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Reti, R. (1951).
The thematic process in music
.
NewYork: Macmillan.
endnotes
1
As stated by the authors themselves, “only a
very small proportion of the patterns gener-
ated by SIA would be considered musically
interesting by an analyst or expert listener.
For example, SIA discovers over 70000
[patterns] in Rachmaninoff 's Prelude, Op.3
No.2 and probably fewer than 100 of these
would be considered interesting by a music
analyst” (Meredith et al. 2003, p. 52).
Rolland, P.-Y. (1999). Discovering patterns in mu-
sical sequences.
Journal of New Music Research,
28
(4), 334-350.
Ruwet, N. (1987). Methods of analysis in musicol-
ogy.
Music Analysis, 6
(1-2), 4-39.
Saussure, F. de (1916).
Course in general lin-
guistics
(trans. Roy Harris, 1983). London:
Duckworth.
2
We can note also that the presence of a
chord, in the bass voice of the last bar of
the second stave, induces the creation of a
local graph.
Temperley, D. (1988).
The cognition of basic musi-
cal structures
. Cambridge, MA: MIT Press.
Toiviainen, P. (1998). An interactive MIDI accom-
panist.
Computer Music Journal, 22
(4), 63-75.
3
The antecedent itself contains an exact
repetition with transposition of a short cell
(indicated with dotted lines). In the actual
piece, the ending of the first phrase contains
a little melodic ornamentation indicated here
by short notes.
Toiviainen, P., & Eerola, T. (2006). Autocorrela-
tion in meter induction: The role of accent struc-
ture.
Journal of Acoustical Society of America,
119
(2), 1164-1170.
4
The particular difficulties aroused by the
geometrical approach proposed by Meredith,
Lemström and Wiggins (2002) have been
studied in the first section of the chapter.
White, B. (1960). Recognition of distorted
melodies.
American Journal of Psychology, 73
,
100-107.
Zaki, M. (2005). Efficient algorithms for mining
closed itemsets and their lattice structure.
IEEE
Transactions on Knowledge and Data Engineer-
ing, 17
, 462-478.
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