comparative computer study of style, based on five liedmelodies

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Comparative computerstudy of style, based on fiveLiedmelodiesJan L. Broeckx & Walter LandrieuPublished online: 03 Jun 2008.

To cite this article: Jan L. Broeckx & Walter Landrieu (1972) Comparativecomputer study of style, based on five Liedmelodies, Interface, 1:1, 29-92, DOI:10.1080/09298217208570158

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Interface, 1 (1972) pp. 29-92.

Comparative Computer Study of Style, Based on FiveLiedmelodies

JAN L. BROECKX and WALTER LANDRIEU

1. Purpose and musicological work.2. Computer use method.3. Text of the poem.4. Codified Lieder.5. Program I6. Program II.7. a) Achievement of the programs for one Lied and results,

b) Comparative summarizing table.8. Study of the style, based on the achieved programs.

COMPUTER

1. Purpose and musicological work

This study has a double objective, viz. to determine: (a) how computer can beeffectively used in the musicological study of style; (b) in which proportiondifferent composers make use of equivalent elements of style in their vocalmelodies when they set to music the same literary text.

For this purpose we have chosen the following literary text: Kennst du das Land,by Goethe, set to music by Beethoven, Schubert, Schumann, Liszt (2nd version)and Wolf.

The topic of this study is important because, as we hope, it is to give anappreciation of the conditionment of these musicians by the structure and thecontent of the same text. Fortunately enough we dispose here, with the text ofKennst du das Land, of five melodies by composers who, on the one hand, have thesame cultural background (the German) and lived in the same period (the Romanticera) but on the other whose personalities are very different from one another asthey were born respectively in 1770, 1797, 1810, 1811, 1860. Beethoven andSchubert are early romantics, Schumann and Liszt are high romantics while Wolfbelongs to the period of late romanticism. Three of them are real Lied composers(Schubert, Schumann and Wolf) the other two were chiefly instrumental musicians(Beethoven and Liszt).

Our objective is not only a precise study of style but a most completive one. Ofcourse we know that each composer aimed at the most original creation in hisinterpretation of the poem, as different as possible from his predecessors. If, inspite of this conscious tendency to diversification, we still want to discover the

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30 J.L. BROECKX and W. LANDRIEU

latent conditioning effect of the text on the composers, than we are to try tocalculate the influence of the subconscious motivations that led the differentcomposers to use equivalent musical elements. For that reason we cannot only besatisfied with the simple counting of the most striking features characterizing themost typical figures (for these features have been consciously intended by theauthors in their creations) but we must analyse the quantitative proportions inwhich all aspects of all figures in the melody appear with regard to each other.

It is the total of these proportions that are unconscious and not-intended by thecomposer himself, that will indicate the subconscious conditioning effect containedin the text (if there is one of course! )

In other words, it is not an analysis of style based on the most original, mostremarkable figures that have been expressly intended by the composer, but theanalysis of the most general, but secret and unconscious relations realized by thecomposer. And though the listener himself is unaware of these proportionalrelations, he experiences them most profoundly. Moreover this analysis of stylemay not be subjective, we cannot allow us to appreciate which features and whichfigures are fundamental or less important, but we must objectively evaluate allfeatures and all figures equally.

An objection to this method could be that minor features would be given tomuch importance. But it can be answered that the purpose is not the aestheticmeaning of particular figures in a hierarchic relation, but rather the aestheticmeaning of the quantitative relations among the various features in the whole vocalmelody. This means that the importance is not given by our appreciation, but thatit comes from the estimated participation of each feature in the structure of themelody and from the relations between the last and the estimated participation ofall other features.

This is what we call fundamental research in stylistics, because it is connectedwith the infrastructure of the composition, i.e. with its basic elements which cannotbe reduced any more.

Of course such a work is particularly long-winded and takes a lot of time becauseit is mostly grounded on statistics. Fortunately the computer can simplify our task.Once the program for the study of style has been drawn up and properlycodified, the statistics and the calculation of the relations percentage among thevarious features are rapidly and accurately achieved by the computer without anydanger of personal misinterpretation.

As we stated already, we have limited our work to the vocal melody of theconcerned Lieder. We did not take into account the instrumental outline and therelation word-sound, the first for practical reasons (for the time being we could notdraw up a program for computerized analysis of harmonic and polyphonicstructures while the existing programs have revealed unsufficient for ourpurpose) the last for motives of principle (the relation word-sound belongs mainlyto the field of the conscious, intentional interpretation of the text and for reasonsalready mentioned we exclude this particular field from our study).

Here follows our most fundamental premise:If it appears that composers with a strong personality such as Beethoven, Schubert,

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COMPARATIVE COMPUTER STUDY OF STYLE 31

Schumann, Liszt and Wolf, the music of whom being so obviously different fromeach other, when setting to music the same literary text, remarkably often use thesame total of relations among well defined features in the melody (mostly 100% oralso 80%, sometimes 60%), then we can conclude almost with certitude that thetext has a real conditioning power.

Other minor premises refer to the different kinds of conditioning effects that areexplained in each particular case (e.g. the effect of the structure of the stanza, thevocal quality, the prosody or the content of the text) and all this will be specifiedin the course of this report.

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2. COMPUTER USE METHOD

When a musicologist wants to analyse and classify music, while limiting his study tothe structure of the melody, in order to sort out the characters of style and todefine them clearly, then he must collect all data from the score as for theemployed tonalities, the metres, the intervals, time-values, tempo and dynamics.This can be done by counting the similar properties of the examined compositions.

A comparative study is only possible through a judicious classification and atranslation of these data into principles of style. It is a long-winded work to sortout all required elements of the score to achieve the analysis and it would hardly bepossible to do it on a large scale. Therefore the use of a computer is indispensable,for it will do the work very rapidly and accurately.

But this raises two problems:1) All data of the score are to be translated into computer language.

Therefore a code must be developed in order to convert without equivoquepossible the written music with all its annotations into combinations of theavailable machine-signs. Different systems have already been proposed andapplied: e.g. SAM (system for analysis of music), IML (intermediate musiclanguage) and FCL (Ford-Columbia language).To perform our study we preferred to set up a simple code, the symbols ofwhich are explained hereafter.

2) The different questions the musicologist will ask in the course of hisexamination are to be translated into a program that the machine coulddigest. Therefore he can choose among different systems as Algol, Cobol,Fortran, Basic, Assembler, PL/I and many others.We chose the latter, the PL/I system, for we estimate it is better adapted toour study.The computer we dispose of is an IBM 360-30 of the Central CalculationLaboratory of the State University of Ghent.

By the way, we make use of this opportunity to thank the personnel of thatcalculation centre for their very useful aid in relation with the choice of theappropriate system and the testing and correction of the arranged programs.

SYMBOLS FOR THE CODIFICATION OF THE MELODIES

1) Time Signature : a b . cwith a: sign of identification : W

b: classification:2: binary time signature.3: ternary time signature.1 : other time signatures.

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c: employed time signature: given by four figures, the first two indicatethe numerator and the other two the denominator of the employedfraction.

example: W2. 0204 means:binary time signature, 2/4.

2) Bar-Line: /

3) T o n a l i t y : a b e dwith a: sign of identification: T

b: classification:G: major sort of tones.K: minor sort of tones,

c: + : sharp.— : flat.

d: 0, 1, 2, 3, 4, 5, 6 or 7: number of sharps or flats.example: TG + 5 means :

Major key with 5 sharps(= B major).

4) Sound intervals and time-values: a b . cwith a: sort of interval:

A: ascending.S: descending.I: iteration.

b: size of the interval: given by 2 figures(e.g.: 05 = 5 semitones).

c: time-value: given by four figures, the first two indicate the numeratorand the other two the denominator of the employed fraction.

example: AO3. 0508 means:ascending interval, 3 semitones, duration 5/8.

REMARKS:1) If a note continues over the bar-line, the complete time-value is indicated in

the above described way after the codified interval before the bar-line, while the re-maining time-value is indicated after the bar-line after the sign C. (= continue).

example: AO1.0708/C.0308means: ascending interval, 1 semitone, duration 7/8, continues over the bar-linewith a duration of 3/8. There is thus a duration of 4/8 before the bar-line, and oneof 3/8 after the bar-line.

2) Every interval that exceeds 12 in size, is reduced to an interval within anoctave by substracting 12 or a multiple of it.

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5) Silence: a . bwith a: sign of identification: R

b: duration: four figures, the first two are the numerator and the othertwo the denominator of the employed fraction.

example: R. 0204 means:

silence with a duration of 2/4.

6) Beginning of a section: L

7) Beginning of a melodic phrase: M

8) Beginning of the melody: B (= LM)

9) End of the melody: Z

10) Speed: a bwith a: sign of identification: V

b: classification1 : very slow.2: slow.3: moderately slow.4: moderately quick.5: quick.6: very quick.

11) Agogic:E: accelerate.F: slacken.

12) Dynamics: a bwith a: sign of identification: D

b: classification1 : very soft.2: soft.3: moderately soft.4: moderately strong.5: strong.6: very strong.

13) Indications of transition:P: crescendo.Q: diminuendo.

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14) Pitch (and duration) of each beginning note in a melodic phrasea b . c

with a: sign of identification: *b: pitch: given by three figures, the first indicates the

octave and the last two the serial number of the notethat is used in this octave. We have divided the key-board of the piano into nine octaves in thefollowing way:

Octave 0:

Octave 1:

Octave 2:

Octave 3:

Octave 4:

Octave 5:

Octave 6:

Octave 7:

Octave 8:

A . AIS.

£ —*-C —*~

c —*-

c —*-

c —*~

c »_

c . eis

«IIIIleo

IB

B

b

b

b

b_

. 1

(AIS = A

(a = 440

sharp)

cps)

The notes are codified in the following way:

cCISDDISEFFISGGISAAISB

010203040506070809101112

(=

(=

(=

(=

/_

C sharp)

D sharp]

F sharp)

G sharp]

A shaipî

example: * 405.0316 means:beginning note of a melodic phrase: note E in the 4thoctave, duration 3/16.

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The different questions proposed by the musicologist for collecting therequired data for his research were subdivided in various groups in theprogrammation. They form blocks or procedures, the effects and results of whichare delivered properly classified. Up till now two programs have been set up.

The first program has been conceived in such a way that, when it is workedout, it provides all necessary numerical material in relation with countinginstructions adapted to the composition, the sections and the phrases. This materialhas not been commuted and comes out of the computer as summarizing tables,which the musicologist can use to have a clear idea of the structure of the melodywith reference to the metres, tonality, tempo, dynamics, intervals and time-values(as well sonorous as silent).

At the same time, the tonal degree of relationship is calculated on account of thedifferent modulations.

The second program, that can be applied to the whole of the composition orto any part of it (section, phrase or smaller fragment), gives roughly speaking thesame results as well as details expressed in percents of the total values. Especiallythose last figures enable us to begin a simple comparative study of different works,or parts of the same work. Moreover the validity has been checked (expressed inpercent of the number of measures) of the indications of metres, keys, dynamicsand speed. These results too are important for the comparative study.

Now the musicologist can use all that numerical material (in particular of thesecond program) in order to, on account of self established scales, applyprinciples of style to the work to be analysed. It is possible to program thecomputer to translate the numerical values into style principles, according tothose scales.

A further step could be a program in which the computer could, on the basisof the results of previous programs, find out points of similarity or oppositionin different works and in that way, on account of criteria made up by the analyst,make an automatic classification of music possible.

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3. TEXT OF THE POEM

Kennst du das Land, wo die Zitronen blühn,Im dunkeln Laub die Goldorangen glühn,Ein sanfter Wind vom blauen Himmel weht,Die Myrte still und hoch der Lorbeer steht,Kennst du es wohl?

Dahin! DahinMöcht' ich mit dir, o mein Geliebter, ziehn!

Kennst du das Haus? auf Säulen ruht sein Dach,Es glänzt der Saal, es schimmert das Gemach,Und Marmorbilder stehn und sehn mich an:Was hat man dir, du armes Kind, getan?Kennst du es wohl?

Dahin! DahinMöcht' ich mit dir, o mein Beschützer, ziehn!

Kennst du den Berg und seinen Wolkensteg?Das Maultier sucht im Nebel seinen Weg,In Höhlen wohnt der Drachen alte Brut,Es stürzt der Fels und über ihn die Flut:Kennst du ihn wohl?

Dahin! DahinGeht unser Weg; o Vater, laß uns ziehn!

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3 8 J.L. BROECKX and W. LANDRIEU

