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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>Dear Christian,<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>The output of programs to automatically analyze pieces are usually far less important than the class of questions that having large, searchable repertories of analyzed pieces opens up. So for instance one could ask “Does V43 move to I or I6 more often during the period 1700-1900 and how does the distribution of resolutions change according to time period, region, and/or composer?” If the software is more trustworthy then you can ask rather finely grained questions; if the software is less accurate then you can probably still find things like whether the relative frequency of a common chord differs significantly between one area and another.<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>One thing that the work of De Clercq and Temperley show for me is that there’s a limit to the accuracy of any system, somewhere around 95% -- beyond that even trained professionals will disagree about the labeling (even taking into account orthography differences such as I64 vs V64) of chords; going above 95% most likely means that the system has learned to mimic one analyst’s labels, not that it’s getting the “true” label for any given chord.<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>Best,<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>Michael<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Christian Goursaud [mailto:christian.goursaud@gmail.com] <br><b>Sent:</b> Friday, February 24, 2012 17:24<br><b>To:</b> Michael Scott Cuthbert<br><b>Cc:</b> smt smt-talk<br><b>Subject:</b> Re: [Smt-talk] RN analyzers<o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p><p>I would be interested to hear what are the proposed goals of the development of such software, beyond the obvious technical challenges posed to developers. What would be the ultimate utility of software which could mimic conventional human translation of music-notational data to roman-numeric functional analysis?<o:p></o:p></p><p>Best,<o:p></o:p></p><p>Christian<o:p></o:p></p><p>--<br>Christian Goursaud<br>PhD candidate, Birmingham Conservatoire<br>+44 (0)7796033585<br><a href="mailto:christian.goursaud@gmail.com">christian.goursaud@gmail.com</a><o:p></o:p></p></div></body></html>