![]() Beyond the research domain, the data may serve further purposes such as the didactic preparation of Schubert’s work and its presentation to a wider public by means of an interactive multimedia experience. From a musicological perspective, the dataset enables the systematic study of Schubert’s musical language and style in Winterreise and the comparison of annotations regarding different annotators and granularities. From a technical perspective, the dataset allows for evaluating algorithmic approaches to tasks such as automated music transcription, cross-modal music alignment, or tonal analysis, and for testing these algorithms’ robustness across songs, performances, and modalities. This metadata comprises chord annotations in different granularities, local and global annotations of musical keys, and segmentations into structural parts. Using these alignments, we provide for the different versions various musicological annotations describing tonal and structural characteristics. By means of explicit musical measure positions, we establish a temporal alignment between the different representations, thus enabling a detailed comparison across different performances and modalities. The multimodal representations comprise the singer’s lyrics, sheet music in different machine-readable formats, and audio recordings of nine performances, two of which are freely accessible for research purposes. Our dataset unifies several public sources and annotations carefully created by music experts, compiled in a comprehensive and consistent way. Schubert’s seminal work constitutes an outstanding example of the Romantic song cycle-a central genre within Western classical music. This article presents a multimodal dataset comprising various representations and annotations of Franz Schubert’s song cycle Winterreise. We evaluate both approaches against manually annotated stable regions and discuss their potential in the context of interval analysis for traditional three-part Georgian singing. To avoid undesired distortions in subsequent analysis steps, both approaches keep the original F0-values unmodified, while only removing F0-values in unstable trajectory regions. In this paper, we describe two approaches for detecting stable regions in frequency trajectories: the first algorithm uses morphological operations inspired by image processing, and the second one is based on suitably defined binary time-frequency masks. ![]() One major challenge in F0-based tonal analysis is introduced by unstable regions in the trajectories due to pitch slides and other frequency fluctuations. g., harmonic and melodic intervals) based on fundamental frequency (F0) trajectories. First attempts have been made to analyze tonal properties (e. ![]() While Georgia has a long history of orally transmitted polyphonic singing, there is still an ongoing controversial discussion among ethnomusicologists on the tuning system underlying this type of music. In short, Artem Erkomaishivli's performance in 1966 seems to reflect a combination of strong harmonic and relaxed melodic thinking. Analysing the joint pitch distribution, we find evidence for considerable voice interaction in which Artem Erkomaishvili maintained harmonic intervals despite considerable pitch fluctuations of the individual voices. No observational evidence for stretched octaves, as suggested by some models, is seen. ![]() The harmonic analysis yields an interval distribution which is peaking at justly tuned fifths and octaves at 6 cents, respectively. We do not see evidence for any attempt to precisely use any particular or a small set of melodic interval sizes, as is suggested by some of the proposed tuning models. The analysis of the melodic pitch inventory shows that the sizes of melodic seconds sung by Artem Erkomaishvili vary over a range from approximately 140 to 240 cents, with a peak of the distribution at approximately 180 cents. The purpose of our study is to determine the tuning of Artem Erkomaishvili's voice and how it compares to the models proposed by various researchers to reflect (in their opinion) the historical Georgian tuning. For this purpose, we analyse the recently determined F0-trajectories (Müller et al., 2017) for a set of chant recordings from 1966 in which Artem Erkomaish-vili sang all three voices sequentially using two tape recorders in overdubbing mode. In this paper we try to obtain information regarding the musical thinking of Artem Erkomaishvili, one of the last master chanters of traditional Georgian chant. ![]()
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