# -*- coding: utf-8 -*- from __future__ import annotations import unittest _DOC_IGNORE_MODULE_OR_PACKAGE = True # import os # from music21 import analysis # from music21 import common # from music21 import * # doing this because it will simplify the examples # note: these are temporarily commented out until they work # add optional show argument to mask output for automated testing class Test(unittest.TestCase): def xtest001(self): pass # thoughts on how to do this? # def xtest001(self): # ''' # Above G4 do higher pitches tend to be louder? # Is this asking if all pitches above G4 are louder, or if, above G4, # as pitches get higher, are they louder? # ''' # from music21 import analysis # from music21 import converter # # partStream = converter.parse('dichterliebe1.xml') # # ## make monophonic or make chords have a single pitch object # notesAbove, notesBelow = analysis.partition(partStream, 'pitch', 'G4') # # notesAbove, notesBelow = analysis.partition(partStream, # # this.pitch.midiNote > G4.midiNote) # # # assuming we want to somehow graph two values, pitch space and # # dynamics, by creating a table. this table could then be interpolated # # to determine trends # table = analysis.correlate(notesAbove, 'pitchSpace', 'dynamics') # def xtest002(self): # ''' # Add explicit breath marks after each phrase. Incomplete # ''' # from music21 import analysis # from music21 import converter # # partStream = converter.parse('dichterliebe1.xml') # # we are frequently going to need a way to partition data into # # phrases. this will be a very common operation that will # # need a number of different approaches # # # a phrase stream is partitioned stream of phrases # # might provide a list of criteria that are used to partition # # phrases # phraseStream = analysis.phraseExtract(partStream, # ['rest', 'slur', 'register']) # for phrase in phraseStream: # phraseNew = phrase.clone() # phraseNew.append(articulations.BreathMark) # # how do we edit/update the old score? assuming that # # the objects are not linked, we need to find and replace # partStream.replace(phrase, phraseNew) # def xtest003(self): # ''' # Add key velocities to some MIDI data that reflect accent levels arising from the meter. # # Modify this to just adjust dynamics based on meter; this should be # reflected in musical output # ''' # from music21 import articulations # from music21 import converter # from music21 import stream # # partStream = converter.parse('dichterliebe1.xml') # # for part in partStream.partData: # # a part stream could have an iterator that partitions itself # # into measure-length part streams # for measure in partStream.getElementsByClass(stream.Measure)(): # () ? # # measure is a partStream isolated for just the desired measure # # assuming only one meter per measure # meterObj = measure['meter'] # # get a list of pairs, specifying offset and accent # for offset, accent in meterObj.accentPattern(): # if accent > 'mf': # assuming symbolic representation # # get all relevant elements # subStream = measure.getElementsByOffset(offset, # offset + meterObj.denominator) # # get a stream of just dynamics # dynamics = subStream.filterClass(articulations.DynamicArticulation) # for unused_obj in dynamics: # # can we increment dynamics by dynamics? # # obj += 'pppp' # pass # # will these changes be reflected in the source part stream? def xtest004(self): ''' Align and display all the bass lines for all the variations concurrently. ''' pass # def xtest005(self): # ''' # Alphabetize a list of titles. # ''' # from music21 import analysis # from music21 import converter # # corpusDir = 'path/to/files' # sort = [] # for fn in os.listdir(corpusDir): # if not fn.endswith('.xml'): continue # # we may have more than one thing that looks like a title # titleCandidates = [] # partStream = converter.parse(fn) # # pages might be represented as a stream of Page objects # # this could be contained w/n a part stream # pageStream = partStream['pages'] # # assuming we have classes for things on pages, such as # # titles and other tex annotations # # here, we get these only from the first page # titleCandidates += pageStream[0].getElementsByClass(TextAnnotation) # # an additional slot might be used to store metadata, also # # as a stream # metaStream = partStream['meta'] # titleCandidates += metaStream.getElementsByClass(TextAnnotation) # sort.append(titleCandidates) # # sort.sort() # def xtest006(self): # ''' # Amalgamate arpeggios into chords and display as notation. # # How are the arpeggios delineated? Is it a part with