Footnotes
The collection is now a part of the Benson Latin American Collections, the General Libraries, the University of Texas at Austin, TX 78712.
For example, see Ronald F. and Maurita P. Brender, Computer Transcription and analysis of mid-13th century notation,J. Music Theory 11(2) (1967) 198–221.
For example, Tobias Robinson, IMR—MIR: A data-processing system for the analysis of music, in: Harold Heckmann, Ed.,Elektronische Datenverarbeitung in der Musikwissenschaft Gustav Bosse, Regensburg, 1967) 103–135.
Harry B. Lincoln, Musicology and the computer: The thematic index, in: Edmund A. Bowles, Ed.,Computers in Humanistic Research (Prentice-Hall, Englewood Cliffs, 1967) 183–194.
B.H. Bronson, Mechanical help in the study of folk song,J. American Folklore 62(244) (1949) 183–194.
Op. cit., fn. 5.
Mieczyslav Kolinski, The general direction of melodic movement,Ethnomusicology 9 (1965) 240–264.
Mieczyslav Kolinski, The structure of melodic movement,Studies in Ethnomusicology 2 (1965) 95–120.
Charles T. Brown and Robert D. Oudal, The 1968 introductory seminar in the use of computers in musical projects.Student Musicologists at Minnesota 3 (1968–69) 87–92.
Linton C. Freeman and Allen P. Merriam, Statistical classification in anthropology: An application to ethnomusicology,Amer. Anthropologist 58(3) (1956) 464–472.
R.C. Pinkerton, Information theory and melody,Sci. Amer. 194(2) (1956) 77–87.
Leonard B. Meyer, Meaning in music and information theory,J. Aesthetics and Art Criticism 15(4) (1957) 412–424.
E. Coons and D. Kraehenbuehl, Information as a measure of structure in music,J. Music Theory 11(2) (1958) 127–161.
Johannes Riedel, Ecuadorian mesomusica,The Scope of Scholarship (Dept. of Chem. Engig. Univ. Minnesota, Minneapolis, 1966) 131–150.
V. Hoshovs'kyj, The experiment of systematizing and cataloging folk tunes following the principles of musical dialectology and cybernetics,Studia Musicologia 7 (1965) 273–286.
Pinkerton,op. cit., fn. 10.
Eric Regener, A multiple-pass transcription and a system for musical analysis by computer, in: Harald Heckman, Ed.,Elektronische Datenverarbeitung in der Musikwissenschaft (Gustav Bosse, Regensburg, 1967) 1–20.
Riedel,op. cit., fn. 14.
Scribes frequently were careless about the length of the last note of a section. It was left short so that pick-up notes in the following estribillo could be more easily seen, or held out over into the next measure without consistency. These notes were made consistent with one one another and with the conventions of style.
This representation is being developed by Stefan Bauer-Mengelberg and Raymond F. Erickson. It is highly mnemonic, quickly learned, and capable of representing musical complexities far beyond those encountered in this study.
Kolinski,op. cit., fin. 7.
This definition is different from that used by the FORTRAN program where the section was defined by key signature.
Op. cit., fin. 7.
Brown,op. cit., fn. 9.
Author information
Authors and Affiliations
Additional information
Has been actively involved in music and computing since 1967. Where he develops educational programs for Apple II.
Lived in Ecuador from 1938–1948, where he collected over 800 specimens of Ecuadorean urban music.
Rights and permissions
About this article
Cite this article
Boody, C.G., Riedel, J. A computer aided study of Ecuadorean urban music. Comput Hum 15, 61–74 (1981). https://doi.org/10.1007/BF02404200
Issue Date:
DOI: https://doi.org/10.1007/BF02404200