4. CODIFIED LIEDER

KENNST DU DAS LAND BEETHOVEN

BW2.0204 TG+3 V3 D5 «405.010« A02.0316 A02.0U6/A01.030B D2 I .0108/1 .0108

1.0108 405.0316 SOI.0116/1.0104 S02.0108 M «405.0108/ I .0316 1.0116 A02.010B

A02.O1O8/A01.O1O8 1.0108 AO5.O316 SOI.0116/1.0104 S02.O108 M »412.0108/TK+O

«01.0316 1.0116 SOI.0108 SO2.O1O8/P SOI.0108 «01.0116 407.0116 0 1.0316

SO2.O132 S02.0132/SO1.O316 M TG+O P «412.0116 1.0108 A01.0108 /A02.0108

SO7.O1O8 «09.0108 S04.0108/D6 A05.0516 S03.0116 D2 S02 .0U6 S01.0116/A01.0104

R.0104/M TK+O «410.0104 P A03.0316 0 A02.0116/TG+3 A02.0102/M W2.0608 V4

•503.0108/S01.0508 A03.0108/S02.0508 A04.010B/P 1.0208 S02.0108 S02.0208

SOI.0108/S02.0208 A02.0108 A01.0208 S03.0108/D2 S02.0308 »02.030S/A02.0208 R.030

8 M »505.0108/S02.0208 R.030B A04.0108/P 1.0208 S02.010S SO2.O2OB SOI.0108 /

S02.0208 «02.0108 A03.0108 S02.0108 S03.0108/02 S02.O308 «04.0208 S02.0108/

S02.0208 R.040B 0/R.030B M »503.0208 AO2.O1O8/SO2.O1OR SOI.0108 R.0708/

C.0308 «01.0208 S06.0108/

LMW2.0204 V3 05 «405.0104 A02.0316 «02.0116 /«01.030ft D2 1.0108/1.0108

1.0108 A05.0316 SOI.0116/1.0104 SO2.O1O8 H «405.0108/1.0316 1.0116 A02.0108

A02.0108/AO1.010B 1.0108 «05.0316 SOI.0116/1.0104 S02.0108 M «412.0108/TK+0

«01.0316 1.0116 SOI.0108 SO2.O1O8/P SOI.0108 «01.0116 «07.0116 0 1.0316

SO?.0132 S02.O132/S01.O316 H TG+O P «412.0116 1.0108 «01.0108 /«02.0108

S07.0108 A09.0108 S04.0108/D6 «05.0516 S03 .0U6 02 S02.0116 SOI.Oi l6 /401.0104

R.0104/M TKtO «410.0104 P 403.0316 0 402.0116/TG->3 A02.0102/M W2.0608 V4

•503.0108/S01.0508 A03.0108/S02.0508 A04.0108/P 1.0208 SO2.O1O8 S02.0208

SOI.O108/S02.0208 402.0108 «01.0208 S03.0108/D2 S02.0308 «O2.O3O8/AO2.O208 R.030

8 M «505.01O8/S02.0208 R.0308 «04.0108/P 1.0208 S02.010B SC2.0208 SOI.0108 /

S02.O208 «02.0108 «03.0108 S02.0108 S03.O108/D2 SO2.O3OB 404.0208 SO2.O1O8/

SO2.O2O8 R.0408 O/R.O3O8 H «503.0208 A02.0108/S02.010B SOI.0108 R.0708/

C.O3O8 AO1.O2O8 S06.010B/

LHH2.0204 V3 D5 «405.0104 A02.0316 402.0116 /«O1.O3O8 02 I .0108/1 .0108

1.0108 «05.0316 SOI.0116/1.0104 S02.0108 M «405.0108/1.0316 1.0116 «02.0108

402.0108/401.0108 1.0108 «05.0316 SOI.0116/1.0104 SO2.O1O8 M »412.0108/TK+O

«01.0316 1.0116 SOI.0108 S02.0108/P SOI.0108 401.0116 407.0116 0 1.0316

S02.0132 S02.0132/S01.0316 M TG*O P »412.0116 1.0108 A01.0108 /«O2.O108

S07.0108 «09.0108 S04.0108/D6 «05.0516 S03.0116 D2 S02.0116 SOI.0116/401.0104

R.0104/M TK+O «410.0104 P «03.0316 0 «02.0116/TG+3 «O2.O1O2/H W2.0608 V4

•503.0108/S01.0508 AO3.O1O8/SO2.O5O8 A04.0108/P I.020B S02.010B S02.O20S

SOI.0108/S02.0208 «02.0108 AO1.O2O8 S03.0108/02 S02.0308 A02.030B/A02.0208 R.030

8 M «505.0108/S02.0208 R.0308 A04.0108/P 1.0208 S02.0108 S02.020B SOI.0108 /

S02.0208 A02.0108 «03.0108 SO2.O1O8 S03.0108/S02.0308 «04.0208 S02.0108/02

S02.0208 R.0408 /R.0308 M «503.0208 «02.0108/S02.0108 SOI.0108 R.0408/

«01.1108/C.0508 S06.0108/401.0208 R.0408/2

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KENNST DU D4S LAND LIS2T

BW2.0604 TG+6 VI 02 R.0504 *411.0204/0.0104 1.0104 S02.0104 S06.0104 R.0104

A08.0204/C.0104 P F 1.0108 SO2.O1O8 «02.0316 S02.0116 S06.0104 R.0104 M VI D2

•411.0104/403.0204 SOI.0104 S02.0204 S06.0104/402.0104 SOI.0104 A05.0108

SOI.0108 A04.0204 S01.0104/TG-2 S02.0104 R.1004/C.0504 M Dl «503.0104/1.0204

SO2.0104 S06.0104 R.0104 A07.0104/P F 1.0308 S02.O108 A02.0316 S02.0116

SO*.0104 R.0104 M 01 VI »406.0104/ »09.0204 1.0104 SOI.0104 A01.0104 R.0108

P I.0108/D5 TG+2 A04.O308 S04.0108 S05.0108 S03.0108 1.0104 »01.0104 S03.0108

A05.0108 /S07.0304 R.0704/C.0404 M TK+3 D2 W2.0404/«409.0104 A06.0316 SOI.0116

1.0104 R.O5O4/C.O404/SO5.O104 »06.0316 SOI.0116 1.0104 R.0104/S05.0104 »OS.0116

S02.0116 R.0116 SOI.0116 1.0104 R. 1004/C.0404/C.0504 W2.0604 M TG + 6 «402.0104

/A09.0104 R.0104 TG+5 1.0104 A05.0104 R.0104 I.0104/TG+6 A03.0304 P R.0104 D2

S08.0104 SOI.0108 A01.0108/AO5.0308 S08.0108 1.0108 »01.0108 «07.0204 506.0104/

401.0204 R.0Î04 » «402.0104/409.0104 R.0104 TG+5 1.0104 «05.0104 R.0104PI,0104/T

G+l A03.0404 R.0104D2I.0104/1.0204 S02.0104 S02.0104 P SO5.03O8 »01.0108/1.0104

401.0104 R.0304 TG+6 S05.0104/1.0102 S05.0104 FPS01.0108 401.0108 »09.0308

0 S02.0108/SO2.O1O4 VI R.1004/C.0504 L M «411.0204/C.0104 1.0104 S02.0104

S06.0104 R.0704/C.0504 TG-2 »08.0104/1.0204 SOS.0104 S03.0104 403.0104 405.0108

«04.0108/103.0304 H R.0108 D5 «410.0108 AIO.0316 S02.0116 S02.0108 S03.0108

S03.0108 S04.0108 S02.0108 SOI.0108 «01.0316 S03.0116/S02.0104 R.1004/C.0504 M

02 «503.0104/1.0204 0 F S02.0104 S06.0104 1.0108 R.0308/408.0204 S02.0104

402.0104 S02.0104 S06.0104/H R.0204 TK-2 Dl VI «504.0204 SOI.0104 S02.0104/

S02.0204 S03.0104 «03.0108 SOI.01080A01.0308 SOI.0108/1.0104 S07.0204 R.0704/M W

2.0404 TK+3 D2 C.0404/ «409.0104 A06.0316 SOI.0116 1.0104 R.0504/C.0404/

S05.0104 «06.0316 SOI.0116 1.0104 R.0104/S05.0104 «09.0116 S02.0116 R.0116

SOI.0116 1.0104 R.1004/C.0404/W2.0604 C.0504 TG+6 Dl M «402.0104/D2 409.0104

R.0104 TG+5 1.0104 404.0104 R.0104 I.0104/TG+6 P 404.0304 R.0104 D2 S08.0104

SOI.0108 »O1.O10B/A05.0308 S0S.O108 1.0108 A01.0108 A07.0204 S06.0104/A01.0204

R.0304 M «402.0104/ 409.0104 TG+5 R.0104 1.0104 405.0104 R.0104 1.0104 P /

TG+1 403.0404 R.0104 1.0104/02 1.0204 S02.0104 P S02.0104 S05.0308 401.0108/

1.0104 401.0104 R.0304 TG+6 S05.0104/1.0204' S05.0104 F SOI.0108 P »01.0108

A09.0308 0 SOI.O1O8/SO2.0104 R.0704/C.0204 L M D4 V2 «403.0104 1.0308 SOI.0116

S02.0104 R.0508/C.030B «03.0108 1.0316 SOI.0116 »01.0316 SOI.0116 S02.0104

R.O304/C.0Î04 H «311.0104 405.0204 402.0104/TK-5 A01.0204 1.0104 A01.0104

SOI.0108 R.0108 S02.0108 S03.0108/ TG-2 S02.0204 M R.0304 «406.0104/ A01.0204

S03.0104 A03.0104 R.0104 SOI.0104/A01.0308 S03.010S A03.0316 SOI.0116 S02.0104

R.0404/C.0204 M 06 TK-1 «403.0104 A12.0104 R.0104 A02.0104/A01.0104 R.0104

S07.0104 SOI.0108 SO2.O108 S02.0104 SOI.0104/S02.0304 R.0304/W HJ.0404 TK+3

D2 R.0404/4407.0104 »06.0316 SOI.0116 1.0104 R.0504/C.0404/S05.0104 «06.0316

401.0116 I.0508/C.0108 1.0108 S02.0108 S02.0108 SOI.0508/C.0108 1.0108 S02.0108

S02.0108 I.0508/C.0108 R.0108 1.0104 SOI.0104 S02.0104/501.0104 401.0108 R.0108

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A07.0KH S02.0316 SOI.0116/«07.0604/C.OJ04 R.0504/ C.0304 M »402.0104/W2.0604

VI «09.0104 R.0104 TG+5 1.0104 «05.0104 R.0104 I.0104/TG»6 »03.0404 SOS.0104

SOI.0108 A01.0108/405.0204 SOS.0108 «01.0108 «06.0308 «06.0108 1.0108 «01.0108/

«01.0204 It.0304 M «402.0104/409.0104 R.0104 TG+5 1.0104 «05.0104 R.0104 1.0104/

TK+4 «03.0404 R.0104 S09.0316 409.0116/TG*3 D2 1.0104 SO?.0104 SOS.0108 «01.0108

«01.030S «01.0108 1.0108 A01.0108/1.0104 «01.0104 R.0304 I.0104/F TG+2 «02.0104

S02.0104 SO3.0108 S04.0108 S05.0104 «09.0104 S02.010ft «05.0108/S07.0104 R.0704

/C.0204 M «411.0204 S04.0104 «04.0108 502.0108/S02.0104 R.0704/C.0204 «04.0204

S04.0104 «04.0104/P 1.0108 S02.0108 «02.0108 «02.0104 S02.0104 «09.0204 0

S02.0104/R.0304 D2 S09.0104 SOI.0308 S02.0108/S01.0204 SOI.0104 R.0508 «09.0108

/ V2 H2.0404 01 1.0104 «03.0104 S05.0108 R.0108 »05.0104/1.0304 R.1104/C.0404/

C.0404/C.0204 A01.0204/404.0504/C.0104 R.0304/ Z

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KENNST DU DAS LAND SCHUBERT

BW2.0204 TG-3 V3 D2 •408.0104 »01.0108 A02.0108/1.0104 S05.0108 «02.0108/

S04.0316 1.0116 A07.0316 S02.0116/S03.0104 R.0108 M »311.0108/A09.0316 1.0116

«01.0108 A02.0108/1.0104 SOS.0108 TG-6 A01.O108/A02.0108 »03.0104 S06.010B/

«01.0104 R.0108 M «502.0108/1.0116 S02.0116 SOI.0116 502.0116 S02.0108 «07.0108/

1.0116 S02.0116 SOI.0116 S02.0116 SO2.O1O8 A02.0108/TG-3 «02.0104 R.0108 M

TG-7 »411.0108/A01.0316 SOI.0116 SO?.0108 P AO2.O1O8/A01.0316 SOI.0116 S02.0424

A02.0124 A01.0124/Q I.0102/M TG-2 Dl R.010A »410.0316 S06.0116 SOI.0116

A01.0116/A02.0102/M TG-3 D2 R.0308 »412.0108/A01.030B S01.O108/AO1.O516

SO?.0116 S02.0116 SOI.0116/S02.0108 A02.010B »01.0108 »01.0108/101.0308

SO2.O1O8 /SOI.0316 1.0116 »03.031t S02.0116/S03.0104 R.0108 M »411.0108/

P I.0708/C.0308 «01.0108/401.0104 D5 S02.01O4/S02.O1O4 02 R.0108 S05.010S/

«05.0108 1.0108 »04.0108 S09.0108/A05.0308 S05.0108/405.0108 1.0108

»04.0108 S09.0108/405.0308 H »406.0108/06 «05.0308 S05.0108/»05.0308

S05.0108/A05.0304/C.0104 A02.0108 A02.0108/A01.0304/C.0104 R.0104/

LM 02 »408.0104 »01.0108 »02.0108/1,0104 SOS.0108 «02.0108/

S04.0316 1.0116 »07.0316 SO2.O116/S03.O1O4 R.0108 M »311.0108/409.0316 1.0116

»01.0108 »02.0108/1.0104 SOS.0108 TG-6 A01.0108/A02.0108 »03.0104 S06.0108/

401.0104 R.010B M »502.0108/1.0116 S02.0116 SOI.0116 502.0116 S02.0108 »07.0108/

1.0116 S02.0116 SOI.0116 S02.0116 S02.O108 A02.0108/TG-3 »02.0104 R.0108 H

TG-7 »411.0108/A01.0316 SOI.0116 S02.0108 P A02.0108/A01.O316 SOI.0116 S02.0424

«02.0124 401.0124/0 I.0102/H TG-2 Dl R.0108 »410.0316 S06.0116 SOI.0116

A01.0116/A02.0102/M TG-3 D2 R.0308 »412.0108/A01.0308 S01.0108/A01.0516

S02.0116 S02.0116 SOI.0116/502.0108 402.0108 401.0108 401.0108/401.030R

S02.0108 /SOI.0316 1.0116 403.0316 S02.0116/S03.0104 R.0108 M »411.0108/

P I.O708/C.O3O8 A01.0108/A01.0104 D5 S02.0104/S02.0104 D2 R.0108 SOS.0108/

A05.0108 1.0108 A04.0108 S09.0108/405.0308 S05.0108/A05.0108 1.0108

«04.0108 509.0108/405.0308 H »406.0108/D6 »05.0308 S05.0108/»05.0308

S05.0108/405.0304/C.0104 »02.0108 A02.0108/A01.0304/C.0104 R.0104/

LH TK-6 05 »407.0104 »02.0108 »02.0108/1.0104 SOS.0108 AO1.O1O8/S03.01O8

1.0108 «05.0316 I.0116/S03.0104 R.0108 M »311.0108/A08.0316 1.0116 402.0108

A02.0108/:.0104 S05.0108 A01.0108/S03.0104 A05.O104/S02.03O8 M TG-7

•407.0108/1.0116 S02.0116 SOI.0116 S02.0116 S02.0108 A07.0108/1.0116 S02.0116

SOI.0116 SO2.O116 S02.O1O8 A02.0108/TG-4 A02.0308 M »404.0108/A01.0316

S03.0U6 1.0108 406.0108/401.0316 1.0116 TG-7 402.0108 1.0108/401.0102/H

TG-2 0 R.0108 »410.0316 S06.0116 SOI.0116 A01.0116/A02.0102/M TG-3 02

R.0308 »412.0116 «01.0306 SOI.0108/401.0516 SO2.O116 S02.0116 SOI.0116/

502.0108 402.0108 401.0108 «01.0108/401.0308 SO2.O108/S01.0316 1.0116

«03.0316 S02.0116/ S03.0104 R.0108 M »411.0108/ P I.0708/C.0308 «01.0108/

05 401.0104 502.0104/S02.0104 R.0108 02 S05.0108/ «05.0108 1.0108 404.0108

S09.0108 /A0S.0308 P S05.O1O8/A0S.0108 1.0108 «04.0108 S09.010B /«05.0308

H 06 »406.0108/ «05.0308 S05.0108/405.0308 S05.0108/405.0304/C.0104 402.0108

A02.0108/A01.0304/C.0104 R.0104 II

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42 COMPARATIVE COMPUTER STUDY OF STYLE

