diese beiden völlig unterschiedlichen Zugänge zu~musikalischer Analyse miteinander in Verbindung zu bringen.

  @techreport{Moss2011_AlbertSimonsTheorie, abstract = {Dass Mathematik und Musik eine ganze Menge gemeinsam haben, ist kein Novum. Hebamme der abendl\"andischen Musik war schlie\ss lich kein geringerer als Pythagoras von Samos (ca. 570-510 v. Chr.), der entdeckte, dass Konsonanz von T\"onen eine Frage ganzzahliger Schwingungsverh\"altnisse ist. Die Meister der westlichen Musik hatten ihren Geburtshelfer jedoch bald schon vergessen, bzw. verdr\"angt, denn das ber\"uhmte pythagor\"aische Komma, die Differenz von sieben Oktaven und zw\"olf Quinten, machte ein perfektes, ,,wohl temperiertes`` System bewiesenerma\ss en mathematisch unm\"oglich. Doch damit konnte und kann man durchaus gut leben. Vor allem Komponisten der sp\"aten Klassik und der Romantik machen schamlos von enharmonischen Verwechslungen Gebrauch und erreichen so ungeahnte H\"ohen der Musik, die sich nun nicht mehr im sicheren Hafen der Diatonik bewegt, sondern die gesamte Chromatik beansprucht. Die Analyse der Musik des sp\"aten 18. bis fr\"uhen 20. Jahrhunderts steht somit auch vor anderen Herausforderungen als bei Bachschen Chor\"alen oder Sch\"utzschen Motetten. In diesem Artikel wird zun\"achst John Cloughs (1930-2003) Begriff der Flip-Flip Circles vorgestellt und deren gruppentheoretische Aspekte erl\"autert. Eine interessante Anwendung finden sie in der Theorie der Tonfelder von Albert Simon (1926-2000), die dieser auf der Basis harmonischer Analysen entwickelte. Da davon auszugehen ist, dass beide voneinander keine Kenntnis hatten, ist es umso interessanter, diese beiden v\"ollig unterschiedlichen Zug\"ange zu musikalischer Analyse miteinander in Verbindung zu bringen.}, author = {Moss, Fabian C.}, institution = {{Zenodo}}, keywords = {imported}, month = {jan}, title = {{Albert Simons Theorie der Tonfelder und John Cloughs Flip-Flop Circles im Vergleich}}, year = 2011 }