Abstract
Phrase segmentation is a fundamental preprocessing step for computational folk music similarity, specifically in identifying tune families within digital corpora. Furthermore, recent literature increasingly recognizes the need for tradition-specific frameworks that accommodate the structural idiosyncrasies of each tradition. In this context, this study presents a culturally informed adaptation of the established rule-based Local Boundary Detection Model (LBDM) algorithm to underrepresented Iberian folk repertoires. Our methodological enhancement expands the LBDM baseline, which traditionally analyzes rests, pitch intervals, and inter-onset duration functions to identify potential segmentation boundaries, by integrating a sub-structure surface repetition function coupled with an optimized peak-selection algorithm. Furthermore, we implement a genetic algorithm to maximize segmentation accuracy by weighting coefficients for each function while calibrating the meta-parameters of the peak-selection process. Empirical evaluation on the I-Folk digital corpus, comprising 802 symbolically encoded folk melodies from Portuguese and Spanish traditions, demonstrates improvements in segmentation F-measure of six and sixteen percentage points~(p.p.) relative to established baseline methodologies for Portuguese and Spanish repertoires, respectively.

Abstract
This paper investigates sampling strategies within latent spaces for music generation, focusing on (chordified) J.S. Bach Chorales and utilizing MusicVAE as the generative model. We conduct an experiment comparing three sampling and interpolation strategies within the latent space to generate chord progressions - from a discrete vocabulary of Bach's chords - to Bach's original chord sequences. Given a three-chord sequence from an original Bach chorale, we assess sampling strategies for replacing the middle chord. In detail, we adopt the following sampling strategies: (1) traditional linear interpolation, (2) k-nearest neighbors, and (3) k-nearest neighbors combined with angular alignment. The study evaluates their alignment with music theory principles of functional harmony embedding and voice-leading to mirror Bach's original chord sequences. Preliminary findings suggest that knearest neighbors and k-nearest neighbors combined with angular alignment closely align with the tonal function of the original chord, with k-nearest neighbors excelling in bass line interpolation and the combined strategy potentially enhancing voice-leading in upper voices. Linear interpolation maintains aspects of voice-leading but confines selections within defined tonal spaces, reflecting the nonlinear characteristics of the original sequences. Our study contributes to the dynamics of latent space sampling for music generation, offering potential avenues for enhancing explainable creative strategies. © 2024. This is an open-access article distributed under the terms of the Creative Commons Attribution 3.0 Unported License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original.

Abstract
This article investigates sampling strategies in latent space navigation to enhance co-creative music systems, focusing on timbre latent spaces. Adopting Villa-Rojo's 'Lamento' for tenor saxophone and tape as a case study, we conducted two experiments. The first assessed traditional corpus-based concatenative synthesis sampling within the RAVE model's latent space, finding that sampling strategies gradually deviate from a given target sonority while still relating to the original morphology. The second experiment aims at defining sampling strategies for creating variations of an input signal, namely parallel, contrary, and oblique motions. The findings expose the need to explore individual model layers and the geometric transformation nature of the contrary and oblique motions that tend to dilate the original shape. The findings highlight the potential of motion-aware sampling for more contextually aware and expressive control of music structures via CBCS.

Abstract
Extensive computational research has been dedicated to detecting keys and modes in tonal Western music within the major and minor modes. Little research has been dedicated to other modes and musical expressions, such as folk or non-Western music. This paper tackles this limitation by comparing traditional template-based with unsupervised machine-learning methods for diatonic mode detection within folk music. Template-based methods are grounded in music theory and cognition and use predefined profiles from which we compare a musical piece. Unsupervised machine learning autonomously discovers patterns embedded in the data. As a case study, the authors apply the methods to a dataset of Irish folk music called The Session on four diatonic modes: Ionian, Dorian, Mixolydian, and Aeolian. Our evaluation assesses the performance of template-based and unsupervised methods, reaching an average accuracy of about 80%. We discuss the applicability of the methods, namely the potential of unsupervised learning to process unknown musical sources beyond modes with predefined templates.

Abstract
Expanding upon the potential of generative machine learning to create atemporal latent space representations of musical-theoretical and cognitive interest, we delve into their explainability by formulating and testing hypotheses on their alignment with DFT phase spaces from {0, 1}(12) pitch classes and {0, 1}(128) pitch distributions - capturing common-tone tonal functional harmony and parsimonious voice-leading principles, respectively. We use 371 J.S. Bach chorales as a benchmark to train a Variational Autoencoder on a representative piano roll encoding. The Spearman rank correlation between the latent space and the two before-mentioned DFT phase spaces exhibits a robust rank association of approximately .65 +/- .05 for pitch classes and .61 +/- .05 for pitch distributions, denoting an effective preservation of harmonic functional clusters per region and parsimonious voice-leading. Furthermore, our analysis prompts essential inquiries about the stylistic characteristics inferred from the rank deviations to the DFT phase space and the balance between the two DFT phase spaces.

Abstract
We introduce a computational model that quantifies melodic pitch attraction in diatonic modal folk music, extending Lerdahl's Tonal Pitch Space. The model incorporates four melodic pitch indicators: vertical embedding distance, horizontal step distance, semitone interval distance, and relative stability. Its scalability is exclusively achieved through prior mode and tonic information, eliminating the need in existing models for additional chordal context. Noteworthy contributions encompass the incorporation of empirically-driven folk music knowledge and the calculation of indicator weights. Empirical evaluation, spanning Dutch, Irish, and Spanish folk traditions across Ionian, Dorian, Mixolydian, and Aeolian modes, uncovers a robust linear relationship between melodic pitch transitions and the pitch attraction model infused with empirically-derived knowledge. Indicator weights demonstrate cross-tradition generalizability, highlighting the significance of vertical embedding distance and relative stability. In contrast, semitone and horizontal step distances assume residual and null functions, respectively.