Music Representation of Score, Sound, MIDI, Structure and Metadata All Integrated in a Single Multilayer Environment Based on XML - Intelligent Music Information Systems: Tools and Methodologies - page 317

Box 4. Horizontal symbol representation

<lyricspart _ ref="Cavaradossi"voice _ ref="Voice1">
…
<syllablestart _ event _ ref="p1v1 _ 1"end _ event _ ref="p1v1 _ 1"hyphen="yes">
eo
</syllable>
<syllablestart _ event _ ref="p1v1 _ 2"end _ event _ ref="p1v1 _ 2"hyphen="yes">
lez
</syllable>
<syllablestart _ event _ ref="p1v1 _ 3"end _ event _ ref="p1v1 _ 3"hyphen="yes">
za
</syllable>
<syllablestart _ event _ ref="p1v1 _ 4"end _ event _ ref="p1v1 _ 4">
va
</syllable>
…
</lyrics>

Box 5. Structural layer: Music analyses

<structural>
<chord _ griddescription=”Harmony”>
<chord _ nameroot _ id=”e1”>I _ 3 _ 5</chord _ name>
<chord _ nameroot _ id=”e2”>IV _ 3 _ 6</chord _ name>
<chord _ nameroot _ id=”e3”>V _ 3 _ 5</chord _ name>
<chord _ nameroot _ id=”e4”>V _ 7</chord _ name>
<chord _ nameroot _ id=”e5”>VI _ 3 _ 5</chord _ name>
…
</chord _ grid>
…
</structural>

staff, with the possibility to change this setting
with single-notehead granularity.
Figure 6 shows a graphical representation of
a measure encoded in MX format.
At the end of LOS subelement, after describing
symbols such as clefs, notes and rests, there are
the sections to represent horizontal symbols (slurs,
hairpins, embellishments) and lyrics (Box 4).
Structural layer contains explicit descrip-
tions of music objects together with their causal
relationships, from both a compositional and
a musicological point of view. In this context,
we can define “music object” as every type of
structured information in any musical language.
Given this definition, Structural layer identifies a
number of music objects and describes how they
interact in the overall structure and how they
can be described as a transformation of previous
music objects.

Thanks to the meaning we assigned at Struc-
tural layer, this is the right place to host music
analyses. A simple application of music analysis
is the identification of chords, whose concatena-
tion gives the harmonic path. In this case, music
objects are constituted by simultaneous sets of
notes, namely chords (Box 5).
Other applications are the identification of the
themes of a sonata form, of the subject of fugues,
of particularly important melodic or rhythmic
patterns.
Structural layer, thanks to MX multiinstance
approach, can contain one or more analyses. In
addition, many forms of analysis and segmenta-
tion are supported.
Notational layer links all the possible visual
instances of a music piece, by organizing single
digital objects in collections called graphic or
notational instance groups. In this way, for a