KENNST DU D«S UNO SCHUMANN

BW3.O3O8 TK-2 V2 D2 R.O1O8 «411.0108 SOI.0116 S02.0116/405.0308 S05.0116102.0116

AO1.O116/TG-2 1.0332 SOI.0132 1.0108 M R.0116 «410.0116/A06.0316 1.0116 1.0132

SOI.0132 «03.0132 S03.0132/ S02.0332 S02.0132 TG-1 SOI.0116 «01.0116 «02.0108/

M TK-2 R.0116 «407.0116 A01.0116 «03.0116 «04.0116 405.0116/S02.0108 S02.0108

R.0116 TG-2 1.0116/ A06.0316 S02.0116 502.0116 SOI.0116/1.0108 «01.0108 M TG-3

OS R.0116 02 «409.0116/ TK-3 1.0116 SOI.0116 «07.0108 05 R.0116 D2 S06.0116/

1.0108 SOI.0108 R.0116 I.0116/05 «08.0104 02 TK-2 S03.0108/402.0108 H TG+1

S05.0108 «02.0116 P «01.0116/ SOI.0108 «01.0108 «02.0116 402.0116/S02.0104 M

05 TG+O «503.0108/405.0104 S08.O108/TK+O «05.0316 S07.0116 «02.0332 «01.0132/

TG+O «02.0316 «01.0116 «01.0332 TG+1 S04.0132/1.0116 SOI.0116 1.0108 M TK-3

•503.0108/0 «05.0104 SOS.0108 D2/Ì04.0116 S07.0116 1.0116 TK-2 1.0116 «02.0116

«02.0116/1.0108 S06.0316 I.0116/401.0104 R.0108/

LM R.0108 «411.0108 SOI.0116 S02.01 U/805.0308 S05.0116 «02.0116

«01.0116/TG-2 1.0332 SOI.0132 1.0108 H R.0116 »410.0116/406.0316 1.0116 1.0132

SOI.0132 «03.0132 S03.0132/ S02.0332 S02.0132 TG-1 SOI.0116 «01.0116 «02.0108/

M TK-2 R.0116 «407.0116 «01.0116 «03.0116 «04.0116 405.0116/S02.0108 S02.0108

R.0116 TG-2 1.0116/ «06.0316 S02.0116 S02.0116 SOI.0116/1.0108 «01.0108 M TG-3

D5 R.0116 D2 «409.0116/ TK-3 1.0116 SOI.0116 «07.0108 05 R.0116 D2 S06.0116/

1.0108 SOI.0316 I.0U6/D5 «08.0104 02 TK-2 S03.0108/402.0108 M TG+1

S05.O108 «02.0116 P «01.0116/ SOI.0108 «01.0108 «02.0116 A02.0116/S02.0104 H

D5 TG+O «503.0108/405.0104 S08.0108/TK+0 «05.0316 S07.0116 «02.0332 401.0132/

TG+O «02.0316 «01.0116 «01.0332 TG+1 S04.0132/1.0116 SOI.0116 1.0108 M TK-3

•503.0108/0 »05.0104 S08.0108 D2/«04.0116 S07.0116 1.0116 TK-2 1.0116 »02.0116

«02.0116/1.0108 S06.0316 1.0116/401.0104 R.0108/

IM R.0108 »411.0108 SOI.0116 S02.0116/405.0308 S05.0116 «02.0116

«01.0U6/TG-2 1.0332 SOI.0132 1.0108 H R.0116 »410.0116/406.0316 1.0116 1.0132

SOI.0132 «03.0132 S03.0132/ S02.0332 SO2.0132 TG-1 SOI.0116 »01.0116 402.0108/

M TK-2 R.0116 «407.0116 401.0116 403.0116 «04.0116 405.0116/S02.0108 S02.0108

R.0116 TG-2 1.0116/ «06.0316 S02.0116 S02.0116 SOI.0116/1.0108 101.0108 M TG-3

05 R.0116 D2 «409.0116/ TK-3 1.0116 SOI.0116 «07.0108 05 R.0116 D2 S06.0116/

1.0108 SOI.0316 1.0116/05 «08.0104 D2 TK-2 S03.0108/402.0108 M TG+1

S05.0108 402.0116 P «01.0116/ SOI.0108 «01.0108 «02.0116 402.0116/S02.0104 M

05 TG+O «503.0108/405.0104 S08.0108/TK+0 «05.0316 S07.0116 «02.0332 «01.0132/

TG+O «02.0316 401.0116 401.0332 TG+1 S04.0132/1.0116 SOI.0116 1.0108 M TK-3

•503.0108/0 «05.0104 S08.0108 02/404.0116 S07.0116 1.0116 TK-2 1.0116 1.0124

402.0124 402.0124/1.0118 S06.0316 1.0116/101.0104 R.0108/Z

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KENNST DU DAS LAND WOLF

BW3.O3O4 TG-fc V2 02 «411.0308 1.0104 A01.0108/S01.0308 S09.0108 1.0108 1.0108/

1.0204 AO1.O1O4/AO6.0404/C.O104 » TK-7 R.0108 P »409.010« A02.0108 S02.0108/

AO3.O3O8 S07.0108 D4 A09.0508/C.O308 TG-6 S12.0108 0 1.0108 S02.0108/TG-3 D2

SOI.0304/ M R.0308 «411.0108 1.0108 I.0108/TG-6 P 1.0308 1.0108 TG+1 SOI.0108

I.0108/1.0316 A05.0116 I.0102/H R.0108 TG-4 »411.0108 1.0308 A03.0108/1.0308

S05.0108 A09.0308/C.0108 D5 TG+O SOI.0104 0 S09.0108 S02.0716/C.0316 D2 SOI.0116

P 1.0104 A09.0104 /H H3.0908 R.0908 TK-4 D2 »506.0408 S02.0308 S02.0208/1.0208

SOI.0108 R.0608/1.0408 S02.0408 S05.0108/A03.0208 SOI.0108 R.O8O8/M TK-5 P

R.0108 »504.0308 S02.0308 R.0308/C10108A05.0308 S02.0408 R.O2O8/C.O1O8 TG-6

A04.0408 S02.0208 05 SOI.0108 S02.0108/W3.0304 S02.0106 0 SOI.0108 SOI.0316

SOI.0116 I.0204/C.0104 SO2.O3O8 A05.0108/02 1.0204 R.0104/LH »411.0308 S04.020B

I.010S/A04.0308 R.0108 S09.0104/I.0308 P 1.0108 401.0108 I.0108/A06.0404/C.0104

M TK-6 R.0108 »409.0108 A02.0108 S02.0108/A03.0308 S07.010S A09.0508/C.0308 TG-6

S12.01J8 1.0108 A07.01O8/TG-3 A02.0304/M R.0108 »411.0108 1.0108 1.0108 1.0108/

TG-6 1.0308 P 1.0108 TG<-1 SOI.0108 I.0108/A05.0508 R.0108/M R.0204 TG-4 D2

•502.0308/C.0108 S03.0208 SOI.0108 SOI.0308/C.0106 TG+O 1.0108 SOI.0308 TK-5

SOI.0108/1.0308 SOI.0108 A07.0408/C.0208 R.0204/M TK-4 H3.0908 »506.0408 S02.030

8 S02.0208/1.0208 SOI.0108 R.0608/1.0408 S02.0408 S05.O1O8/AO3.0208 SOI.0108

R.0608 M TK-5 P R.0108 »504.0308 S02.0108 R.0308/C.0108 A05.0308 S02.0408 R.0208

/C.0108 TG-6 A04.0408 SO2.O2O8 SOI.0108 S02.0108/W3.0304 D5 SO2.0108 0 SOI.0108

SOI.0316 SOI.0116 I.0204/C.0104 S02.0308 sn7.0108/ D2 1.0204 R.0104/LM TK+3

R.0108 »402.0104 A05.0104 A03.0108/A04.0108 S07.0108 1.0308 I.0108/A03.0316

SOI.0116 I.0204/M TG*7 R.0108 »409.0108 A02.0104 S02.0104/A03.0308 S07.0108

609.0508/C.0308 P S12.O108 1.0108 S02.0108/S01.0204 R.0104/M TK+7 01 R.0316

•404.0116 1.0104 A03.0104/A04.0316 S07.011A A03.1116/C. 0316 D2 TK*3 1.0116

1.0104 A03.0104/A04.0104 H TK*4 P R.0108 »502.0108 I.0716/C.0316 1.0116 A03.0508

/C.0108 05 SOI.0108 P S02. U16/C.0316 1.0116 A02.0308 S06.0108/Tr,+ 7 06 A09.0604/

C.0304/M R.0304/W3.0908 D2 TK-4 »506.0408 S02.03O8 SO?.0208/1.0208 SOI.0108

R.0608/1.0408 S02.0408 S05.0108/A03.0208 SOI.0108 R.0609/M TK-5 R.0108 »504.0308

P SO2.O3O8 R.0308/C.0108 A05.0308 SOI.0408 R.O2O8/C.O108 TG-6 A03.0408 S02.0208

SOI.0108 S02.0108/W3.0304 05 SO2.O1O8 0 SOI.0108 SOI.0308 SOI.0108/9.0104 D2

S02.0308 A05.0108/1.0404/C.0104 R.0508/C.010fl Dl S12.O308 I.0208/A09.0204

S04.0204/C.0104 R.0204/Z

END OF DATA

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5. PROGRAM 1

DOS P L / I COMPILER 3MJN-PL-464 CL3-R MELODY 1 7 / 0 6 / 7 1

ME UN..PROCEDURE OPTIONS ( M A I M , .

1 MELAN..PROCEDURE OPTIONS IKllNli.2 DECLARE SYMBOL CHARACTER!1),

MELOUT FILE OUTPUT STREAM ENVIFI1600I MEDIUM!SYS007,2400) NOLABEL),MELIN FILF. INPUT STREAM ENVIFI1&00) MEDIUM! SYS007,24001 NOLABELI,<A,R,C,[),E,X,Y,GELED,ZINI DECIMAL FIXED<3>,.

3 R E G I S . . B E G I N , .4 OPEN F ILE(MELOUT) , .5 A * O , . B » O , . C » 0 , , n » O , . E . O , .

10 R1. .GET E D I T I S Y M B O L H A I l l ) , .11 PUT F I L E I M E L O U T I E D I T I S Y M B O L M A I l ) ) , .12 IF SYMBOL»'Z" THEM GO TO R 2 , .13 IF SYMBOL«1'*1 THFN DIÌ, . A«A + 11 ,°.«R+1 , «GO Tn R l t . E M D t .IB IF SYHF>nL«'L' THEN 0 0 , . A = A + 1 , . G O TO R l i . E N O , .22 IF SYMBOL-'M" THEN 0 0 , . B - B + l , .GO TO R l t . E N D t .?6 IF SYMBOL«1*1 THFN DO, .C*C+1».Gn TO R W . E N 0 , .30 IF SYMBOL»'T' THFN o n , . 8 - 0 * 1 , . G O TO R l t . E N O , .34 IF SYMROL"1 / ' THFN D O , , E « E + 1 , . G n TO R l t . E N D , .3 8 GO TO R l , .39 R 2 . . CLOSE FILFIMELdUT) , .END, .41 CALI COlWT, .42 COUNT..PROCEDURE,.43 DECLARE ! TPL I 35 ) , TTEL ( 100,35 ) , TAB! 100 I ,N( 100) ,M,S ) DECIMAL F I X E D I 3 ) ,

TL DECIMAL FIXED ( D . P A I R DECIMAL FIXED ( 2 ) , .44 GF LED»0, .S»O,.TTEL»O,.N»O,. TL«O,. M«0 , .50 OPEN FILE ( M E L I M I , .51 DO ZIN»1 TO 9 , .52 TEL»C,.53 C1..GET FILE (MELIKI fOIT ( SYHflnL ) ( A H ) ) «•54 IF SYMBOL»^' THEN DO,,GELEn=GELED+l,.M»M+1,.TL«1,.GO TO C J . . E N D , .60 IF SYMBnL«'l ' THEN Dn, .GELEO = C",FLEO + 1 , . TL»1, .GO TO C 1 . . E N D , .65 IF SYMBOL-'M1 THEM 00,.M«M+1,.GO T(l C 2 , . E N 0 , .69 IF SYMBOL«'«1 THEN Oil, ,GE T F ILF I MEL IN) EDI TI SYMBOL ) ( Al 1 ) I , .71 IF SYMBOL«'l" THFN Dn, .TEL(4 I=TFL(41+1, .GO TD C 1 . . E N D , .75 IF SYMBOL«^1 THBN 0 0 , . TEL I 2 )-TEL ( 2 I+ 1 , .GO TO C 1 . . E N D , .79 IF SYMRnL«'3' THEN DO, .TEL(3 )»TEL(3 )+ l , .GO TO C l i . E N D , .83 END,.84 IF SYMBOL*'!",1 THEN DO, .TEL(6 ) • I H (6 ) + l , .GO TO C 1 . . E N D , .88 IF SYMBDL='K' THEN DO,.TEL(7 I»TEL I 7 I + 1,.GO TO C 1 . . E N Ü , .92 IF SYMBOL»'/1 THFN On,.TEL I 0 ) » T E L ( 8 ) + l , . G O TO C l i . E N D , .96 IF SYMBOL-1!1 THFN 0 0 , . T E L ( 1 0 I » TEL(10 I+1 , .CO TO C l i . E N D , .

100 IF SYMBOL-'A1 THFN DO, .TEL!111»TEL(11) •1 , .GO TO C1 , .ENO, .104 IF SYMBOL»^1 THEM DO, . TEL ( 12 I » TEL ( 12 ) * l i .GO TO C l i . E N D , .108 IF SYMBOL«1«1 THEN DO,.TEL I 15)»TEL I 151*1, .GO TO C l i . E N D , .112 IF SYMBCH.»^1 THEN On,.GET F I LF (MEL I N) EOI TISYMBOL) < A! 1 ) I • .114 IF SYMBOL-'l1 THEN DO, . TEL ( 17 I »TEL ( 1 7 ) * l i ,k"n TO C l i . E N D , .11B IF SYMBOL»^1 THEN DO, . TEL ( 18 ) »TEL ( 18 I -H i .GO TO C l i . E N O , .122 IF SYMBOL»^1 THEN On, . TEL ( 19)«TEL( 191 + 1 • .GO Tt) C l t . E N D , .126 IF SYMBHL»'4' THEN DP, .TEL!20 I»TEL I 201 + 11.fin TO C l , . E N D i .130 IF SYMROL-'S1 THFN 00, .TEL I 21)»TELI21 Ì + 1,.GO TO C l i . E N D , .134 IF SYMBOL»^1 THFN DD, . TEL ( 22 )»TEL ( 22 l + l i .GO TO C l i . E N D i .138 END, .139 IF SYMBOL»^' THEN On, . TEL ( 24 ) » TEL ( 24)+11 .GO TO C l i . E N O , .143 IF SYM60L='F' THEN DO,.TEL!25 I»TEL!251 + 1•.GO TO C 1 . . Ç N 0 , .147 IF SYMBOL-'O1 THFN no,.GET FILE(MELINI EDIT(SYMBOL)I A ( 1 ) ) , .149 IF SYMBPl.«1!' THEN 00 , .TEL( 27 )»TEL! 271 + 1 , .GO TO C 1 , . E N D , .153 IF SYMBOL»^' THFN on, . TEL ( 78 I = TEL ( 28 ) + l , .GO TO C l i . E N D , .157 IF SYMB0L»'3' THEN no, .TEL(29)»TEL(291+1».GO TO C 1 . . E N 0 , .161 IF SYMBOL»^1 THFN DO, . TEL ( 30) - TEL ( 301 + 1 , .GO TO C 1 . . E N D , .165 IF SYMBHL-'S1 THFN DO,.TEL(31I«TEL(311+1, .GO TO C l i . E N O , .169 IF SYMBOL»^1 THFN DO, . TEL ( 32 )»TEL ( 32 ) + l i .GO TO C l i . E N O , .

173 END, .174 IF SYMBOL«1?1 THEN DO, .TEL(34I»TEL(341+1, .GO TO C 1 . . E N D , .178 IF SYMBOL-'O' THEN 00, .TEL ! 35)«TEL(35Ì + 11.GO TO C l t . E N D , .182 GO TO C I , .183 C 2 . . T E L ( 1 ) = T E L I 2 ) + T E L I 3 1 + T E L ( 4 I , .184 TEL(5 I»TEL(6 I + T £ L ( 7 ) , .185 TEL(9 )»TEL(1O)+TEL(11 )+TEL(12 ) , .186 TEL(14)«TELI9 I + 1 , .187 T E L 1 1 3 ) » T E L ( 1 4 ) + T E L I 1 5 I , .188 TEL(16 l=TEL(17 )+TEL(18 )+TEL(19 )+TEL(201+TEL(21 l+TEL(22 l i .189 TEL(23) = T E U 2 4 ) + T E L I 2 5 ) , .190 TEL(2AI=TELI27 )+TELI2B)+TEL!29 l+TEL(30 )+TEL!31 l+TEL(321 , .191 T E L ( 3 3 ) = T E L ! 3 4 ) + T E L ( 3 5 ) , .192 DO X«l TO 3 5 , .

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193 TTEL(1+A+Z IN ,X I=TEL(X ) , . END, .195 IF TL=1 THEN DO, .196 00 X « l TO 3 5 , . T A R » 0 , .198 DO Y-S+ l TO Z I N , . T A B ( Y ) - T T E L < l t A * Y , X ) , . E N O , .201 TTEL(HXELEO,XI»SUM(TAB), .ENO, .203 T L - O , . S - Z I N , . N ( G E L E D ) - H , . M - O , . E N D , .208 END».209 Dti X=l TO 35 , .TAB=O, .211 DO Y= l TO A , . T A B ( Y ) » T T E L ( l + Y , X ) , . E N D t .21« T T E L ( l , X | . S U M ( T 4 R ) . . E N D t .216 PUT EDIT

I'RESULTATEN VAN DE TELOPDRACHTEN IN DE KOMPOSI TI E,DE GELEDINGEN ENDE Z I N N E N 1 I ( 4 1 . .

217 PUT S K I P I 3 ) , .218 PUT FDIT

(' GEL ZIN WYZ BIN TER AND TON MAJ MIN «AT INT ITE +IN -IN TYD SOT RUS'HA),.

219 PUT SKIPI2),.220 PUT EOIT

(• KOHP1,A,B,(TTEL(l.X) DO x*l TO 15)1(4,17 F(5)),.221 PUT SKIPI2),.222 DO GELEO-1 TO A,.223 PUT SKIP EDIT

CG'iGELED,' l',N(GEL6D),(TTEL(l+GELED.X) DO X=l TO 15)1224 <A,F(4I,A, 16 FI5M..END,.225 PUT SKIP!?),.226 DD Z1N-1 TO B,.227 PUT SKIP EOIT

CZ'iZIK.' 0 l',(TTELU+A+ZIN.X) DO X»l TO 151)(4,FUI ,4,15 F(5)l ,.

228 END,.229 PUT PAGE,.230 PUT EDIT

CAANTAL SNELHEIOS- EN DYNAM.IF.KAANDUIDINGEN IN 06 KOMPOSITIE.DE GELEOINGEN EN DE ZINNEN' H A ) , .

231 PUT SKIPO),.

232 PUT EDIT(' VIT V.l V.2 V.3 V.4 V.5 V.6 AGO 4CC DEC DYN D.I D.2 D.3 D.4 D.5 D.6 OVf, CRE DIN'I(A),.

233 PUT SKIPI2),.23* PUT EDIT

(' KOMP',(TTEL(1,X) DO X»16 TO 35))(A,20 F(5I)..235 PUT SKIPI2),.2 3 6 DO GELED=1 TO A , .237 PUT SKIP EDIT238 I ' G ' . G E L E D . I T T E L I U G E L E n . X ) DO X - l f . Tn 3 5 ) ) ( A , F ( 4 ) , 2 0 F I S ) ) , . E N D , .239 PUT S K I P I 2 ) , .240 DO Z I N - 1 TO B , .2 4 1 PUT SKIP EOIT242 ( ' Z ' , Z I N , ( T T E L ( 1 + « * Z I N , X I DO X - 1 6 TO 3 5 ) ) ( A , F ( 4 1 , 2 0 F ( 5 ) ) , . E N 0 , .243 CU3SE F I L E ( M E L I N I , .244 E N D , .245 CALL T I M E , .246 T IME. .PROCEDURE, .247 DECLARE ( T E , N O , P A I R , R I DFCIMAL FIXED ( 2 ) ,

< T W ( 3 O ) , T T W ( 1 O O , 3 4 ) , S T W ( 1 5 ) , R T W ( 1 5 I , S , T A B C I O O ) > DECIMAL F I X E D I 3 ) •miUR DECIMAL F I X E D I 7 , 6 ) , T L DECIMAL FIXED ( 1 ) , .

248 OPEN F U E ( M E L I N ) , .249 T T W « 0 , . G E L 6 0 « 0 , , S » 0 , . T L ' O , .2 5 3 DO Z I N ' l TO B , .254 T W * 0 , . T T W ( l * A + Z I N , 3 3 ) - 1 5 , . T T W < l * A * Z I N , 3 4 ) M 5 , .257 T l . . G E T F I L E ( M E L I N ) E O I T I S Y H U n i ) ( A ( 1 | ) , .258 IF SYMBOL"'Z' THEN DO, . TL-1,.GFLED*GELED-H •.GO TO T4 , .FND>.Z63 IF SYMBnL"'L' THEN DO, . T L - 1 , .GF.LFO^GELEO+1, .GO T'1 T 1 , . E N D , .268 IF SYMBOL='M' THFN GO TO T 4 , .269 IF SYMBOL='A' THEN DO, .R=O, .271 T2..GET F I L E I M E L I N I E D I T ( P A I R ) ( X ( 3 ) , F ( 2 ) ) , .272 T 3 . . TE-PAIR , .273 GET F I L F ( N E L I N ) E D I T ( P A I R I ( F ( 2 ) ) , .274 N0"PAIR,.DUUR»TE/MO,.276 IF DUUR GT 1 THEN DO,.TW(1*R)»TW(1*R1+1, .GO TO T I , . E N D , .280 IF DUUR =1 THEN DO,.TWI2+RI=TWI2*R)+1, .GO TO T I , . E N D , .284 IF DUUR LT 1 AND DUUR GT 0 . 5 THEN DO,.TW(3+R>*TW(3*R)+1,.GO TO T I , .287 END,.288 IF DUUR = 0 . 5 THEN DO, .TW(4+R|=TW(4+R)+1, .00 TO T 1 . . E N D , .292 IF DUUR LT 0 . 5 AND OUUR GT 0.P5 THEN DO,.TW(5+K)=1W(5+R)+1,.GO TO T l t .295 END, .296 IF DUUR «0 .25 THEN 0 0 , . T W I 6 + R I " T K ( 6 * R 1 * 1 , . G O TO T 1 . . E N 0 , .300 IF DUUR LT 0 . 2 5 AND DUUR GT 0 .125 THEN D O , . T W ( 7 * R ) « T W ( 7 * R ) + 1 , .302 GO TO T 1 . . E N 0 , .304 IF OUUR = 0 .125 THEN DO. .TW(8*R)»TM(8*R1*1 , .KO TO T l t . E N D , .308 IF DUUR LT 0 .125 AND DUUR GT 0.0625 THEN D O , . T W ( 9 * R I - T H I 9 + R I + 1 , .