only arpeggios, or # are they intermingled? # ''' # from music21 import analysis # from music21 import converter # # partStream = converter.parse('dichterliebe1.xml') # # # we might look at arpeggios as a type of extractable phrase, # # looking fo open spacings, even rhythms, and chordal forms # phraseStream = analysis.phraseExtract(partStream, ['arpeggio']) # newStream = Stream() # newStream.append(partStream.notationStream) # for phrase in phraseStream: # chord = chord.Chord() # for note in Phrase: # chord.addPitch(note.pitch) # chord.duration = phrase.duration # chord.showJazzName = True ## something # chord.showFiguredBass = True ## # newStream.appendNext(chord) # # newStream.append(partStream) # this puts them in parallel # newStream.show() # def xtest007(self): # ''' # Annotate a score identifying possible cadential 6-4 chords.''' # # chordSequenceMatch = chord.factory('V64'), chord.factory('I') # # partStream = music21.converter.parse('dichterliebe1.xml') # ## when we have a passing-tone etc. removal program run here # # chordStream = analysis.phraseExtract(partStream, ['simultaneities']) # # # might have many different approaches to key analysis # # all return a stream of keys, with key objects at the appropriate # # offsets # keyStream = analysis.key(partStream, 'chew.spiralArray') # # for i in range(len(chordStream) - 1): # chordThis = chordStream[i] # chordNext = chordStream[i + 1] # # # get key at this offset # # here, it is important that the offsets of the chords # # are the same scale as the offsets of the keyStream # # may need a method here that looks for elements that # # are active, not just present # # keys thus do not need a duration # # ### getElementsByOffsetRange. # key = keyStream.getElementsByOffset(chordThis.offset, # chordNext.offset, lastActive=True) # if (chordThis.setKey(key) == chordSequenceMatch[0](key) and # chordNext.setKey(key) == chordSequenceMatch[1](key)): # # here it is important that the offsets match that # # of the source # # not sure where/how part stream places this # annotation = articulations.Annotation('big cadential moment') # partStream.insert(chordThis.offset, annotation) # def xtest008(self): # ''' # Are dynamic swells (crescendo-diminuendos) more # common than dips (diminuendos-crescendos)?''' # partStream = music21.converter.parse('dichterliebe1.xml') # # # an analysis package can identify dynamic contours, movements from # # low to high or vice versa, and return these as a stream of # # DynamicMovement objects # # dynMovementStream = analysis.dynamicContour(partStream) # swells = dynMovementStream.getElementsByClass(DynamicCrescendo) # dips = dynMovementStream.getElementsByClass(DynamicDecrescendo) # if len(swells) > len(dips): # return 'swells win' # else: # return 'dips win' # def xtest009(self): # ''' # Are lower pitches likely to be shorter and higher pitches likely to be longer? # ''' # partStream = music21.converter.parse('dichterliebe1.xml') # unused_noteStream = partStream['notes'] # # unused_table = analysis.correlate(noteStream, 'pitchSpace', 'duration') # # # we must examine and interpolate the table in order to distinguish # # trends # def xtest010(self): # ''' # Assemble individual parts into a full scores. # ''' # partStream = PartStream() # for part in PartsList: # partStream['id'].add(part) def xtest011(self): ''' Assemble syllables into words for some vocal text. ''' pass # def xtest012(self): # ''' # Calculate all the permuted harmonic intervals in a chord. # ''' # pass def xtest013(self): ''' Calculate changes of listeners' heart-rate from physiological data. We'll do something different from the Humdrum example which assumes you already have the data in spines. Let's suppose you have the data in a Google Spreadsheet that has two columns: time and heart-rate. We load the data in from the internet. We then convert the heart-rate data to a delta value (that is, the change since the last heart-rate measurement). Next we add time data to each offset in our score; we then add an editorial attribute of "heart-rate" to the note just preceding the heart-rate measurement. We can then see if heart-rate is related to the dissonance level of the preceding 10 seconds. ''' pass # def xtest014(self): # ''' # Calculate harmonic intervals between concurrent parts. # ''' # pass # def xtest015(self): # ''' # Calculate harmonic intervals ignoring unisons. # ''' # from collections import defaultdict # score1 = music21.converter.parse('dichterliebe1.xml') # monoScore = score1.chordsToNotes() # returns a new Stream # unused_notePairs = monoScore.getAllSimultaneousNotes() # # returns a list of Tuples intervals = interval.generateFromNotePairs(notePairs) # intervals2 = defaultdict(lambda: 0) # for thisInt in intervals2: # if thisInt.name != 'P1': # intervals2[thisInt.name] += 1 # # for key in intervals2.keys().sort(key='simpleName'): # print(key, intervals2[key]) def test016(self): ''' Calculate harmonic intervals in semitones. ''' pass def test017(self): ''' Calculate melodic intervals not including intervals between the last note of one phrase and the first note of the next phrase. ''' pass # def test018(self): # ''' # Calculate melodic intervals not including intervals # between the last note of one phrase and the first note of the next phrase.''' # pass def test019(self): ''' Calculate pitch-class sets for melodic passages segmented by rests. ''' pass def test020(self): ''' Calculate pitch-class sets for melodic passages segmented by slurs/phrases. ''' pass def test021(self): ''' Calculate the difference in duration between the recapitulation and the exposition. ''' pass def test022(self): ''' Calculate the interval vector for some set. ''' pass def test023(self): ''' Calculate the normal form for some set. ''' pass def test024(self): ''' Calculate the prime form for some set. ''' pass def test025(self): ''' Calculate the proportion of sonorities where both the oboe and bassoon are active. ''' pass def test026(self): ''' Change all pizzicato marks to spiccato marks. ''' pass def test027(self): ''' Change all up-stems in measures 34 through 38 to down-stems. ''' pass def test028(self): ''' Classify cadences as either authentic, plagal or deceptive. ''' pass def test029(self): ''' Classify flute fingering transitions as either easy, moderate, or difficult. ''' pass def test030(self): ''' Classify phonemes in a vocal text as fricatives, nasals, plosives, etc. ''' pass def test031(self): pass def test032(self): pass def test033(self): pass def test034(self): pass def test035(self): ''' Compare the average overall dynamic level between the exposition and development sections. ''' pass def test036(self): ''' Compare the estimated keys for the 2nd theme in the exposition versus the 2nd theme in the recapitulation. ''' pass def test037(self): ''' Compare the first phrase of the Exposition with the first phrase of the Recapitulation. ''' pass def test038(self): ''' Compare the number of syllables in the first and second verses. ''' pass def test039(self): ''' Contrast the sonorities that occur on the first versus the third beats in a waltz repertory. ''' pass def test040(self): ''' Count how many measures contain at least one trill. ''' pass def test041(self): ''' Count the number of ascending major sixth intervals that occur in phrases that end on the dominant. ''' pass def test042(self): ''' Count the number of barlines in a work. ''' pass def test043(self): ''' Count the number of closed-position chords. ''' pass def test044(self): ''' Count the number of harmonic functions in each phrase. ''' pass def test045(self): ''' Count the number of notes in a work that belong to the same whole-tone set. ''' pass def test046(self): ''' Count the number of notes in measures 8 to 16. ''' pass def test047(self): ''' Count the number of notes in the exposition. ''' pass def test048(self): ''' Count the number of phrases in a score. ''' pass def test049(self): ''' Count the number of phrases that begin on the subdominant pitch. ''' pass def test050(self): ''' Count the number of phrases in the development. ''' pass # 1. Above G4 do higher pitches tend to be louder? # 2. Add explicit breath marks after each phrase. # 3. Add key velocities to some MIDI data that reflect accent levels arising from the meter. # 4. Align and display all the bass lines for all the variations concurrently. # 5. Alphabetize a list of titles. # 6. Amalgamate arpeggios into chords and display as notation. # 7. Annotate a score identifying possible cadential 6-4 chords. # 8. Are dynamic swells (crescendo-diminuendos) more # common than dips (diminuendos-crescendos)? # 9. Are lower pitches likely to be shorter and higher pitches likely to be longer? # 10. Assemble individual parts into a full scores. # 11. Assemble syllables into words for some vocal text. # 12. Calculate all the permuted harmonic intervals in a chord. # 13. Calculate changes of listeners' heart-rate from physiological data. # 14. Calculate harmonic intervals between concurrent parts. # 15. Calculate harmonic intervals ignoring unisons. # 16. Calculate harmonic intervals