Paris Conservatory

This paper describes a feasibility study for the computational classification of traditional three-voiced Georgian vocal music, based on characteristic chord sequences extracted from digital scores. We demonstrate that for this purpose the differences between Western 5-line staff notation and a more appropriate heptatonic system for traditional Georgian music can be adjusted for by a simple transformation. A corpus of about 500 digital scores, consisting of labeled ‘song classes’, i.e. subsets of folk songs from different regions and of liturgical songs in different styles, served as a testbed for the development of a classification procedure based on a higher-order Markov model that - in addition to the classification - yields chord progression sequences for each ‘song class’. Their capacity for interpretation was tested by one hundred cross-validation runs, in which randomly selected subsets of ¾ of the size of each song class were used to train classifiers, which were then applied to the remaining ¼ subsets. The sizes of the intersections of the successfully classified songs in all cross-validations are interpreted as direct measures of the degree of representativeness of the songs for their respective ‘song classes’. Based on a second validation experiment, in which we split up the datasets into equally sized subsets of ½ and ¼ of the original subsets, respectively, we estimate that the smallest subset size for an interpretation of the observed chord progression patterns as properties of a ‘song class’ is of the order of 50 songs. Currently, in our corpus, this requirement is only met by the subsets from Svaneti and Shemokmedi.

In honour of the International Year of Sound and for the 1 year memorial of the Notre-Dame cathedral fire, a team of researchers and sound engineers created a virtual reconstruction of a concert in the cathedral, using close-mic recordings made on 24-April-2013 of a performance of La Vierge by Jules Massenet. This reconstruction was carried out during the period of strict COVID-19 confinement. With 83 musicians, 6 singers and a 160person choir spatially distributed throughout the cathedral, the original performance offered a spatial composition highlighting the complex acoustics and interactions between source and listener positions. Individual tracks were convolved with spatial room impulse responses, created from a calibrated geometrical acoustic simulation. Several listening positions were binaurally rendered, along with an artistic mix created by a sound engineer, offering a unique 3d-audio experience approaching the reality of the moment in the past. Distributed on-line, the website presenting this virtual reconstruction has been visited from users around the world. A listener opinion survey was included on the website. This paper presents an overview of the source material, the production workflow, and the challenges of realising such a production during confinement. Finally, an overview of visitor statistics and survey results is presented, providing insight into the reception of the virtual recreation and the interest towards future productions.

À l’instar de Boëly, Moscheles (1794-1870) appartient à la génération des compositeurs situés à la charnière du classicisme et du romantisme. Pianiste célébré à Paris comme dans les autres capitales européennes et vanté par Mendelssohn et Schumann, il est reconnu comme l’un des plus brillants talents de son époque. Sa renommée de pédagogue incite Fétis qui le considère comme l’« un des principaux fondateurs de l’école moderne du piano » à le choisir comme partenaire pour sa Méthode des méthodes de piano éditée à Paris. Formé aux exigences musicales des vieux maîtres, Moscheles demeure toute sa vie habité par une profonde conscience du passé comme en témoignent les concerts historiques qu’il organise à Londres entre 1837 et 1839. Si certaines de ses œuvres font référence à la tradition, d’autres introduisent une esthétique nouvelle qui ouvre la voie aux jeunes romantiques. Après avoir étudié la place et l’influence de Moscheles en France, cet article se propose de mieux comprendre l’importance accordée par le compositeur à l’héritage des siècles précédents et d’analyser dans plusieurs pièces comment ce culte du passé transparaît dans leur style d’écriture.

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