Abstract
Chord progressions are core elements of Western tonal harmony regulated by multiple theoretical and perceptual principles. Ideally, objective measures to evaluate chord progressions should reflect their tonal fitness. In this work, we propose an objective measure of the fitness of a chord progression within the Western tonal context computed in the Tonal Interval Space, where distances capture tonal music principles. The measure considers four parameters, namely tonal pitch distance, consonance, hierarchical tension and voice leading between the chords in the progression. We performed a listening test to perceptually assess the proposed tonal fitness measure across different chord progressions, and compared the results with existing related models. The perceptual rating results show that our objective measure improves the estimation of a chord progression’s tonal fitness in comparison with existing models. © Springer Nature Switzerland AG 2020.

Abstract
Background/objective: Playing a wind instrument implies rhythmic jaw movements where the embouchure applies forces with different directions and intensities towards the orofacial structures. These features are relevant when comparing the differences between a clarinettist and a saxophone player embouchure, independently to the fact that both belong to the single-reed instrument group, making therefore necessary to update the actual classification. Methods: Lateral cephalograms were taken to single-reed, double-reed and brass instrumentalists with the purpose of analyzing the relationship of the mouthpiece and the orofacial structures. Results: The comparison of the different wind instruments showed substantial differences. Therefore the authors purpose a new classification of wind instruments: Class 1 single-reed mouthpiece, division 1– clarinet, division 2 –saxophone; Class 2 double-reed instruments, division 1– oboe, division 2– bassoon; Class 3 cup-shaped mouthpiece, division 1– trumpet and French horn, division 2- trombone and tuba; Class 4 aperture mouthpieces, division 1– flute, division 2 – transversal flute and piccolo. Conclusions: Elements such as dental arches, teeth and lips, assume vital importance at a new nomenclature and classification of woodwind instruments that were in the past mainly classified by the type of mouthpiece and not taking into consideration its relationship with their neighboring structures. © 2019 Craniofacial Research Foundation

Abstract
Chord progressions play an important role in Western tonal music. For a novice composer, the creation of chord progressions can be challenging because it involves many subjective factors, such as the musical context, personal preference and aesthetic choices. This work proposes ChordAIS, an interactive system that assists the user in generating chord progressions by iteratively adding new chords. At each iteration a search for the next candidate chord is performed in the Tonal Interval Space (TIS), where distances capture perceptual features of pitch configurations on different levels, such as musical notes, chords, and scales. We use an artificial immune system (AIS) called opt-aiNet to search for candidate chords by optimizing an objective function that encodes desirable musical properties of chord progressions as distances in the TIS. Opt-aiNet is capable of finding multiple optima of multi-modal functions simultaneously, resulting in multiple good-quality candidate chords which can be added to the progression by the user. To validate ChordAIS, we performed different experiments and a listening test to evaluate the perceptual quality of the candidate chords proposed by ChordAIS. Most listeners rated the chords proposed by ChordAIS as better candidates for progressions than the chords discarded by ChordAIS. Then, we compared ChordAIS with two similar systems, ConChord and ChordGA, which uses a standard GA instead of opt-aiNet. A user test showed that ChordAIS was preferred over ChordGA and Conchord. According to the results, ChordAIS was deemed capable of assisting the users in the generation of tonal chord progressions by proposing good-quality candidates in all the keys tested. © 2019 Elsevier B.V.

Abstract
This article presents MixMash, an interactive tool which streamlines the process of music mashup creation by assisting users in the process of finding compatible music from a large collection of audio tracks. It extends the harmonic mixing method by Bernardes, Davies and Guedes with novel degrees of harmonic, rhythmic, spectral, and timbral similarity metrics. Furthermore, it revises and improves some interface design limitations identified in the former model software implementation. A new user interface design based on cross-modal associations between musical content analysis and information visualisation is presented. In this graphic model, all tracks are represented as nodes where distances and edge connections display their harmonic compatibility as a result of a force-directed graph. Besides, a visual language is defined to enhance the tool's usability and foster creative endeavour in the search of meaningful music mashups.

Abstract