in semitones. # 17. Calculate implied harmonic intervals between parts. # 18. Calculate melodic intervals not including intervals between # the last note of one phrase and the first note of the next phrase. # 19. Calculate pitch-class sets for melodic passages segmented by rests. # 20. Calculate pitch-class sets for melodic passages segmented by slurs/phrases. # 21. Calculate the difference in duration between the recapitulation and the exposition. # 22. Calculate the interval vector for some set. # 23. Calculate the normal form for some set. # 24. Calculate the prime form for some set. # 25. Calculate the proportion of sonorities where both the oboe and bassoon are active. # 26. Change all pizzicato marks to spiccato marks. # 27. Change all up-stems in measures 34 through 38 to down-stems. # 28. Classify cadences as either authentic, plagal or deceptive. # 29. Classify flute fingering transitions as either easy, moderate, or difficult. # 30. Classify phonemes in a vocal text as fricatives, nasals, plosives, etc. # 31. Classify vocal vowels as front or back, higher or low. # 32. Compare Beethoven's use of dynamic marking with Brahms's. # 33. Compare orchestration patterns between the exposition and the development. # 34. Compare pitch-class sets used at the beginnings of # slurs/phrases versus those used at the ends of slurs/phrases. # 35. Compare the average overall dynamic level between the # exposition and development sections. # 36. Compare the estimated keys for the 2nd theme # in the exposition versus the 2nd theme in the recapitulation. # 37. Compare the first phrase of the Exposition # with the first phrase of the Recapitulation. # 38. Compare the number of syllables in the first and second verses. # 39. Contrast the sonorities that occur on the # first versus the third beats in a waltz repertory. # 40. Count how many measures contain at least one trill. # 41. Count the number of ascending major sixth # intervals that occur in phrases that end on the dominant. # 42. Count the number of barlines in a work. # 43. Count the number of closed-position chords. # 44. Count the number of harmonic functions in each phrase. # 45. Count the number of notes in a work that belong to the same whole-tone set. # 46. Count the number of notes in measures 8 to 16. # 47. Count the number of notes in the exposition. # 48. Count the number of phrases in a score. # 49. Count the number of phrases in each work containing `Liebe' in the title. # 50. Count the number of phrases in the development. # 51. Count the number of phrases that begin on the subdominant pitch. # 52. Count the number of phrases that end on the subdominant pitch. # 53. Count the number of sonorities where the oboe and bassoon sound concurrently. # 54. Count the number of subdominant pitches in the soprano voice # that are approached by rising thirds or sixths and # that coincide with a dominant seventh chord. # 55. Count the number of tonic pitches that are approached by a # weak-to-strong context versus the number of # tonic pitches approached by a strong-to-weak context. # 56. Count the number of works by various composers. # 57. Count the proportion of phrase endings in music by # Alban Berg where the phrase ends on either a major or minor chord. # 58. Create an inventory of three-note long/short duration patterns. # 59. Determine fret-board patterns that are similar to some specified finger combination. # 60. Determine how frequently ascending melodic leaps are followed by descending steps. # 61. Determine how much longer a passage is when all the repeats are played. # 62. Determine how often a pitch is followed immediately by the same pitch. # 63. Determine how often both the oboe and bassoon are inactive. # 64. Determine the average semitone distance separating # the cantus and altus voices in Lassus. # 65. Determine the complement for some pitch-class set. # 66. Determine the frequency of light-related words # in the monastic offices for Thomas of Canterbury. # 67. Determine the highest note in the trumpet part in measure 29. # 68. Determine the longest duration of a note that is marked staccato. # 69. Determine the most common rhythmic pattern spanning a measure. # 70. Determine the most frequently used dynamic marking in Beethoven. # 71. Determine the predominant vowel height in a vocal text. # 72. Determine the rhyme scheme for some vocal text. # 73. Determine the total amount of time the trumpet plays. # 74. Determine the total duration of a work for a given metronome marking. # 75. Determine the total