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310 GO TO T 1 . . E N D , .312 IF DUUR « 0 . 0 6 2 5 THEN DO, .TH(10*R)=TW(1O*R>+1, .GO TO T 1 , . E N O , .316 I F DUUR LT 0 . 0 6 2 5 AND DIHJR GT 0 . 0 3 1 2 5 THEN D O , . TWI 1H-R)«TWI 11+R > * 1 ,31B GO TO T 1 . . E N 0 , .320 IF DUU1 » 0 . 0 3 1 J 5 THEN TO,.TWI12+RI«TWI12+RI+1,.GO TO T l , . F N O t .32« IF DUUR LT 0 . 0 3 1 2 5 AND OUUR GT 0 . 0 1 5 6 2 5 THEN D O , .325 TW(13-»R)«TW(13*R>t l , .GO TO T 1 . . E N 0 , .328 IF DUUR » 0 . 0 1 5 6 2 5 THEN 0 0 , . TWI 14+R ) «TWI 14*R ) * 1 , .GO TO T 1 . . E N D , .332 I F [HIUR UT 0 .015625 THEN DO, .TWI15*R1=TWI15*R)+1 , .GO TO T 1 . . E N 0 , .336 END, .337 IF SYMBnL='S' THEN Dn, .R=O, .GO TO T 2 . . E N D , .341 fF SYMBOL- ' I 1 THEN 0 0 , . R=0 , .343 GET F I L F I M E L I N I E 0 I T I P A 1 R ) ( X ( 1 ) , F ( 2 } ) , . G O Tn T 3 . . F M 0 , .346 IF SYMBOL«"*» THEN D O , . R « 0 , .348 GET F 1 L E ( M E L I N ) E D I T ( P A I R ) ( X ( 4 ) , F I 2 M , . G O TO T 3 . . E N D , .351 IF SYMBnL='R' THEN D O , . R = 1 5 , .353 GET F I L F I P E L I N I E O I T I P A I R ) I X ( 1 I , F ( 2 ) ) , . G 0 TO T3 i .EN .D i .356 GO TO T l i .357 T 4 . . D 0 X» l TO 1 5 , .358 IF TWIXÌ.0 THEN TTWIl*A + 7IN,33I«TTM(1 + A + Z I N , 3 3 1 - 1 , .359 IF TW(15*XI=0 THEN TTW11+A+ZIN,34> = ITU I1 + A t Z I N , 3 4 1 - 1 , .360 TTW(1+A+Z1N,XI=TWIX),.TTWIH-A+ZIN,15+X)=TW(15+X),.362 STVKX)-TH(Xli.RTHIX)»TW(15*X),.364 END,.365 TTW(HAtZIN,31l=SUM(STW),.TTWIl + AtZIN,32 1=SUMIRTU),.367 IF TL*1 THEN DO,.368 DO X=l TO 32,.TAB=0,.370 DO Y-S*l TO Z I N , .371 TABIY)=TTW(1+A*Y,X),.END,.TTWI1+GELED,X)»SUM I TAB I , .ENO,.375 TTH(l-fGELE0,33) = 15,.TTW(H-GELED,34l = 1 5 , .3 7 7 DO X« 1 TO 1 5 , .378 IF TTW(1+GF.LED,X)«O THEN TTW< ltGELFD, 33 I»TTW( 1+G6LED, 33 1-1,.379 IF TTW(l*GEL6D,15tX)=0 THEN TTW(1+GFLfD,34)«TTW(HGFLED,341-1,.FND,.381 TL=O,.S=ZIN,.END,.384 ENO,.3S5 DO X«l TO 32,.TA°»0,.DO Y«l TO A,.TAfl(YI«TTH(1+Y,X I,.END,.390 TTWI1,X)«SUM<TAB),.ENO,.392 TTHI1, 331 = 15, .TTWU, 341 = 15,.394 DO X=l TO 15,.395 IF TTM(liX)-0 THEN TTW11,33 I«TTU(1,331-1,.396 IF TTW(1,15+X)«O THEN TTW(1,341«TTWI 1,341-1,.END,.398 PUT PAGE,.399 PUT EDIT

(•AANTAL VERSCHULENOe SONORE TI JDSWAAROEN, INFORMATIELENGTE EN REELEINFORHATIE IN DE KOMPOSITI E,0E GELEDINGEN EN 06 ZINNFN•I(A),.

400 PUT S K I P I 3 I , .401 PUT EDIT

( • GR 1 T 1 / 2 T 1 / 4 T 1 /8 T 1 / 1 6 T 1 / 3 2 T1 / 6 4 KL I L « I ' I I A I , .

4 0 2 PUT S K I P I 2 ) , .4 0 3 PUT EOIT

( • K O M P " , ( T T W ( l , X ) DO X« 1 TO 15 I , T T W I 1 , 3 1 ) , T T W ( 1 , 3 3 ) I ( A , 1 7 F I S ) ) , .4 0 4 PUT S K I P I 2 ) , .4 0 5 DO GELEO=1 TO A , .4 0 6 PUT SKIP EDIT

( • G ' , G E L E D , ( T T W ( 1 * G E L E D , X ) DO.X=1 TO 1 5 ) , T T W I H - G E L E D , 3 1 ) ,407 T T W I 1 * G E L E D , 3 3 ) I ( A , F ( 4 I , 1 7 F I 5 ) ) , . E N D , .408 PUT S K I P I 2 I , .409 0 0 Z I N = 1 TO B , .4 1 0 PUT SKIP EOIT

I ' Z ' . Z I N . I T T W I H - A + Z I N . X ) DO X = l TO 1 5 ) , T T W I l * A + Z I N , 3 1 ) , T T W ( l + A t Z I N , 3 3 )4 1 1 ) ( A , F I 4 ) , 1 7 F I S ) ) t . E N O > .4 1 2 PUT PAGE, .4 1 3 PUT E D I T

I'AANTAL VfRSCHILLENDE STILLE TIJDSWAARDEN,INFORMATIELENGTE EN REELEINFORHATIE IN DE KOMPOSI TI E,DE GELEnlNGEN fi>* DE Z I NNEN' I I A) , .

4 1 4 PUT S K I P O ) , .415 PUT EDIT

I ' GR 1 T 1 / 2 T 1 / 4 T 1 /B T 1 / 1 6 T 1 / 3 2 T1 / 6 4 KL I L R I ' I I A ) , .

416 PUT S K I P I 2 ) , .417 PUT EDIT

( • K O H P S I T T W I l . X ) DO X«16 TO 30) , TTWI 1 , 32 I . TTWU , 3 4 ) I I A, 17 F I 5 I ) , .418 PUT S K I P I 2 ) , .419 00 GELEO»1 TO A , .420 PUT SKIP EDIT

CG' .GELEO. ITTWI l+GELED.X) DO X* 16 TO 30) ,TTWI l tGELED.32) ,TTWI1+GELEO,421 3 < , ) I I A i F I 4 ) , 1 7 F I S D I . E N D I .422 PUT S K I P I 2 ) , .423 DO Z I N " 1 TO B , .424 PUT SKIP EDIT

I ' Z ' , Z I N , I T T W ( 1 * A * Z I N , X ) DO X-16 TO 30 I , T T W I 1 + A + Z I N . 3 2 1 ,

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*25 TTW(l+AtZIN,34)MA,F(4>,17 F(5)l,.ENOi.426 CLOSE FILE (MELIN),.•27 END,.428 CALL SONIN..429 SONIN..PROCEDURE,.430 DECIARE (IL,TABEL(25)) DECIMAL FIXEDI3I,

IPAIR,RMI,PP,NN,VW) DECIMAL FIXEDI2),TTI50.27) DECIMAL FIXEDI3),.

431 TABEL*0,.RMI=25,.433 SONKOM..BEGIN,.434 OPEN FILE (MELIN),.435 I I . . G E T FILE(MELIN)EnlT (SYMBOL I ( A ( 1 1 ) , .436 IF SYMBOL='Z" THEN GO TO 1 2 , .437 IF SYMBOL='I ' THEN DP, .TABEL(1)»TABEL(1) *1 , .GO TO I I , . E N D , .441 IF SYMBOL='A' THEN DO, .442 GET FILF (MELIN) EDIT (PAIR)(F(2)I,.443 DO PP"=1 TO 12,.444 IF PAIR = PP THEN DO,.TAREL(PP+1)»TAKEL<PP+1)»I..GO TO 11,.END«.END,.449 ENO,.450 IF.SYMBOL='S' THEN DO,.451 GET FILE (MÊLINI EDIT (PAIR)(F(2)I,.452 DO PP=1 TO 12,.453 IF PAIR-PP THEN DO,.TAREL(PP+13)*TABEL(PP+13> + l,.GO TO II,.ENO,.457 END,.END,.459 GO TO II,.460 12. .DO NN=1 TO 2 5 , . I F TABELINN)»O THEN R M I « R M I - l , . E L S E , .463 TT(1 ,NN)«TABEL(NN) , .END, .465 IL=SUM(TABEL), .466 T T ( 1 , 2 6 I « I L , . T T ( 1 , 2 7 ) = R M I , .468 CLOSE F I L F ( M E L I N ) , .469 END, .470 SONGEL..BEGIN,.471 OPEN F I L E ( M E L I N ) , .472 DO GELED=1TO » , .473 TABEL"0,.RMI=25,.475 13..GET FILE(MELIN)EDIT (SYMBOL)IA(11),.476 IF SYMBOL*'Z' THEN GO TO 14,.477 IF SYMBOL='L' THEN GO TO 14,.478 IF SYMBOL''I1 THEN 00,.TABEL(1)»TABELI1) + l ,.GO TO 13,.ENO,.4B2 IF SYMBOL='A' THEN DO,.GET F ILE(MEL IN)EDIT(PA IR)(F(2 I),.484 DO PP-1 TO 12,.485 IF PAIR-PP THEN 00,.T»BEL(PP+1)»TARFLIPP+1I+1,.GO TO I 3,.END,.END,.490 END,.4 9 1 I F SYMBOL='S' THEN DO, .GET F I LE(MEL IN I EDI TI PA I R ) ( F ( 2 I I , .4 9 3 DO PP = 1 TO 1 2 , .494 If PAIR-PP THEN DO,.TABEL(PP + 13I-TARELfPP+13> + l,.GO TO 13,.END,.498 END,.END,.500 GO TO 13,.501 14..DO NN=1 TO 25,.IF TAPEL(NN)=O THEN RMI=RMI-1,.ELSE,.504 TT( H-GELED,NN1-TABEL(NN),.ENO,.506 I L»Sl)M< TABEL),.507 TTd+GELED, 261 = 1 L , . TTI KGELED, ?7 )=RMI , .509 END,.510 CLOSE F I L E I M E I : N ) , . E N O , .5 1 2 SONZIN.4. BEGIN, .513 OPEN F I L E ( M E L I N ) , .514 DO Z I N » 1 TO B , .515 TABEL«O, .RMI .25 , .517 I 5 . . G E T F I L E I M E L I N J E D I T I S Y M B O D I A M ) , .5 1 8 I F SYMBOL='Z' THFN GN TO 1 6 , .519 I F SYMBOL»'M" THEN GO TO 1 6 , .520 IF SYMBOL-M' THEN 00, . TABEL ( 1 )"TABEL ( 1 ) 11, .GO TO 15,.END,.524 IF SYMBOL*'A' THEN DO,.GET FILEIMELINI EDIT(PAIR)(F(2)),.526 DO PP»1 TO 1 2 , .527 IF PAIR-PP THEN 00 , .TAREL(PP+1I -TARELIPP+1)+ l , .GO TO 1 5 , . E N O , .531 ENO, .END, .533 IF SYMBOL-'S1 THEN DO, .534 GET F I L E ( M E L I N ) E D I T ( P A I R ) ( F I 2 I ) , .5 3 5 0 0 PP>1 TO 1 2 , .536 tF PAIR-PP THFN OO,.T»BEL(PP*13)«TABEL(PP+13)*1,.60 TO 1 5 , .539 ENO,.END,.FND,.5 4 2 GO TO 1 5 , .543 16..DO NN»1 TO 25,.IF TABEL(NN)»O THEN RMI»RMI-1,.ELSE,.546 TT(1+A*ZIN,"INI«TABELINNI,.FND,.548 IL=SUM(TABEL),.549 TT(1+A+ZIN,2 6I"IL,.TT(1+A+ZIN,27).RMI,.551 END,.CLOSE FILEIMELIN),.553 ENO,.554 PUT PAGE,.555 PUT EDIT

CAANTAL VERSCHILLENDE INTERVALLEN.INFORMATIELENGTE EN REELE INFORMATIE IN DE KOMPOS!T!E,DF. GELEDINGEN EN DE ZINNEN1 ) (A),.

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556 PUT SKIP (3),.557 PUT EDIT

( • I T -M * 2 »3 +4 *b +6 »7 +8 +9 +10 +11 »12 - 1 - 2 - 3- • - 5 - A - 7 - 8 - - 9 - 1 0 - 1 1 - 1 2 I L R I 1 ) ( A I f .

55« PUT S K I P I 2 ) , .559 PUT EOIT

( • K O M P ' , ( T T ( 1 , P P ) 0 0 P P - 1 TO 2 7 ) ) ( A , 2 7 F I 4 I I , .5 6 0 PUT S K I P I Z I i .5 6 1 0 0 GELED-1 TO » t .562 PUT SKIP EOIT

t ' G ' , G E L E D , ( T T ( l * G E L E D , P P ) DO P P - 1 TO 27 ) ) ( A , F I 3 ) t 2 7 F H I I i ,563 E N D , .564 PUT S K I P < 2 > , .565 DO Z I N - 1 TO B , .5 6 6 PUT SKIP EOIT

( • Z ' i Z Î N t < T T I l * A + Z I N , P P l nO PP»1 Tn Z 7 ) ) ( A , F ( 3 ) t 2 7 F ( 4 ) > , .567 E N D t .568 ENOt .569 CALL TONAL, .570 TONAL..PROCEDURE,.571 DECLARF (GTM.KTM,7SM,TOON,RTF,RMF,MAH) DECIMAL F I X E D I 3 ) ,

(GTF,GMF tMINEV,MAJEV,MODEV) DECIMAL F I X E D ( 5 , 2 ) ,(PAIR,PA,PB,PC,APC) DECIMAL FIXEDI2),(ACTtMEMIDECIMAL FIXE0I1),.

572 MODUL..BEGIN,.573 GTM»O,.KTM=O,.TSM«O,.576 OPEN F I L E ( M E L I N ) , .577 D l . . G E T FILE(MELIN)EDIT<SYMBOLI(Al 1 1 1 , .578 IF SYKBOL-'G' THEN DO, .MEMM, .GO TO 0 2 , . E N D , .58? I F SYMBOL-'K' THEN DO,.MEM»2,.GO TO 0 2 , . END,.GO TO 0 1 , .507 DJ..GET F I L E I M E L I N I E D I T I S Y M B O L H A I D I , .588 IF SYMBOL«'Z' THEN GO TO D 3 , .5R9 IF SYMROL-'G' THEN IF HEM»1 THEN PO, .GTM'GTM-H , .GO TO D 2 , . E N D , .593 ELSE IF MEM=2 THEN DO,.TSM»TSM*1,,MEM=1,.GO TO 0 2 , . E N D , .598 IF SYMBOL»'K< THEN IF MEM = 1 THEN DO,.TSM-TSM+1,.MEM.2,.GO TO D 2 . . E N D , .603 ELSE IF MFM.2 THEN 00,,KTM»KTM+1,.GO.TO D?,.ENO,.GO TO D 2 , .608 D3 . .M0DEV 'TSM»100 / (D -H , .MAJEV- r ,TM*100 / ID - l l , .M INEV»KTM«100 / (0 -1> , .611 G T F * E / O , . GMF»E/C t .613 PUT PAGE,.6 1 * PUT EOIT

(•RESULTATEN VAN DE OPDRACHTEN IN VERBAND MET DE TONALITEIT EN DE MAATSOORTEN' I IA) , .

615 PUT S K I P I 3 I , .616 PUT EDIT

( 'AANTAL T0NALITEITSAAND1II0INGEN" , D ,1 AANTAL TOONSOOR THODUL A TI ES'•TSM,•AANTAL GROTE TOONAARDMODULATIES•,GTM,'AANTAL KLEINE TOONAARDMODULATIES•,KTMI( S K I P , A , C O L U M N ! 7 5 ) , F ( 7 ) ) , .

617 PUT S K I P ( 3 ) , .618 PUT EDIT

CMOOUSEVOLUTIE IN X< ,MODEV, • MA JEUREVOLUTIE IN X' .MAJEV,'MINEUREVOLUTIE IN »SMINEV,'GEMIDDELDF TONAL I TEITSOUUR IN HATFN PER TONAL I TE ITSAANDUIDING',GTFI( S K I P , A , C O L U M N ( 7 5 I , F [ 7 , 2 ) ) , .

