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Figure 5. Motivic analysis of the beginning of Beethoven's Fifth Symphony in the multiple viewpoint
approach. Different musical dimensions are considered: chromatic (chro) and diatonic (diat) pitch
intervals, gross contours (cont), rhythmic values (rhyt) and position with respect to the metrical pulsa-
tion (puls). The patterns that are discovered form a hierarchy: i.e., in decreasing order of specificity,
the “major-third” (a), “minor-third” (a') and “minor-second” (a'') chromatic patterns, the “third”
diatonic pattern (b), the “decreasing” contour pattern (c), all including a same rhythmic sequence,
described by pattern d.
time signature of 2/4, the beat reiterates every
fourth note (4) and the rhythmic values of eighth
notes are indicated therefore by the value .5. On
a higher metrical level, downbeats are indicated
on the "pulsation" dimension by the value 1 and
off beats by the value 2.
In MIDI files, on the contrary, the metrical
structure is not specified explicitly, and needs
to be reconstructed using beat-tracking (Dan-
nenberg & Mont-Reynaud, 1987; Large & Kolen,
1994; Toiviainen, 1998), quantization (Cemgil &
Kappen, 2003; Desain & Honing, 1991), or meter
induction algorithms (Eck & Casagrande, 2005;
Toiviainen & Eerola, 2006).
Cambouropoulos (2006) suggested other
representations for pitch intervals, such as a
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