nominal duration of Gould's performance of a work. # 76. Determine what transposition of a clarinet melody # minimizes the number of tones in the throat register. # 77. Determine whether 90 percent of the notes in a # work by Bach use just two durations (such as eighths and sixteenths). # 78. Determine whether a composer uses B-A-C-H more often than would be expected by chance. # 79. Determine whether a work tends to begin quietly and end loudly, or vice versa. # 80. Determine whether any arpeggios form an augmented sixth chord. # 81. Determine whether Bach tends to avoid or prefer augmented eleventh harmonic intervals. # 82. Determine whether Bartok's articulation marks changed over his career. # 83. Determine whether Beethoven tends to link activity # in the chalemeau register of the clarinet # with low register activity in the strings. # 84. Determine whether descending melodic seconds are more common than ascending seconds. # 85. Determine whether descending minor seconds are more likely to be fah-mi or doh-ti. # 86. Determine whether flats are more common than sharps in Monteverdi. # 87. Determine whether German drinking songs are more likely to be in triple meter. # 88. Determine whether Haydn tends to avoid V-IV progressions. # 89. Determine whether high pitches tend to have longer durations than low pitches. # 90. Determine whether Liszt uses a greater variety of harmonies than does Chopin. # 91. Determine whether Monteverdi used roughly equivalent numbers of sharps and flats. # 92. Determine whether notes at the ends of phrases tend # to be longer than notes at the beginnings of phrases. # 93. Determine whether Schoenberg tended to use simultaneities # that have more semitone relations and fewer tritone relations. # 94. Determine whether secondary dominants are more likely # to occur on the third beat of triple meter works. # 95. Determine whether semitone trills tend to be longer or shorter than whole-tone trills. # 96. Determine whether submediant chords are more likely # to be approached in a strong-to-weak or weak-to-strong rhythmic context. # 97. Determine whether the first pitch in a phrase is # lower than the last pitch in the phrase. # 98. Determine whether the initial phrase in a work # tends to be shorter than the final phrase. # 99. Determine whether the subdominant pitch is used # less often in pop melodies than in French chanson. # 100. Determine whether the words `high,' `hoch,' or `haut' # tend to coincide with higher pitches in a vocal work. # 101. Determine whether there are any notes in the bassoon part. # 102. Determine whether tonic pitches tend to be followed # by a greater variety of melodic intervals than precedes it. # 103. Determine whether two works have similar vocabularies for their vocal texts. # 104. Determine which English translation of a Schubert # text best preserves the vowel coloration. # Use CMU Dict -- IPA dictionary. # 105. Determine which of two MIDI performances exhibits more dynamic range. # 106. Display lyrics with new lines indicated by punctuation. # 107. Display the MIDI data while performing. # 108. Do lower pitches tend to be quieter and higher pitches tend to be louder? # 109. Eliminate all data apart from beaming information. # 110. Eliminate all measure numbers. # 111. Estimate the amount of difference between two vocal texts. # 112. Estimate the degree of concrete/abstract language use for some vocal text. # 113. Estimate the degree of emotionality for some vocal text. # 114. Estimate the sensory dissonance evoked by some frequency spectrum. # 115. Expand all the verses for a strophic song. # 116. Expand repeats to a `through-composed' version of the score. # 117. Extract anacrusis material and the final measure from two scores. # 118. Extract and transpose the trumpet part to concert pitch. # 119. Extract any transposing instruments. # 120. Extract measure 27. # 121. Extract measures 10 to 20 in both of two scores. # 122. Extract measures 114 to 183 from a score. # 123. Extract the 'cello, oboe and flauto dolce parts. # 124. Extract the anacrusis material before the first barline. # 125. Extract the bass and soprano parts. # 126. Extract the bassoon part. # 127. Extract the coda section from a score. # 128. Extract the Erk edition. # 129. Extract the figured bass for the third recitative. # 130. Extract the first 20 sonorities of the last 30 sonorities. # 131. Extract the first and last notes of all phrases. # 132. Extract the first and third sonority following some marker. # 133. Extract the first four and last