619 CLOSE FILE ( M E L I N ) , .6?0 PUT S K I P ( 3 I , .621 OPEN F I L E I M E L I N ) , .622 04. .GET F I L E ( M E L I N I F n i T ( S Y M 8 0 L ) ( A ( l > ) , .623 I F SYMBOL.'T" THEN GO TO DIO,.GO TO D 4 , .625 0 1 0 . . 0 0 TOflN^l TO C . R T F - O , .627 05. .GET FILEIMELINI EDIT(SYMBOL I ( A ( 1 1 ) , .628 IF SYMBOL='Z" THEN GO TO D 6 , .679 IF SYMBOL»'T' THEN GO TO 0 6 , .630 IF SYMBOL*1/ ' THEN 00 , .RTF-RTF+1, .GO TO 0 5 , . E N D , .634 GO TO 0 5 , .635 0 6 . . PUT EDIT

('REELE TONALITEITSOUUR',TOON,RTF)! S K I P , A , F ( 3 ) , C O L U M N ( 7 5 ) , F ( 7 ) ) , .

636 END, .637 CLOSE F I L E I M E L I N ) , .638 PUT S K I P I 3 ) , .639 END,.640 VERHAN..BFGIN,.641 OPEN FILE ( H E L I N ) , .642 Ml..GET FILE (MELINIFDITISYMROL)(A(1)I,.643 IF SYMBOL"'G' THEN 00,.MEM«1,.00 TO H2,.EN0,.647 IF SYMBOL-'K' THEN DO, .MEM=?, ,r,n TO W2..EN0,.651 GO TO Wl,.652 H2..GET FILEIMELIN)EOIT(PAII!)(FI?)),.653 PA'PAIR,.

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654 DO Y'l TO D-1..VWG=O,«656 HI.. GET FILE ( MFLINI EDI T( SYMBOL M M 1) )..657 IF SYMBOL« 'G' THEN DO, .»CT=1, .G(l TO W4,.ENO,.661 IF SYMBOL«'K' THEN DO,.ACT=2..GO TQ W4,.END,.665 GO TO M 3 , .666 W4 . .GET F I L E ( M E L I N ) S D I T I P » I R I ( F ( ? I I . .667 P B = P A I R , . P C » P A - P R t . A P C « A B S I P C > , .670 IF MEM=l AND »CT»1 THEN GO TO W 5 , .6 7 1 I F MEM=2 AND »CT»2 THEN GO TO H 5 , .672 IF MEM-2 AND ACT-1 THEN D O , . M E M - 1 , . G O TO W 6 . . E N 0 , .676 IF MEM«1 AND 4CT-2 THEN DO, . M E M » 2 , . G 0 TO W 7 . . E N 0 , .680 W 5 . . I F APC LT 3 THEN GO TO W 9 , ,6R1 I F APC GE 3 AND »PC LT 6 THEN Gn TO W10, .682 IF APC GE 6 ANO APC LT 9 THFN GO TO W l l , .683 I F APC GE 9 ANO 4PC LT 12 THEN GO TO W 1 2 , .684 IF APC GE 12 THEN GO TO W 1 3 , .6R5 W 6 . . I F PC GE - 1 «ND PC LT 3 THEN GO TO W 8 , .686 IF PC — 2 THEN GO TO W 9 , .6B7 IF PC GE 3 AND PC LT 6 THEN GO T(l W S , .688 I F PC GE 6 AND PC LT 9 THEN GO TO W 1 0 , .689 IF PC GE 9 »NO PC LT 12 THEN GO TO W l l , .690 IF PC LE - 3 ANO PC GT - 6 THEN GO TO M i l , .691 IF PC GE 12 THFN GO TO W 1 2 , .69? IF PC LF - 6 AND PC GT - 9 THEN GO TO « 2 , .693 I F PC LF - 9 AND PC GT - 1 2 THEN GO TO W 1 3 , .694 IF PC LF - 1 2 THEN GO TO W14, .695 W 7 . . I F PC LE 1 AND PC GT - 3 THEN Gri TO W 8 , .696 IF PC"2 THEN GO TO W 9 , .697 IF PC LF -3 AND PC GT -6 THEN GO TO W9,.698 IF PC LE -6 AND PC GT -9 THEN GO TO W10,.699 IF PC LE -9 AND PC GT -12 THEN GO TO Wll,.700 IF PC LE -12 THEN GO TO W12,.701 IF PC GE 3 AND PC LT 6 THEN GO TO wll,.702 IF PC GE 6 ANO PC LT 9 THEN GO TO «12,.703 IF PC GE 9 AND PC LT 12 THEN GO TO W13>.704 IF PC GE U THEN GO TO H14,.705 WB.. VWG«»PC+1,.PA-PB,.GO TO W15,.708 W9..VWG«APC,.PA-PB,.G0 TO W15,.711 W10..Vwr. = APC-l,.PA»PB,.Gn TO W15,.714 WU...VKG"APC-2,.PA = P8,.G0 TO W15,.717 Wl2..VWG=APC-3,.PA«PB,.GO TO W15,.720 W13..VWG«APC-4,.PA«PB,.GO TO W15,.723 W14..VWG = APC-'i,.PA=PB,.G0 TO W15,.7?6 W15..PUT EDIT

('VEPWANTSCHAPSGRAAD RIJ MODULATI E',Y,VWG)(SKIP,A,F(3),COLUMN I 751,F(7)I,.

727 E N D , .728 PUT S K I P I 3 I , .729 W 1 6 . . G F T F I L E ( M E L I N ) E n l T ( S Y M B O L ) ( » ( l l ) , .7 3 0 IF SYMBOL«'?1 THEN GO TO W 1 7 , .7 3 1 GO TO W 1 6 , .732 W 1 7 . . E N D , .733 CLOSE FILE ( M E L I N I , .734 MAAT. .BEGIN, .735 OPEN F I L E ( M E L I N ) , .736 D7..GET FILE(MELINIEDITISYMBOLI(»(1 I ) , .737 IF SYMBDL-'W' THEN GO TO D11. .G0 TO D 7 , .739 D11 . .D0 MAW-l TO C . R M F ' O , .741 08 . .GET F I L E < M E L I N ) E D I T ( S Y M B O L I ( A ( l ) ) t .742 IF SYMBQL-'Z' THEN GO TO D 9 , .743 IF SYMBOL-'W' THEN GO TO D 9 , .744 IF S Y M B O L » 1 / 1 THEN 00 R M F » R M F * I , . G D TO 0 8 , . E N D , .747 GO TO (16 , .74(1 D9. .PUT EDIT

CREEV.E WETR1EKDIIUR',M»W,RMF)( S K I P , A , F ( 3 ) , C 0 L I I M N ( 7 5 ) , F ( 7 ) ) , .

749 F.NOf.750 PUT S K I P I 3 ) , .751 PUT EDIT

[•GFMIDOELOE METRIEKOmm IN MATEN PER MAATHIJZER" ,GMF)( A , C 0 L U M N I 7 5 ) , F ( 7 , 2 ) ) , .

752 ENO..753 CLOSE FILE ( M E L I N I , .754 END,.755 END, .

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6. PROGRAM 2

J.L. BROECKX and W. LANDRIEU

DOS PL/I COMPILER 360N-PL-*6* CL3-8 COMPARE

SURVEY..PROCEDURE OPTIONS (HUN),.

5IO1213IT2125293334363T38414243485256606468T2T6T882869091939T101105109113U T12112512913313T1411*51491531541561601641681T21T618018418819219620020420821221621T219

SURVEY..PROCEDURE 0P1I0NS ( M M N ) , .DECLARE SYMBOL CHARACTER (11,PAIR CHARACTER (21,M6L0U1 FILE OUTPUT STREAM ENV(F(1600) MEDIUM(SYS00l,2*00I NOLABEL),MELIN FILE INPUT STREAM ENVIFdfcOO) MEOIUMI SYS001,24001 NOLABEL),<A,R,C,D,E,N,W(31,T0m,I(8),VI8),S(70),T<70l I DECI MAL FIXED (31,PI70I DECIMAL FIXED [5,21,.RFGIS..HEGIN,.OPEN FILE (MELOUTI,.A=O,.B=O,.C3O».D=O,.E«O,.R 1 . . H E T F D I T ( SYMBOL I ( A d i I , . PUT F ILF(MELOUTlEnlT(SYMBOL I ( A ( 1 ) ) , .IF S Y H 8 0 L « ' Z ' THEN GO TO R 2 , .

THEN DO,.A«A+1THFN DO,.B«8+1THEN DO,.C=C+1THEN nn,.0«D+lTHEN 00,.E«E+1

.GO TO R1..EN0,.

.GO TO RU.E.ND,.

.GO TO R1..END,.

.GO TO Rl,.ENrî,.

.GO TO R1,.END,.

IF SYMBOL»•IF SYMBOL«'T"IF SYHBnL='O'IF SYM8OL='VIF SYMBOL«1/'G[l TO Rl,.R2..CLOSE FILE(MELOUT),.END,.COUNT..BEGIN,.OPEN FILE (MELIN),.T=Oi.S«O,.P*O,.R3..GET FILE ( MEL I NiEOin SYMBOL) (Ad)),.IF SYMBOL«'!' THFN Gn TO R4,.

THEN DO,.T(l)=T(l)+l,.T(2>«T(2)+l,.GO TO R3,THEN no,.T( 1)=TC 11+1,. GO TO R3..EN0,.THEN DO,.T( 2) = T( 21*1,.

.TI 3)«T( 31+1,.

.TI 4> = T( M+l>.THFN DO,.TI 5>«TI 5Ì+1,.THEN 00,.T( 6)«T( 61+1,.THEN DO,.T( 71-11 71*1,.THFN OO..GFÎ F IL'(MELINI EÒIT(SYMBDLI(A(1)I,.THEN nn,.T( BI-TI 81+1,. GO TO R3,.END,.THEM DO,.T( 9) = T( 91+1,. GO TO R3,.ENn,.THEN DO,.T(1O)«T(1OI+1,. GO TO R3..END,.

THEN 00.

IF SYMS0L«'8IF SYMBOL-'LIF SYMBOL«1»IF SYMBOL«'/IF SYMBOL-'A' THEN DOIF SYMBOL«'SIF SYMBOL«1IIF SYMBOL«'RIF SYMBOL«1«IF SYMB0L='2IF SYMB0L«"3IF SYM80L='lEND,.IF SYM80L«'G' THEN DOIF PAIR^+OIF PAIR-'+lIF PAIR«'+2IF PAIR«1+3IF PAIR='+4

GO TO R3..END,.GO TO R3,.END,.GO TO R3..END,GO TO R3,.ENP,GO TO R3I.EN",GO TO R3..EN0,

GET FILE(MELINIE0IT(PAIR)(A(2)),.THEN nn,.ldll«T(lll + l,.GO TO R3..END,.THEN DO,.T(12I«T(12I+1,.GO TO R3..END,.THEN nn,.T(13)»T(13l+l,.GO TO R3,.ENn,.THEN no,.T(14)=T(141+1,.GO TO R3..EMD,.THEN On;.T(15)=T(15>+l,.GO TO R3..END,.

IF PAIR«'+5' THEN DO,.TI16I=T(16)+1,.GO TO R3,.EMD,.IF PAIR*1**1 THEN 00,.T(17l«T(17)+l,.G0 TO R3..END,.IF PAIR.'+T1 THEN DO,.T(18)«T(18)+1,.GO TO R3..END,.IF PAIR-'-l1 THEN DO,.TI 19)«T(191 + 1,.GO TO R3,.END,.IF PAIR«'-?1 THEN DO,.T(20l«TI20I+1,.GO TO R3..EN0,.IF PAIR«'-3' THEN DO,.T(21)«T(211+1,.GO TO R3,.END,.IF PAIR«'-*1 THEN no,.T(22l«T(22l+l,.GO TO R3..EN0,.IF PAIR«'-5' THEN DO,.T(23I»TI23)+1,.GO TO R3,.EN0>.IF PAIR»'-6' THEN DO,.T(24 I«T(24 I+1,.GO TO R3..END,.IF PAIR«'-7' THEN DO,.TI 25)«T(251 + 1,.GO TO R3..END,.END,.IF SYMBOLIK1 THEN DO, .GET FILE I MELIN IEDITIPMR) ( A(2 ) I, .IF PA1R»'+O' THEN DO,.T(26)»T(26)+1,.GO TO R3,.END,.IF PAIR.'+l' THEN DO,.T(27)=T(27)+1,.GO TO R3..END,.IF PAIR«'+2' THEN DO,.T(2B)=T(28)+1,.GO TO R3..END,.IF P4IR«'+3' THEN DO,.7(29)=TI?9)+l,.G0 TO R3,.END>.IF PAIR«'**' THEN DO,.T(301«T(30)+1,.GO TO R3..END,.IF PAIR«'*5' THEN DO,.T(311«T(31) + l,.GO TO R3..FND,.IF PAIR«'+6' THEN DO,.TI 32 I «T(32I+1,.GO TO R3,.END,.IF PAIR«'+7' THEN DO,.T(33I«T(331+1,.GO TO R3..END,.IF PA!R>'-1> THEN PO,.T(34l«T(34l+l,.G0 TO R3..END,.IF PAIR«'-2' THEN DO,.T(35l«T(35l+l,.GO TO R3..END,.IF PAIR«'-3' THEN DO,.T(36)«1(36)+1,.GO TO R3,.END,.IF PAIR='-*' THEN DO,.T(37I=TI37I+1,.GO TO R3..END,.IF PAIR^'-S1 THEN O0,.T(38l«T(38l+l,.G0 TO R3..END,.IF PAIR='-6' THEM DO,.1(39)*T(39)+1,.GO TO R3..END,.IF PAIR«'-?1 THEN PD,.T(4O)«T(*O)+1,.GO TO R3,.END,.END,.IF SYMBOL='V' THEN DO,.GET FILEIMELINIEOITISYMBOLI(Ad I),.IF SYMBOL«'!' THEN DT,. T(*l)=T(*1)+1,.GO TO R3..END..

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22322723123523924324424«25225425826226627027427827928328728828929029129?293294295296297298299

300

301302303304305306307308309»IO311312313314315316317318319320321322323324325326327328329330331332333314335336337338339340341342343344345346347348349

IF SYMB0L='2' 1HEN DOIF SYHBOL='3' 1HEN DOIF SYMBOL-'4'IF SYMBOL»'5"IF SYMBOL»^1

END,.IF SYMBOL='E'IF SYMBOL«!F"IF SYMBOL='D'IF SYMBOL-'l1

IF SYMBOL='2'IF SYMBOL='3' 1HEN DOIF SYMBOL='4' THF.N DO,IF SYMB0L='5' THEN DO,IF SYMB0L»«6* 1HFN DO,END,.IF SYMBOL='P' THEN DO,IF SYMBOL«"OGO 70 R3,.R4.. S(4)-7(4)+7(5l+1(6),.P(5)= 100*1(4l/S(4l,.P(6l-100*1(5l/S(4),.P(7)=100*1(6)/SI4),.S(81=7121+7(41+7(5)+7(61+7(7)P(9)=100*(S(8)-7(7l)/S(BI,.P(1OI= 100«TIT)/SIB),

1(431=1(431+7HEN DO,. 7(441=7(441+7HEN DO,. 7(45)=7(45)+7HEN DO,. 7(461=1(461+

1HFN D O , . 1 ( 4 7 1 = 1 ( 4 7 1 +7HEN D O , , 7 ( 4 8 1 = 7 ( 4 8 )7HEI" DO, .GET F ILE IMEL1THEN D O , . 1 ( 4 9 1 = 1 ( 4 9 ) +

1 ( 5 O ) = l ( 5 O ) +1 ( 5 1 1 - 7 ( 5 1 1 +7 ( 5 2 1 = 7 1 5 2 1 +1 ( 5 3 1 = 1 ( 5 3 ) +1 ( 5 4 ) - 1 ( 5 4 ) +

7HEN 00,

1(55)=1(55)+1HEN DO,. 7(561-7(561+

.GO-70 R3,.END,.1,.GO 70 R3,.EN0>.1,.GO TO R3i.EN0i.1,.GO TO R3,.ENn,.1,.GO 10 R3,.END,.

1,.GO 10 R3,.END,.1,.GO 10 R3,.END,.NIED1 KSVMBOL) (4( 1 I ),.1,.GO 10 »3,.END,.1..G0 10 R3..EN0,.1..G0 10 R3..END,.1..G0 10 R3..END,.1..G0 10 R3..EN0..li.GO 10 R3,.END,.

1..G0 10 R3,.END,.1,.GO TO R3,.END,.