four phrases from a score. # 134. Extract the first four measures from the Trio section. # 135. Extract the first four phrases from a score. # 136. Extract the German text only from a score. # 137. Extract the lyrics for the third verse. # 138. Extract the material from Rehearsal Markings 5 to 7. # 139. Extract the MIDI data. # 140. Extract the recapitulation from a score. # 141. Extract the ripieno parts. # 142. Extract the second instance of the first theme. # 143. Extract the second theme from a score. # 144. Extract the second theme from the recapitulation. # 145. Extract the second-last phrase from a score. # 146. Extract the shamisen and shakuhachi parts. # 147. Extract the string parts and the oboe part. # 148. Extract the tenor part from a score. # 149. Extract the Trio section from a score. # 150. Extract the uppermost part. # 151. Extract the vocal parts. # 152. Extract the vocal text from a score. # 153. Extract the woodwind parts from a score. # 154. Find all 18th century works that include French horns and oboes. # 155. Find all Corelli works that contain a change of meter. # 156. Find all heterophonic works. # 157. Find all jazz works designated `bebop' in style. # 158. Find all Rondo movements. # 159. Find all scores composed by Cesar Franck. # 160. Find all scores containing one or more brass instruments. # 161. Find all scores containing passages in 7/8 meter. # 162. Find all scores containing passages in any minor key. # 163. Find all scores containing passages in C major. # 164. Find all scores containing pitch-class data. # 165. Find all scores written in compound meters. # 166. Find all woodwind quintets in compound meters that contain a change of key. # 167. Find all works composed between 1805 and 1809. # 168. Find all works that contain a change of key and a change of meter. # 169. Find all works that contain a change of key. # 170. Find other works that have the same instrumentation as a given work. # 171. For some flute work, compare fingering # transitions for pre-Boehm and modern instruments. # 172. Generate a concordance of lyrics for some vocal corpus. # 173. Generate a list of all composers for some group of scores. # 174. Generate a list of instrumentations for some group of scores. # 175. Generate a list of titles for some group of scores. # 176. Generate a list of words used in some song. # 177. Generate a prime transposition for some tone-row. # 178. Generate a set matrix for a given tone row. # 179. Generate a standard MIDI file. # 180. Generate an inventory of pitch-class sets for # melodic passages segmented into groups of three pitches. # 181. Generate an inventory of the patterns of stressed/unstressed syllables for some work. # 182. Generate an inversion for some tone-row. # 183. Group notes together by their beaming. # 184. Identify all D major triads in a work. # 185. Identify all encoded 17th century organ works in 6/8 meter. # 186. Identify all encoded 17th century organ works that do # not contain passages in 6/8 meter. # 187. Identify all encoded works that were written in the # 17th century, or were written for organ, or were written in 6/8 meter. # 188. Identify all meter signatures in a score. # 189. Identify all scores containing a tuba but not a trumpet. # 190. Identify all works not in the keys of C major, G major, B-flat major or D minor. # 191. Identify all works that are in compound meters, but not quadruple compound. # 192. Identify all works that end with a `tierce de picardie'. # 193. Identify alliterations in a vocal text. # 194. Identify any augmented sixth chords. # 195. Identify any augmented sixth intervals in Bach's two-part inventions. # 196. Identify any compound melodic intervals. # 197. Identify any cross-relations. # 198. Identify any differences between two vocal texts. # 199. Identify any diminished octave intervals in Beethoven's piano sonatas. # 200. Identify any eighth-notes that contain at least one flat and # whose pitch lies within an octave of middle C. # 201. Identify any French sixth chords. # 202. Identify any German sixth chords. # 203. Identify any Italian sixth chords. # 204. Identify any Landini cadences. # 205. Identify any major or minor ninths melodic intervals. # 206. Identify any melody that contains both an ascending # and descending major sixth interval. # 207. Identify any Neapolitan sixth chord that is missing the fifth of the chord. # 208. Identify any Neapolitan sixth chords spelled enharmonically on the raised tonic. # 209. Identify any Neapolitan sixth chords. # 210. Identify any subdominant chords between measures 80 and 86. # 211. Identify any tritone intervals that are not spelled # as augmented fourths or diminished fifths. # 212. Identify any works that are classified as `Ballads'. # 213. Identify any works that are in irregular meters. # 214. Identify any works that are in simple triple meters. # 215. Identify any works that are not composed by [Robert] Schumann. # 216. Identify any works that bear a dedication. # 217. Identify any works that contain passages in 9/8 meter. # 218. Identify any works that contain passages in either 3/8 or 9/8 meter. # 219. Identify any works that contain the word `Amour' in the title. # 220. Identify any works that contain the words `Drei' and `Koenige'. # 221. Identify any works that contain the words `Liebe' and `Tod' in the title. # 222. Identify any works that don't contain any double barlines. # 223. Identify any works whose instrumentation includes a cornet but not a trumpet. # 224. Identify any works whose instrumentation includes a trumpet and a cornet. # 225. Identify any works whose instrumentation includes a trumpet. # 226. Identify consecutive fifths or octaves. # 227. Identify doubled leading tones. # 228. Identify exposed octave. # 229. Identify crossing of parts. # 230. Identify overlapping of parts. # 231. Identify how frequently the dominant pitch occurs in the horn parts. # 232. Identify how often a high subdominant note in a long-short-long rhythm is # followed by a low submediant in a long-long-short context. # 233. Identify how often the flute is resting when the trumpet is active. # 234. Identify how the melodic intervals in measures 8 to 32. # 235. Identify melodic intervals (avoiding intervals spanning rests). # 236. Identify overlapped parts. # 237. Identify parts that are out of range. # 238. Identify parts that are separated by more than an octave. # 239. Identify parts that move by augmented or diminished intervals. # 240. Identify possible recapitulation passages. # 241. Identify possible sonata-allegro movements. # 242. Identify progressions that are similar to II-IV-V-I. # 243. Identify similes using `like' or `as' in some vocal text. # 244. Identify the available versions of a score. # 245. Identify the average overall dynamic level for a work. # 246. Identify the crossing of parts. # 247. Identify the duration of the longest note marked staccato. # 248. Identify the highest note in a score. # 249. Identify the key signatures for all African works written in 3/4 meter. # 250. Identify the longest note in a score. # 251. Identify the longest run of ascending intervals in some melody. # 252. Identify the lowest note in a score. # 253. Identify the maximum number of voices in a score. # 254. Identify the most common harmonic interval arrangement in some score. # 255. Identify the most common harmonic progression apart from the V-I progression. # 256. Identify the most common sequence of five melodic intervals. # 257. Identify the most common word following `gloria' in Gregorian chants. # 258. Identify the number of notes per syllable for some score. # 259. Identify the number of notes per word for some score. # 260. Identify the number of syllables per phrase for some work. # 261. Identify the pitch-class sets used for vertical sonorities. # 262. Identify the proportion of intervals # formed by the oboe and flute notes that are doubled. # 263. [ dup of 262 ] # 264. Identify the shortest note in a score. # 265. Identify the stressed/unstressed pattern of syllables for some work. # 266. Identify those measures containing a ii-IV progression that were # preceded by a iii-V progression in the previous measure. # 267. Identify those measures containing a iii-V progression. # 268. Identify those notes that begin a phrase, but are not rests. # 269. Identify two or more consecutive ascending major thirds in some melody. # 270. Identify unison doublings. # 271. Identify what harmonic intervals precede the interval of an octave. # 272. Identify what scale degree most commonly precedes the dominant pitch. # 273. Identify whether a score contains an `Andante' section. # 274. Identify whether a score contains any double sharps. # 275. Identify whether any score contains an `Andante' section. # 276. Identify whether drinking songs are more apt to be in triple meter. # 277. Identify whether dynamics are gradual or terraced. # 278. Identify whether large leaps involving # chromatically-altered tones tend to have longer durations on the altered tone. # 279. Identify whether the dominant is more