P(13I=1OC*1(9)/S(11I,P(14l=100«1(101/5(11),.S(18)=1(ll)+11121+1(131+1114)+1tl5l+1(16)+7(17)+7(18)+1(191+1(201+7(211+1(221+7(23)+1(241+1(25),.S(341 = 7(261+7(27)+1(28)+71 29) + 7l30)+1(31)+1(321 + 11331 + 11341 + 7(35) +7(36)+1137)+ 1(381 + 7(39 I+7140),.S(15)=S(18)+S(34I,.P(16)=100*S(18)/S(15l,.P(17)=100»S(34)/S(15),.IF S(18)=0 7HEN GO 70 R38,.P(19l=100«7llll/S(18),.PI201-100*T(12)/S(18),.P(21)=100»7(13)/S(18),.P(22) = 100*7114)/SI 18),.P(23)=1OO*1(15I/S(18),.PI24)=100*1(16)/S(18l,.P(25)=100*1(17)/S(18),.P(26I=100»7(18 1/SI18),.P(27l=100*1(19)/S(18),.P(28)=1OO*1(2O)/S(18I,.P(29)=10U*1(21)/5(18),.P(3O)=1OO*1(22)/S(18),.P(31)=1OO»T(23)/S(1B),.PI32I=100»1(24)/S(18),.P(33)=10O»1(25l/S(18l,.R38..IF S(34)=0 THEN CO 10 R39,.P(35>=1OO*7(26I/S(34I,.P(36)=1CO*7(27)/S(34I,.P(37)=1OO*7(2B)/S(34I,.P(38)=100»7(29)/S(34),.P(39l=100«7(30)/S(34),.P(4O)»1CO»7(31)/S(34I,.P(41)=100*7(32l/S(34),.P(42l-100»7(33)/S(34l,.P(43l=100«7(34)/S(34),.P(44)=100«7(35l/S(34l,.P(46)=100*1136)/SI 34),.PI46l = iri0*7l37)/S(34),.P(47l-100»1(38)/SI34),.PI 48)»100»7(39 I/SI 34),.P 1491 = 100*1(40 I/SI 34),.R39..S(50)"1(41 1 + 1 (42 1+1(43 1+1(441 + K45I+K4H,.PI 511-100*7141)/S(50),.P(52)M00*7(42)/S(50>,.P(53)=100*1(43)/S(50l,.PI 54)«100*1(441/SI 50),.P(55)=100*1(45)/S(50),.PI56)=100*1(46)/S(50),.SI57)=1I47)+1(48),.IF S(57)=0 7HEN GO 70 R40,.P(58I»100*7(47)/S(57),.PI59l=100*7(48)/S(57),.R40..S(6O)=7(49)+1(5n)+1(51)+1(52l+1(53l+l(54l,.P(61)>100*l(49)/S(60),.PI62)«100*1(50)/SI60),.

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350 P(63)"100«'l(51>/S(60),.351 P(64)M00»T(52l/S(60),.35? P(65)"l00<"T(53)/S(60) ,.353 P(66>=100*T(54I/S(60I,.354 S(67I*T(55I*T(56>,.355 IF S(67)=0 THEN GO TO R41,.356 P(68l=100*T(55l/S(67),.357 P(69W100«T(56)/S(67>,,358 R41..PUT EDIT

('RESULTATEN VAN nE SURVEY PROCFOURE T0EGEP4ST OP DE KOHP0S IT 1 E ' I 1 A ),359 PUT SKIP <3>,.360 PUT EDIT

CAANTAL GELEOINGEN',T(1I,'AANTAL 7 INNEN' t T(2 I t • AANT4L MATEN',T(3I)(SKIP,A,COLUMN(601,F17,2))..

361 PUT SKIP (21,.362 POT EDIT

CAANTAL INTERVALLEN',SI4I, 'PROCENT • IN1ERVALLEN' ,P(5 I.•PROCENT - INTERVALLEN',P(6),'PR0CENT ITERATIES',P(7)>I SKIP,A,COLUMN(60 I,F(7,2)),.

363 PUT SKIP (21,.364 PUT EDIT

CAANTAL T IJDWAARDEN' ,S (8 l , 'PR0CENT SONORE TIJOWAARDEN',P(9 I ,•PROCENT STILLE T IJDWAARDEN' ,P (10 ) )( S K I P , A , C O L U M N ( 6 0 1 , F ( 7 , 2 1 1 , .

365 PUT SKI.P (21,.366 PUT EDIT

CAANTAL MAATWIJZERS'.SIll),'PROCENT BINAIRE MAATNI JZERS* , P( 12) ,•PROCENT TERNAIRE MAATHIJZERS',P(13),'PROCENT ANDERE MAATWIJZERS',PI14))(SKIP,A,COLUMN(60),F(7,2 I),.


CAANTAL T0NALITEnSAANDUIDINGEV,S(15l,'PR0CENT MAJEUR ', P ( 1 6) ,•PROCENT MINEUR1,P(17)1(SKIP,A,COLUMN(60),F(7,2)),.


CAANTAL MAJEURAANOUIDINGEN',SI18),'PROCEN1 G+0',P(19),'PROCENT R-U1,PI20I,'PROCENT G*2',P(21),'PROCENT G»3',P(22I,'PROCENT G+4',P(23I,•PRDCENT G*5',P(24),lPR0CENT G+6',P(25),'PROCENT G+7',P(26),•PRPCEHT G-1',P(?7),'PROCENT C.-2 ' ,P ( 28 ) ,'PBOCENT G-31,P(29>,•PROCEMT 6-*',PI?0).'PROCENT G-5•,P(31),'PROCENT G-6'fP(32)i•PROCENT G-7',PI33I)(SKIP,A,COLUMN(60),F(7,2)),.

371 PUT SKIP (21 ,.372 PUT EDIT

CAANTAL MINtURAANDUIDINGEN',S(34),'PROCENT'PROCENT Ktl',P(36),'PROCENT Kt4',P(39),•PR0CEN1 K*7',P(42),•PROCENT K-3',P(45|,•PROCSNT K-6',P(4BI,

PROCENT K*JPROCENT K*5PROCENT K - lPROCENT K-4PROCENT K-7

. P ( 3 7 ) , ' P R D C € N T K + 3 ' , P ( 3 8 ) ,| P ( « a i l ' P l l O C E N T K * 6 I , P ( 4 1 ) ,, P ( 4 3 ) , ' P R 0 C E N T K - 2 ' , P ( 4 4 ) ,, P ( 4 6 ) , > P B 0 C E N T K - 5 ' , P ( 4 7 ) ,, P ( 4 9 I )

(SKIP,A,COLUMN I 6 0 ) , F I 7 , 2 ) I ,373 PUT SKIP ( 2 ) , .374 PUT EDIT

("AAN7AI TEMP0-AANDUIDINGEN' ,S (50) , 'PROCENT ZEER LAWGZAAH' ,P (51 ) ,•PROCF.MT L A N C Z A A M ' , P ( 5 2 ) , 'PROCENT GEMATIGI1 L«NGZAAM' ,P(53 I ,'PR0CEN1 GEMAT1GD S N C L ' , P I 54 ) , 'PROCENT S N F L • , P ( 5 5 I , ' P R O C E N T ZEER SNEL',P(5ftl)( S K I P , A , C 0 L U M N ( 6 0 ) , F ( 7 , 2 ) ) , .

375 PUT SKIP ( 2 ) , .376 PUT EDIT

CAANTAL AG0GIEKAANni ) in lNGEN' ,S (57 ) , 'PR0CEHT VERSNELLEN1 ,P I 58) ,'PROCENT VERTRAGEN",p<59| )( S K I P , A , C P L U « 1 N ( 6 O ) , F ( 7 , 2 ) ) , .


I "AANTAL DVNAMIEKAANOUtOINGEN'.SIÒOIt 'PROCENT ZEER ZACHT ' ,P I 6 1 ) ,'PROCENT Z A C H T ' , P ( 6 2 I , 'PROCENT GEMATIGD Z A C H T 1 , P ( 6 3 ) ,•PROCENT GEMATIGO S T E R K • , P ( 6 4 I , 'PROCENT S T E R K ' , P ( 6 S ) ,•PROCENT ZEER S T E R K ' , P ( 6 6 ) )( S K I P , A , C O L U M N ( 6 0 ) , F ( 7 , 2 ) ) , .


CAANTAL OVERGANGSAANOUIDINGEN',S( 6 7 1 , 'PROCENT CRESCENDO' , P I 6 8 ) ,•PROCENT 0 I M I N U E N D 0 ' , P ( 6 9 ) )( S K I P , A , C O L U M N ( 6 0 I , F I 7 , 2 I ) , .

381 PUT PAGE..38? CLOSE FILE (MELIN)i.3P3 END,.384 VALID..BEGIN,.385 OPEN FILE (MELIN),.386 W=0,.10*0,.I«0,.V=0,.

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390 R5..GET FILE (MELINI EDIT I SYMBOL I ( A( 1 ) I, .391 IF SYMBOL »'W THEN 00..392 R6..GET FILE (MELINI ED!TI SYMBOL> I Al 11 I ,.393 IF SYMBOL ='2" THEN DO,.394 R7..GET FI LEIMELIN)EOI TI SYMBOL)(A(1))i.395 IF SYMBdL-VTHEN DO,.W{2 I=w<2)»1, .GO TO R7t.EN0i.399 IF SYMROL *'W THEN GO TO R6,.400 IF SYMBOL »'Z1 THEN GO TO RIO,.401 CO TO R7,.402 END,.403 IF SYMBOL»^1 THEN DO..404 08..GET FILEIMELINIEDITISYMBOI.) (A(l)l ,.405 IF' SYMBOL'1/' THEM DO,.w(3)=W(3I+1..G0 TO R8..END..409 IF SYMBOL«1"1 THEN GO TO R6,.410 IF SYMBOL»^1 THEN GO TO RIO,.411 GO TO R8,.412 ENO,.413 IF SYMBOL='l' THEN DO,.414 R9..GET FILE (MEL IN)EDIT(SYMBOL)(M 11),.415 IF SYMBOL*1/1 THEN 00,.W(1 I»W(1) + l,.GO TO R9..END,.419 IF SYMBOL*1*1 THEN GO TO R6,.420 IF SYMBOL»'Z' THEN GO TO RIO,.421 GO TO R9,.422 END,.423 END,.424 GO TO R5,.425 RIO..PUT EDIT

(•PROCENT MATEN MET BINAIRE MAATW1JZER',W(2)*100/E,•PROCENT MATEN MET TERNAIRE MASTWIJZER•>W(3)»100/E,"PROCENT MATEN MET ANDERE MAATWIJZER•,W(1>«100/E)(SKIP,A,COLUMN(60),F(7,2)!,.

426 PUT SKIPI3),.427 CLOSE FILE (HELINI,.428 OPEN FILE(MELIN),.429 RII..GET FILE (MELIN I EDI T( SYMBOL > (M 1 >>,.430 IF SYMBOL-'T1 THEN 0 0 , .431 R12..GET FILE(MELIN)EOIT(SYMBOL)(A(1))..432 IF SYMBOL«'G' THEN 00,.433 R13.. GET FILE (MELINI EOITI SYMBOL I(A(11 I,.434 IF SYMBOL»'/' THEN DO,.T0(1)»T0(1>+1,.GO TO R13,.EN0>.438 IF SYMBOL-'T1 THEN GO TO R12,.439 IF SYMBOL-'l' THEN GO TO R15,.440 GO TO R13,.441 ENO,.442 IF SYMBOLIK' THEN 00,.443 R14..GET FILE (MELINI EDIT(SYMBOL)IA(1)I,.444 IF SYMBOL»1/1 THFN 00,.TO I 2)»TO!2 I+1,.GO TO RH,.EN0,.448 IF SYMBOL-'T1 THEN GO TO R12,.449 IF SYMBOL»1?-1 THEN GO TO R15,.450 GO TO R14,.451 END,.452 END,.453 GO TO RII,.454 R15..PUT EDIT

(•PRUCENT MATEN IN GROTE TOONSOORT',TOI 11»100/E,•PROCENT MATEN IN KLEINE TOONSOORT,TOI 2)»100/E)(SKIP,A,COLUMN!60 I,FI 7,2)),.

455 PUt SKIPI3),.456 CLOSE FILE (MELINI,.457 OPEN FILE (MELIN),.458 R16..GET FILE (MELIN)EDIT(SYMBOL I(A(1)I,.459 IF SYMBOL»'D' THEN DO,.460 R17..GET FILE (MELINI EDI TI SYMBOL)(A(1)I,.461 IF SYMBOL»1!1 THEN 00,.462 RIB..GET FILE IMELIN)EDIT(SYMBOL)(AClI I,.463 IF SYMBOL»1/' THEN 00,.I(1)»I(11+1,.GO TO RlBt.EMOi.467 IF SYMBOL»'D' THFN GO TO R17,.468 IF SYMBOL»'P' THEN GO TO R24,.469 IF SYMBOL»'Q' THFN GO TO R25,.470 IF SYMBOL-'Z1 THFN GO TO R26,.471 GO TO RIB,.472 END,.473 IF SYMBOL»^1 THEN 00,.474 R19..GET FILE (MEL IN IEHITI SYMBOL)IA( 1)),.475 IF SYMBOL-'/' THEM DO,.I(2)=I(2)•1,.GO TO R19..EN0,.479 IF SYMBOL"='D' THFN GO TO R17,.4R0 IF SYMBnL='P' THFN Gn TCI R24,.481 IF SYMBOL»^1 THFN GO TO R25,. •482 IF SYMBnL»'Z' THEN GO TO R26..483 GO TO R19,.END>.485 IF SYMB0L='3' THEN DO,.486 R20..GBT FILE I MEL IN I EDIT(SYMBOL)IA( 1 I),.

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487491492493494495497498499503504505506507509510511515516.517516519521522523527528529530531533534535536540541542543544545546547551552553554556557

55fl5595605615625635645655665705715725735745765775785H2583584585566588589590594

IF SYMBOL*'/1 THFM DO,•I(3)- I(3) + 1 ,.GO TO R20,.EN0,IF SYMBOL='D' THEN GO 10 R17,.IF SYMBOL«'P' THEN GO TO R24,.IF SYMBOL='O' THEN Gfl TO R25,.IF SYMBOL-'I' THEN Gn TO R26,.GO TO R2C.END,.IF SYMB0L»'4> THEN 00..R21..GET FILE (MFLlNIEfllT ( SYMBOL) ( A( 11 I,.

THEN D0,.I(4)«l(4)*l,.G0 TO R21,.END,THEN GO TO R17,.THEN GO TO R24,.THEN GO TO R25,.THEN GO TO R26,.

IF SYMBOL»'/1

IF SYHBOL-'D1

IF SYMBOL«'P'IF SYMBOL»1!^1

IF SYMBOL»'Z*GO TO R21..EN0,.IF SYhBCL»'5' THEN DO,.R22..GET FIlE (MELINIEDIT(SYMBOL)(A(1)),.IF SYMBOL«1/1 THEN DO,.I(51 « I(5) + l,.GO TO R22..END,IF SYMBOL='D' THEN Gn TO R17,.IF SYMBOL«1?1 THEN GO TO R24,.IF SYMBOL-1«1 THEN GO TO R25,.IF SYMBOL«'Z' THEN GO TO R26,.GO TO R22,.EN0,.IF SYMB0L»'6' THEN DO,.R 2 3 . . G E 1 F I L E ( M E L I N ) E M HSYMBOL I ( A d ) ) , .IF SYMBOL» 1 / 1 THEN D O , . I ( 6 ) » I I 6 ) + 1 , .GO TO R 2 3 , . E N D ,

THEN GO TO R 1 7 , .THF.N Gn TO R 2 4 , .

I F SYMBOL»'« ' THEN GO TO R 2 5 , .I F SYMBOL- 'Z 1 THEN GO TO R 2 6 , .GO TCI R 2 3 . . E N 0 , .E N D , .

THEN 0 0 , .(MFLINIFDITISYMBOL) (Adi I,.THEN DO,.I(7!»I(7)+1,.GO TO R24,.END,

IF SYMBOL«^ 1

IF SYMBOL«1

IF SYMBOL-1?1

R24..GET FILEIF SYMBOL»1/1

IF SYMBOL»'D' THEN GO TO R1T,.IF SYMROL-'Q' THEN GO TO R25,.IF SYMBOL='Z' THEN GO TO R26,.GO TO R24,.END,.IF S Y M B O L I C THEN DO,.R25..GET FILE (MELIN)EDIT( SYMBOL I ( A d ) I , .IF SYMBOL»'/1 THEN DO,.I(8 I«I(81*1•. GO TO R25,.END>.IF SYMBOL»'D' THEN GO TO R17,.IF SYMBOL«'P' THEN GO 10 R24,.IF SYMBOL-'Z1 THEN GO TO R26,.GO TO R25..END,.GO TO R16,.R26.. PUT EDIT(•PROCENT MATEN MET ZEER ZACHT NIVEAU1 ,I(1I»1OO/E,•PROCENT MATEN MET ZACHT NIVEAU1 ,I(2)«100/E.•PROCENT MATEN HF.T GEMATIGn ZACHT NIVEAU1 ,I(3l»100/E,'PROCENT MATEN MET GEMATIGO STERK NIVEAU',I(4)«100/E.'PROCENT MATEN *ET STERK NI VEAU1,I I 5I*1OO/E,•PROCENT MATEN MET ZFER STERK NIVEAU',I(6)»100/E,'PROCENT MATEN MET TOENEMENO NIVEAU' ,I(7I»1OO/E,'PflOCENT MATEN MET AFNEMEND NIVEAU' ,I(8I«1OO/EI(SKIP,A,COLUMN(60I,F I 7,2)),.PUT SKIPI3),.CLOSE FILE (MELICI,.OPEN FILE (MELIN),.R27..GET FILE (MELINIEOITISYMBOL I(A(11 I,.IF SYMBOL-'V" THEN DO,.R28..GET FILE (MELIN)EOIT(SYM80L)(A(1)I,.IF SYHBOL»'l' THEN 00,.R29..GET FILE (HELIN)EOIT(SYMBOLI IA(1)I,.IF SYMBOL»'/' THEN DO,.V(1)=V(1 I+1,.GO TO R29..EN0..IF SYMB0L»'V THEN GO TO R28..IF SYMBOL-'E' THEN GT TO R35,.IF SYMBOL-'F" THFN GO TO R36,.IF SYMBOL-'Z1 THEN GO TO R37,.GO TO R29..END,.IF SYMflOL»'2' THEN DO,.R30..GET FILE (MELINlEDITISYMBOL I(A(111,.IF SYMBOL«'/' THEN DO,.VI21=V(21 + 1,.GO TO R30..END,.I F SYMBOL- 'V 1 THEN GO TO R 2 8 , .I F S Y M B O L » ^ ' THEN Gn TO R 3 5 , .I F SYHBOL»«F' THEN GO TO R 3 6 , .I F SYMBOL«'Z' THEN GO TO R 3 7 , .GO TO R 3 0 , . E N 0 , .I F S Y M B O L » ^ 1 THEN D O , .R 3 1 . . G E T F I L E ( M E L I N I E D I T I SYMBOL I ( A d i I , .I F SYMBOL« 1 / ' THEN D 0 , . V ( 3 ) » V ( 3 ) + 1 » . G O TO R 3 1 , . E N D > .I F S Y M B 0 L " ' V THEN GO TO R 2 H , .

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5955965975986006016026066076086096106126136146186196206216226246?56266306316326336346366376386 39643644645646646649650654655656657659660

661662663

IF SYMBOL='E' THEN GO TP R35,.IF SYMBOL*'F' THEN GO TO R36,.IF SYMBOL*1!1 THEN GO TO R37,.GO TO R31..END,.IF SYMB0L='4' THEN DO,.R32..GET FILE (MELIN)EDtT(SYMBOL)[A(11 I,.IF SYMBOL*1/1 THEN 00,.V(4I=V(41+1,.GO TO R3?,.END..IF SYM80L»'V THEN «1 TO R26,.IF SYMBOLES 1 THEN GO TO R 3 5 , .IF S Y M B O L * ^ 1 THEN GO TO R 3 6 , .IF SYMBOL*1!1 THEN GO TO R37,.GO TO R32..ENO,.IF SYMBPL-'S1 THEN 00..R33..GET FILE (MELINIEDIT(SYMBOL I IA(1)>,.IF SYMBOL*1/1 THEN DO,.V(5 I= V(51 + 1..GO TO R33..END,.IF SYMBOL*^ 1 THEN GO TO R28,.IF SYMBOL*'E' THEN GO TO R35,.IF SYMBOL*^1 THF.N GO TO R36,.IF SYMBOL*1!1 THEN GO Tn R37,,GO TO R33..END..IF SYMBOL*^ 1 THFN DO,.R34 . .GET F I L E ( K F L I N ) F n i T I SYMBOL I ( a ( I ) I , .IF SYMBOL* 1 / 1 THEN HH, . V( 6) * V ( M + l > .GO TO R 3 4 » . E N 0 , - .IF SYMBOL*'V' THEN GO Tn R 2 R , .I F S Y M B O L * ^ 1 THEN GO TO R 3 5 . .IF S Y M B O L * ^ 1 THEN Gn TO K 3 6 , .IF SYMBOL* 1 ! 1 THEN GO TO « 3 7 , .GO TO R 3 4 . . E N 0 , .E N D , .I F S Y M B O L * ^ 1 THEN D O , .R35..GET FILE (MFLIN)EpiT(SYMROLI(«11)),.IF SYMBPC*'/' THEN DO,,V(7)*V(7 11\,.GO TO «35,.END,.IF SYMBOL*^1 THEN GP TP R2B,.IF SYMBOL*^ 1 THEM KP TO R36,.IF SYMBOL*1!1 THEN GO TO R37,.GO TO R35..END..IF SYMBOL*^1 THFN 00,.R36..GET FILE (MELIM) c n n ( SYMBOL I ( « ( 11 I , .IF SYMBOL*1 /1 THEN D P , . V ( 8 ) * " ( f l ) • ! , . G O Tn R 3 6 . . E N D , .IF SYMBOL*^ 1 THEN GO TO R 2 8 , .IF S Y M f O L * ^ 1 THEN GO TO R 3 5 , .IF SYMPPL*1 !1 THEN GO TO R 3 7 , .GO TO R 3 6 . . E N D , .GO TO R 2 7 , .R37. .PUT EDIT(•PROCENT MATEN MET !EF.R L«NS!»1M TENPO' «VI1 )*100/E>•PROCENT M4TEN MFT LANG!«AM TEMPO1,VI 2I»100/E,•PROCENT MATEN MET GEH4TIG0 LANGIAAM TEMPO",VI3 I«100/E,•PROCENT MATEN MET GEMATIGD SNF.L TEMPO1 ,V(4I»100/E,•PROCENT MATEN MET SNEL TEMPO' ,V(5)*100/E,•PKOCENT MA1EN MET !EER SNEL TEMPO' ,V(6)*100/E,'PROCENT MATEN MET TOENEMEND TEMPO' ,V(7)«100/E,'PROCENT MATEN MET AFNEMEND TEMPO' iV(SI*100/E)(SKIP,A,COLUMN(60),F(7.2 I I,.CLOSE FILE (MELIN),.END,.END,.

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7a 1 ACHIEVEMENT OF PROGRAM 1 FOR ONE LIED (BEETHOVEN)AND RESULTS

1. Counting results for the entire composition, for each section and for eachmelodic phrase.KOMP = composition MATG (EL) = section INTZ(IN) = melodic phrase ITEWYZ = time signature + INBIN = binary time signature — INTER = ternary „ „ TYDAND = other „ „ SOTTON = tonality RUSMAJ = majorMIN = minor

= bars= intervals= iterations= ascending intervals= descending intervals= time values= sonorous time-values= silent time-values

RESULTATEN VAN OE TELOPDRACHTEN IN OE KOHPOSITIEtDE GELEOIKGEN EN 0E ZINNEN

GEL ZIN WYZ BIN TER AND TON HAJ HIN MAT INT ITE *IN -IN TYD SOT RUS

KOHP J 2* 6 6 0 0 13 7 6 92 2«! 39 9* 108 28* 265 19

z

E 1

Z 1

12

Z 20Z 21Z 22Z 23Z 24

ï

}

)

5)

222

10

00

010

00

0

10000100

222

10

001001o

oo

0

0

10000100

o

oo

o

0

0000000

00

0

00000000

o

oo

o

0

0000000

00

o o

oc

0000000

544

1

2 3.

00 0 0 3

12

00 C00112

0

00112000

(

i

1111

1

!> 1

11

t 1

S 1

111

t 1

i l

{

4 2

01

2

50

1032

50

10

22

0b 8

6 15 1 4 10

11111213*

1971111

13•

19

1111

41719

88

111214

1

1

l

1

11

11

667

00

10

3

00

10

3

00Q

01

i 32

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2. Number of tempo and dynamics indications for the entire composition, for eachsection and for each melodic phrase.VIT = tempo indications OVG = tempo gradual transitionsAGO = agogic CRE = crescendoACC = accelerate DIM = diminuendoDEC = slacken

AANT4L SNELHE10S- EN DYNAMlEKAANDUIOINGEN IN OE KOMPOS1TIE»DE GELEDINGEN EN DE ZINNEN

KON

G

G

Z

27Z

77l 1

Z 1Z 1Z 1

P 6

1 2

a 2

ï ï

S 06 1

B 09 10 0

2 03 0

Z 1 7 1z la oZ 19 0Z 20 0Z 21 0Z 22 1Z 23 0T ï4 0

0

0

0

0

00

000

io o o

c

00000000

0

0

0

0

00

000

000

00000000

3

1

l

1

00

010

3O

OO

C

10000000

1

1

00

01

000

0

1

00000100

0

00

00

000

0

00000000

« o

oo

o

0

00

000

J O O

OC

00000000

o o

oo

o

0

00

000

0

00000000

oo

o

or

0

00

000

)• O

OC

00000000

0

0

0oo

o

00

00

00000000

6

2

2011020

20

20020110

—

o o

oo

0

000

000

00

000000000

12

•

1

t01

0l0

101

10010110

0

0

0

000

000

000

00000000

0

0

0

0

000

000

000

00000000

1

1

'

000

0

x0000

10000000

1

i

0

100

000

100

000

t0000

OVG

8

7

0

121

0

0

121

00212110

CRE DIN

332

0 00 0

010

0 00 0J 0

010

) 01 (

1(1((

3 (

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3. Number of different sonorous time-values, information length and realinformation for the entire composition, for each section and for each melodicphrase.GR = time-values longer than 1

T = intermediate time-valuesKL = time-values shorter than 1 /64

GR 1 T 1/2 T 1/4 T 1/B T 1/16 T 1/32 T 1/64 KL IL Rl

KOHP 1 0 6 3 15 54 24 120 0 36 0 6 0 0 0 265 9

z2

2 0 0 0 0 0 1 2

4 0 0 0 0 1 1 05 0 0 0 1 0 1 1 (

8 0 0 0 0 0 2 0 «

1 0 0 0 0 0 0 32 0 0 0 0 1 1 0

6 0 0 0 0 0 2 0 4

» 0 0 0 0 1 1 02 1 0 0 0 1 0 1 1 t22 0 0 2 0 2 5 0? 3 0 0 0 0 1 6 0 <

b 0 2 0 0 0 00 3 0 2 0 0 C

b 0 4 0 0 0 0 <0 1 0 0 0 0 (

0 0 0 0 0 0 (

S. 0 2 0 0 0 0

S Q 4 0 0 0 0 (

0 0 0 C0 2 0 t

b 0 2 0 C0 3 0

b 0 4 0 C0 1 00 0 0 t0 0 0

0 0 (0 0 C0 0 (0 0 (0 0 (0 00 0

Î 0 0

1 51 42 42 44 46 46 36 21 5

1 4

2 4

6 36 21 51 42 42 44 46 46 Ì

4. Number of different silent time-values, information length and real information,for the entire composition, for each section and for each melodic phrase.

AANTAL VERSCHILLENDE STILLE TIJDSWAARDEN,1NF0RNATIELENGTE EN REELE IW0RHAT1E IN DE KOMPOSITIE.DE GELEDINGEN EN DE 2 INNEN

GR 1 T 1 /2 T 1 /4 T 1/B 1 1 / 1 6 T 1 / 3 2 T 1 / 6 4 KL I L RI

KQMP 0 0 2 5 9 3 0 0 0 0 0 0 0 0 0 19 4

141516IT181920212223

0 0 00 0 00 0 0

0 0 00 0 00 0 0

1 0 0 0 1 1Ì 0 0 0 0 0) 0 0 0 0 0

) 0 0 0 1 10 0 0 0 0

Ï 0 0 0 1 I

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5. Number of different intervals, information length and real information, for theentire composition, for each section and for each melodic phrase.

AANTAL VERSCHILLENDE INTERVALLEN,1NFORMATIELENGTE EN REELE INFORNATIE IN OE KOMPOSlTIEtOE GELEDINGEN EN OE ZINNEN

G Ì 13 S 12 3 3 3G 2 13 8 12 3 3 3

0 10 200 10 20

0 80 140 80 140 81 14

Z J4

2 0 02 0 0

0 00 01 0

0 00 0

2 9 11 8 11 1 01 1 01 1 0

18 4 1 219 ! I 0JO 1 2 121 0 0 222 1 1 3

Z 23 1

0 00 0

0 0 3 30 0 1 1

0 1 1 50 11 100 3 20 IS 80 15 70 5 5

1

6. Results concerning tonality and metre.

0 15 70 5 5

0 0 100 0 11

0 3 20 15 80 15 70 6 5

Number of tonality indicationsNumber of modal modulationsNumber of 'major' modulationsNumber of 'minor' modulations

Mode evolution in %'Major' evolution in %'Minor' evolution in %Average tonality frequency, in bars

131200

100.00.00.00

7.07

Real tonality frequency 1Real tonality frequency 2

4K

Q

10

»> »t

» J»1 %

7241

23241

23241

18

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111111111111

151515151517

Average metre frequency, in bars 15.33

Relationship degree in modulation„tf

j j

a

it

It

It

tt

It

tt

»

Real metreit It

f» ti

tt »»

»» 11

t »

»

it

It

»»

, ,

ff

»

it

tt

it

„

,,a

a

frequency 1

tt

23456

*)t»

11

M

J»

) »

f t

»

123456789

101112

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7a 2 ACHIEVEMENT OF PROGRAM 2 FOR ONE LIED (BEETHOVEN)AND RESULTS

1 Results of survey procedure for the Beethoven composition

Number of sections (vocal units) 3.00Number of phrases (melodic lines) 24.00Number of bars 92.00

Number of intervals 241.00% +intervals 39.00%-intervals 44.81% 0-intervals (iterations) 16.18

Number of time-values 284.00% sonorous time-values 93.30% silent time-values 6.69

Number of metre indications 6.00% binary metres 100.00% ternary metres .00% other metres .00

Number of tonality indications 13.00% major 53.84% minor 46.15

Number of major key signatures 7.000 42.851 .002 .003 57.14

%+ 4 .00%+ 5 .00%+ 6 .00%+ 7 .00% - l .00%-2 .00% - 3 .00% - 4 .00% - 5 .00% - 6 .00% - 7 .00

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Number of minor key signatures 6.00%+ 0 100.00%+ 1 .00%+ 2 .00%+ 3 .00% + 4 .00% + 5 .00%+ 6 .00%+ 7 .00% - 1 .00% - 2 .00% - 3 .00% - 4 .00% - 5 .00% - 6 .00% - 7 .00

Number of tempo indications 6.00% very slow .00% slow .00% rather slow 50.00% rather fast 50.00% fast .00% very fast .00

Number of agogic indications .00% accel .00% slowing down (slacken) .00

Number of dynamics indications 18.00% very soft .00% soft 66.66% rather soft .00% rather loud .00%loud 16.66% very loud 16.66

Number of indications of gradual transition 23.00% crescendo 65.21% diminuendo 34.78

% bars with binary metre 100.00% „ „ ternary „ .00% „ „ other „ .00

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% bars in a major key 90.22% „ „„minor „ 9.78

% bars with very soft intensity -00% „ „ soft „ 47.83% „ „ rather soft „ -00% „ „ rather loud „ -00% „ „ loud „ 3.26% „ „ very loud „ -00% „ „ increasing „ 20.65% „ „ decreasing „ 28.26

% bars in very slow tempo -00% „ „slow „ -0°% „ „rather slow „ 48.91% „ „rather fast „ 51.09% „ „fast „ -00% „ „very fast „ -00% „ „ with accel „ - 0 0

% „ „ with slowing down tempo .00

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64 J .L. BROECKX and W. LANDRIEU

number of vocal units

number of melodic lines

number of bars

number of intervals

% + intervals

% - intervals

% iterations

number of time-values

% time-values of notes

% time-values of silences

number of metrical signatures

% binary metrical signatures

% ternary metrical signatures

% other metrical signatures

number of key indications

% major

% minor

number of major indications

% C major

% G major

% D major

% A major

% E major

% B major

% F sharp major

% C sharp major

% F major

% B flat major

% E flat major

% A flat major

% D flat major

% G flat major

% C flat major

3

24

92

241

39,00

44,81

16,18

284

93,30

6,69

6

100

0

0

13

53,84

46,15

7

42,85

0

0

57,14

0

0

0

0

0

0

0

0

0

0

0

BEETHOVEN

1

1

8

30

80

38,75

45

16,25

94

93,61

6,38

2

100

0

0

5

60

40

3

33,33

0

0

66,66

0

0

0

0

0

0

0

0

0

0

0

2

1

8

30

80

38,75

45

16,25

94

93,61

6,38

2

100

0

0

5

60

40

3

33,33

0

0

66,66

0

0

0

0

0

0

0

0

0

0

0

3

1

8

32

81

39,50

44,44

16,04

96

92,70

7,29

2

100

0

0

5

60

40

3

33,33

0

0

66,66

0

0

0

0

0

0

0

0

0

0

0

3

24

110

268

46,26

40,29

13,43

314

92,99

7,00

1

100

0

0

17

94,11

5,88

16

0

0

0

0

0

0

0

0

0

18,75

37,50

6,25

0

12,50

25,00

SCHUBERT1

1

8

37

90

46,66

41,11

12,22

106

92,45

7,54

1

100

0

0

6

100

0

6

0

0

0

0

0

0

0

0

0

16,66

50

0

0

16,66

16,66

2

1

8

37

90

46,66

41,11

12,22

106

92,45

7,54

1

100

0

0

6

100

0

6

0

0

0

0

0

0

0

0

0

16,66

50

0

0

16,66

16,66

3

1

8

36

88

45,45

38,63

15,90

102

94,11

5,88

1

100

0

0

6

83,33

16,66

5

0

0

0

0

0

0

0

0

0

20

20

20

0

0

40

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014


3

21

69

229

43,2336,6820,08

272

91,918,08

1

0

100

0

43

55,81

44,18

24

25

25

0

0

0

0

0

0

12,50

25

12,500

0

0

0

SCHUMANN1

1

7

23

76

43,42

36,8419,73

91

91,20

8,79

1

0

100

0

15

53,3346,66

825

25

0

0

00

0

0

12,5025

12,500

0

0

0

2

1

7

23

76

43,4236,8419,73

90

92,227,77

!