commonly approached from above or from below. # 280. Identify whether the subdominant occurs more frequently in one repertory than another. # 281. Identify whether there are any tritone melodic intervals in the vocal parts. # 282. Identify whether titles containing the # word `death' or more likely to be in minor keys. # 283. Identify whether two songs have identical lyrics. # 284. Identify whether two works are identical apart from transposition. # 285. Identify whether two works have identical harmonies. # 286. Identify whether two works have identical rhythmic structures. # 287. Identify whether two works have the same instrumentation. # 288. Identify whether two works have the same key transitions. # 289. Identify which Bach chorale harmonizations have the same titles. # 290. Identify which composer has the most works. # 291. Identify which instrument is least likely to be playing when the woodwinds are active. # 292. Identify which works differ in instrumentation from other works. # 293. Identify which works have essentially the same vocal texts. # 294. Isolate all sonorities played on off-beats by the horns. # 295. Isolate all sonorities that occur on the fourth beat. # 296. Join three isolated measures into a single passage. # 297. Join three movements into a single score. # 298. Locate all instances of consecutive fifths. # 299. Locate all tritones in a score. # 300. Locate and identify all tone-row variants in a 12-tone work. # 301. Locate any beams that cross over phrase boundaries. # 302. Locate any double sharps in a score. # 303. Locate any doubled seventh scale degrees. # 304. Locate any parallel fifths between the bass and alto voices. # 305. Locate instances of the pitch sequence D-S-C-H in Shostakovich's music. # 306. Locate occurrences of the word `Liebe' in some lyrics. # 307. Locate submediant pitches that are approached by # an ascending major third followed by a descending major second. # 308. Locate the most emotionally charged words in some vocal text. # 309. Mark all instances of deceptive cadences. # 310. Measure the similarity of pitch motion between two parts. # 311. Modify a score so the durations are in diminution. # 312. Perform the first three measures from the second section of a binary form work. # 313. Play a melody but eliminate all tonic pitches. # 314. Play a melody but replace all tonic pitches by rests. # 315. Play just the rhythm of a work. # 316. Play some MIDI data from the `second theme'. # 317. Play some MIDI data. # 318. Play the clarinet part for the 4th and 8th phrases. # 319. Play the first and last measures from the Coda section at half tempo. # 320. Play the MIDI data at half tempo. # 321. Play the MIDI data from the next diminished octave. # 322. Play the MIDI data from the next G#. # 323. Play the MIDI data from the next pause. # 324. Play the thema and first variation at the same time. # 325. Play the `Trio' section. # 326. Print a transposed version of the accompaniment parts. # 327. Rearrange a score so the measures are in reverse order. # 328. Renumber all measures in a score. # 329. Scan a melody for passages that are similar in # rhythm and pitch-contour to a given theme. # 330. Scan a melody for pitch motions that are similar to a given theme. # 331. Search for text phrases in the lyrics to some song. # 332. Select the Landowska version of a score. # 333. Shift the serial order of some series of dynamics, durations or articulation marks. # 334. Shift the serial order of some series of pitches. # 335. Transform a spectrum to take into account the effects of masking. # 336. Translate a Humdrum score to Csound for digital sound synthesis. # 337. Translate a pitch representation to standardized enharmonic pitch spelling. # 338. Translate a work to pitch-class representation. # 339. Translate to cents representation. # 340. Translate to French solfege representation. # 341. Translate to frequency representation. # 342. Translate to German pitch representation. # 343. Translate to International Standards Association pitch representation. # 344. Translate to MIDI representation. # 345. Translate to scale degree representation. # 346. Translate to semitone representation. # 347. Transpose down an augmented unison. # 348. Transpose enharmonically from F-sharp to G-flat. # 349. Transpose from one key to another. # 350. Transpose to Dorian mode. # 351. Transpose up a minor third. # # ------------------------------------------------------------------------------ if __name__ == '__main__': import music21 music21.mainTest(Test)