0

1000

15

53,33

46,66

8

25

25

0

0

00

00

12,5025

12,50

00

0

0

3

1

7

23

77

42,85

36,3620,77

91

92,307,69

1

0

100

0

15

53,33

46,66

8

25

25

0

0

00

00

12,5025

12,50

00

00

3

22

102

310

36,1245,4818,38

400

83

17

8

100

00

29

75,8624,13

220

9,099,094,540

27,27

36,360

013,630

0

0

0

0

LISZT1

1

7

29

91

34,06

45,0520,87

119

82,3517,64

3

100

0

0

10

90

10

9

0

11,1111,110

022,22

44,440

0

11,110

0

0

0

0

2

1

7

29

89

32,5848,3119,10

115

83,4716,52

3

100

0

0

10

80

20

8

0

12,50

0

0

025

50

0

0

12,500

0

0

0

0

3

1

8

44

130

40

43,84

16,15

166

83,1316,86

4

100

0

0

11

63,6336,36

7

0

0

14,2814,28

0

28,57

28,570

0

14,28

000

0

0

3

18

81

184

25,54

47,2827,17

238

84,8715,12

7

0

100

0

31

58,0641,93

18

11,1111,110

0

00

0

11,11

00

11,1111,110

44,44

0

WOLF1

1

6

25

62

22,5846,7730,64

78

87,1712,82

3

0

100

0

11

72,7227,27

8

12,50

12,50

0

0

00

0

0

00

12,5012,500

50

0

2

1

625

59

22,0349,15

28,81

77

84,4115,58

3

0

100

0

12

66,6633,33

812,5012,50

0

0

00

0

0

0

0

12,5012,50

0

50

0

3

1

6

31

63

31,74

46,03

22,22

83

83,1316,86

3

0

100

0

9

33,3366,66

3

0

0

0

0

0

0

0

66,66

0

0

0

0

0

33,330

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014


number of minor indications% a minor

% e minor

%b minor% f sharp minor

% c sharp minor% g sharp minor% d sharp minor% a sharp minor

% d minor% g minor

% c minor% f minor% b flat minor% e flat minor% a flat minor

number of tempo indications% very slow% slow

% rather slow% rather fast% fast

% very fast

number of transition indicationsof tempo% faster% slower

number of dynamics indications% very soft% soft

% rather soft

% rather loud

%loud

% very loud

number of transition indicationsof intensity

% crescendo

% diminuendo

6

100

0

0

0

0

0

0

0

0

0

0

0

0

0

0

6

0

0

SO

50

0

0

0

0

0

18

0

66,660

0

16,66

16,66

23

65,21

34,78

BEETHOVEN1

2

100

0

0

0

0

0

0

0

0

0

0

0

0

0

0

2

0

0

50

50

0

0

0

0

0

6

0

66,66

0

0

16,66

16,66

8

62,5037,50

2

2

100

0

0

0

0

0

0

0

0

0

0

0

0

0

0

2

0

0

50

50

0

0

0

0

0

6

0

66,660

0

16,66

16,66

8

62,50

37,50

3

2

100

0

0

0

0

0

0

0

0

0

0

0

0

0

0

2

0

0

50

50

0

0

0

0

0

6

0

66,66

0

0

16,66

16,66

7

71,4228,57

1

0

0

0

0

0

0

0

0

0

0

0

0

0

100

0

1

0

0

100

0

0

0

0

0

0

17

11,7647,05

0

0

23,52

17,64

9

66,6633,33

SCHUBERT1

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

1

0

0

100

0

0

0

0

0

0

6

16,66

50

0

0

16,6616,66

3

66,66

33,33

2

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

1

0

0

100

0

0

0

0

0

0

6

16,6650

0

0

16,66

16,66

3

66,6633,33

3

1

0

0

0

0

0

0

0

0

0

0

0

0

0

100

0

1

0

0

100

0

0

0

0

0

0

5

0

40

0

0

40

20

3-

66,6633,33

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014


19

15,780

0

00

0

0

0

0

52,63

31,57

0

0

0

0

1

0

100

00

0

0

0

00

25

0

52

00

48

0

650

50

SCHUMANN

1

714,280

0

0

0

0

0

0

0

57,14

28,570

0

0

0

1

0

100

00

0

0

0

00

9

0

55,5500

44,440

2

50

50

2

7

14,28

0

0

0

0

0

0

0

0

57,14

28,57

0

0

0

0

1

0

100

00

0

0

0

00

9

0

55,55

00

44,440

2

50

50

3

7

14,28

0

0

00

0

0

0

0

57,14

28,57

0

0

0

0

1

0

100

00

0

0

0

00

9

0

55,5500

44,440

2

50

50

7

0

0

0

42,85

14,280

0

0

14,2814,28

0

0

14,28

0

0

8

75

25

00

0

0

6

0100

22

22,7259,09

04,54

9,094,54

17

70,5829,41

LISZT

1

1

0

0

0

1000

0

0

0

0

0

0

0

0

0

0

4

100

0

00

0

0

3

0

100

8

25

62,5000

12,500

8

87,50

12,50

2

2

0

0

0

50

0

0

0

0

0

50

0

0

0

0

0

2

100

0

00

0

0

2

0100

9

22,2266,66

00

11,110

7

57,14

42,85

3

40

0

0

25

25

0

0

0

25

0

0

025

0

0

3

33,3366,66

00

0

0

1

0100

6

16,6650

0

16,66

0

16,66

2

50

50

13

0

0

0

15387,690

0

7,69

0

0

0

23,0730,76

7,69

7,69

1

0

100

00

0

0

0

0

0

19

10,5252,63

0

5,26

26,31

5,26

16

68,75

31,25

WOLF1

300

0

0

0

0

0

0

0

0

0

33,3333,33

0

33,33

1

0

100

00

0

0

0

0

0

8

0

62,500

12,50

25

0

7

57,14

42,85

2

4

0

0

00

0

0

0

0

0

0

0

25

50

25

0

1

0

100

00

0

0

0

00

4

0

75

00

25

0

4

75

25

3

6

0

0

0

333316,660

0

16,66

00

0

16,6616,66

0

0

1

0

100

000

0

0

0

0

9

22,2244,44

0

0

22,22

11,11

580

20

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014

68 J

% bars with binary time-signatures

% bars with ternary time-signatures

% bars with other time-signatures

% bars in major key

% bars in minor key

% bars with very soft intensity

% bars with soft intensity

% bars with rather soft intensity

% bars with rather loud intensity

% bars with loud intensity

% bars with very loud intensity

% bars with increasing intensity

% bars with decreasing intensity

% bars in a very slow tempo

% bars in a slow tempo

% bars in a rather slow tempo

% bars in a rather fast tempo

% bars in a fast tempo

% bars in a very fast tempo

% bars in a increasing tempo

% bars in a decreasing tempo

.L. BROECKX and W.

100

0

0

90,22

9,78

0

47,83

0

0

3,26

0

20,65

28,26

0

0

48,91

51,09

0

0

0

0

BEETHOVEN

1

100

0

0

90

10

043,33

0

0

3,33

0

20

33,33

0

0

50

50

0

0

00

2

100

0

0

90

10

0

43,33

0

0

3,33

0

20

33,33

0

050

500

0

0

0

LANDRIEU

3

100

0

0

90,63

938

0

56,25

0

0

3,13

021,88

18,75

0

0

46,88

53,13

0

0

0

0

100

0

0

93,64

6,36

3,64

49,09

0

0

15,45

17,27

10,91

3,64

0

0100

0

0

0

0

0

SCHUBERT

1

100

0

0

100

0

5,41

62,16

0

0

2,70

16,22

10,81

2,70

0

0

100

0

0

0

0

0

2

100

0

0

100

0

5,41

62,16

0

0

2,70

16,22

10,81

2,70

0

0

100

0

0

0

0

0

3

100

0

0

80,56

19,44

0

22,22

0

041,67

19,44

11,11

5,56

0

0

100

0

0

0

0

0

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014


0

100

0

47,8352,17

0

69,570

0

21,740

8,700

0

100

0

0

0

0

0

0

SCHUMANN1

0

100

0

47,8352,17

0

69,57

00

21,740

8,70

0

0

100

00

0

0

0

0

2

0

100

0

47,8352,17

0

69,570

0

21,74

0

8,70

0

0

100

0

0

0

0

0

0

3

0100

0

47,8352,17

0

69,570

0

21,740

8,700

0

100

0

0

0

0

0

0

100

0

0

69,6130,39

11,7652,92

0

6,863,922,94

7,84

12,75

59,8027,45

0

0

00

0

12,75

LISZT1

100

0

0

793120,69

10,3462,07

0

0

6,900

13,796,90

96,55

0

0

0

0

0

0

3,45

2

100

0

0

68,9731,03

6,9051,72006,900

13,7920,69

86,210

0

0

0

0

0

13,79

3

100

0

0

63,6436,36

15,9159,09

0

15,910

6,82

0

2,27

18,1863,64

00

0

0

0

18,18

0100

0

58,0241,98

6,1743,21

0

1,231,233,70

35,808,64

0

100

0

0

0

0

0

0

1

0

100

0

68

32

0

44

0

4

4

0

32

16

0100

0

0

0

0

0

0

WOLF2

0

100

0

60

40

044

0

0

0

0

48

8

0

100

0

0

0

0

0

0

3

0

100

0

483951,61

16,1341,94

0

0

0

9,6829,033,23

0100

0

0

0

0

0

0

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014

70

Time values

> 1

= 1

T

= 1/2

T

= 1/4

T

= 1/8

T

= 1/6

T

= 1/32

T

= 1/64

<l /64

Opt. inf.

Real inf.

Inf. length

(RI/01)xlOO

(RI/IL)xl00

notessilences

N

S

N

S

N

S

N

S

, NS

N

S

N

S

N

SNS

N

S

N

S

N

S

N

S

N

S

N

S

N

S

N

S

N

S

N

S

J

1

0

0

062

3

5

15

9

54

324

0

120

0

0

036

0

0

0

6

00

0

0

0

0

0

15

15

9

4

265

19

60

26,66

3,3921,05

.L. BROECKX and W. LANDRIEU

BEETHOVEN

0

0

0

0

2

1

1

1

5

3

18

18

0

40

0

0

012

0

0

0200

0

0

0

0

0

15

15

8

4

88

653,33

26,66

9,09

66,66

0

0

002

1

1

1

5

3

18

1

8

0

40

0

0

0

120

0

0

2

00

0

0

0

0

0

15

15

8

4

88

653,33

26,669,09

66,66

1

0

0

0

2

01

3

5

3

18

18

040

0

0

0

12

0

0

0

2

00

0

0

0

0

015

15

9

3

89

7

60

20

10,11

42,85

0

0

0

09

0

6

023

3

32

325

0

130

16

0

0

63

0

4

0

0

00

0

0

0

0

0

15

15

8

3292

2253,33

20

2,74

13,63

SCHUBERT

0

0

00

3

02

0

7

1

11

1

9

043

6

0

0

21

0

2

0

000

0

0

0

0

015

15

83

98

8

53,33

20

8,1637,50

0

0

0

0

3

0

2

0

7

1

11

1

9

0

43

60

0

21

0

2

0

0

0

0

0

0

0

00

15

15

8

398

853,33

20

8,16

37,50

0

0

0

03

020

9

1

10

1

7

0

44

4

0

0

210

00

0

00

0

0

00

0

15

15

7

3

96

6

46,66

20

7,29

50

Dow

nloa

ded

by [

UQ

Lib

rary

] at

02:

42 1

8 N

ovem

ber

2014


0

0

00

00

0

0

3

0

15

0

17

0

60

6

12

0

112

16

4

0

24

0

0

0

0

0

0

0

15

15

8

2

247

22

53,3313,333,239,09

SCHUMANN

0

0

0

0

0

0

0

0

1

0

5

0

5

021

2

4

0

38

6

0

0

8

0

0

0

0

0

0

0

15

15

7

282

8

46,66

13,338,53

25

0

0

0

0

0

0

0

0

1

050

6

0

20

2

4

0

38

5

0

0

8

0

0

0

0

0

00

15

15

7

282

7

46,66

13,338,53

28,57

0

0

0

0

0

0

0

0

1

05

0

6

0

19

2

4

0

36

5

4

0

8

0

0

0

0

0

00

15

15

8

2

83

7

53,33

13,339,63

28,57

2

17

4

2

9

13

33

1

14

1

153

26

15

0

80

6

0

0

22

2

0

00

0

0

0

0

0

00

15

15

9

8

332

68

60

53,332,71

11,76

LISZT

0

6

1

0

2

211

0

5

0

48

11

4

0

20

1

0

0

7

1

0

0

0

0

0

0

0

0

0

0

15

15

8

598

21

53,33

33,33

8,1623,80

0

6

1

0

2

211

1

4

145

7

4

0

22

1

0

0

7

1

0

0

0

0

0

0

0

0

0

0

15

15

8

7

96

19

53,33

46,66

8,3336,84

2

5

2

2

5

9

11

0

5

0

60

8

7

0

38

4

0

0

8

0

0

0

0

0

0

0

0

0

0

0

15

15

9

5

138

28

60

33,33

6,5217,85

1

1

3

1

9

7

26

3

38

4

30

7

5

1

80

12

0

0

10

0

000

0

0

0

0

0

00

15

15

9

8202

36

60

53334,45

22,22

WOLF

0

1

1

1

2

1

9

0

13

29

2

2

029

3

0

0

3

0

0

0

0

0

0

0

0

0

0

0

15

15

8

6

68

10

53,33

40

11,7660

0

0

1

0

3

2

82

14

1

7

2

1

0

30

5

0

0

1

0

0

00

0

0

0

0

0

00

15

15

8

565

12

53,33

33,33

12,3041,66

1

0

1

0

4

4

91

11

1

14

3

2

1

21

4

0

0

600

0

0

0

0

00

0

0

0

15

15

9

6

69

14

60

40

13,04

42,85

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Intervals

0

+ 1

- 1

+ 2

- 2

+ 3

- 3

+ 4

- 4

+ 5

- 5

+ 6

- 6

+ 7

- 7

+ 8

- 8

+ 9

- 9

+ 10

- 1 0

+ 11

- 1 1

+ 12

- 1 2

Opt. inform.

Real inform.

Inf. length

(RI/OI)xl00

(RI/IL)xl00

K

39

25

30

36

60

9

9

9

3

9

0

0

3

3

3

0

0

3

0

0

0

0

0

0

0

25

14

241

56

5,81

BEETHOVEN

Gl

13

8

10

12

20

3

3

3

1

3

0

0

1

1

1

0

0

1

0

0

0

0

0

0

0

25

14

80

56

17,50

G2

13

8

10

12

20

3

3

3

1

3

0

0

1

1

1

0

0

1

0

0

0

0

0

0

0

25

14

80

56

17,50

G3

13

9

10

12

20

3

3

3

1

3

0

0

1

1

1

0

0

1

0

0

0

0

0

0

0

25

14

81

56

17,28

K

36

46

22

35

46

5

9

6

2

23

18

1

5

5

0

1

0

2

6

0

0

0

0

0

0

25

17

268

68

6,34

SCHUBERT

Gl

11

16

8

12

16

2

2

2

1

7

6

0

2

2

0

0

0

1

2

0

0

0

0

0

0

25

15

90

60

16,66

G2

11

16

8

12

16

2

2

2

1

7

6

0

2

2

0

0

0

1

2

0

0

0

0

0

0

25

15

90

60

16,66

G3

14

14

6

11

14

1

5

2

0

9

6

1

1

1

0

1

0

0

2

0

0

0

0

0

0

25

15

88

60

17,04

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K

46

30

27

30

24

6

6

6

3

15

6

6

6

3

6

3

6

0

0

0

0

0

0

0

0

25

17

229

68

7,42

SCHUMANN

Gl

15

10

9

10

8

2

2

2

1

5

2

2

2

1

2

1

2

0

0

0

0

0

0

0

0

25

17

76

68

22,36

G2

15

10

9

10

8

2

2

2

1

5

2

2

2

1

2

1

2

0

0

0

0

0

0

0

0

25

17

76

68

22,36

G3

16

10

9

10

8

2

2

2

1

5

2

2

2

1

2

1

2

0

0

0

0

0

0

0

0

25

17

77

68

22,07

K

57

34

37

9

50

13

11

9

5

14

15

8

10

5

4

4

7

14

0

1

0

0

0

1

0

25

20

310

80

6,77

LISZT

Gl

19

8

10

3

13

3

2

2

1

5

6

2

6

2

1

2

2

4

0

0

0

0

0

0

0

25

18

91

72

19,78

G2

17

8

10

1

14

4

5

3

1

3

6

2

4

1

1

2

2

4

0

1

0

0

0

0

0

25

19

89

76

21,34

G3

21

18

17

5

23

6

4

4

3

6

3

4

0

2

2

0

3

6

2

0

0

0

0

1

0

25

18

130

72

13,84

K

50

3

33

5

33

14

1

6

2

8

4

2

1

2

6

0

0

7

3

0

0

0

0

0

4

25

18

184

72

9,78

WOLF

Gl

19

2

11

1

12

3

0

1

0

3

2

1

0

0

1

0

0

3

2

0

0

0

0

0

1

25

14

62

56

22,58

G2

17

1

12

2

10

2

1

2

1

2

1

1

0

2

2

0

0

1

1

0

0

0

0

0

1

25

17

59

68

28,81

G3

14

0

10

2

11

9

0

3

1

3

1

0

1

0

3

0

0

3

0

0

0

0

0

0

2

25

13

63

52

20,63

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Degree of key relationship in modulations

Beethoven

Schubert

Schumann

Liszt

Wolf

1 s t

12

4

36

13

9

2 n d

0

7

6

5

11

gth

0

2

0

4

4

4 t h

0

3

0

3

2

5 t h

0

0

0

0

2

6 t h

0

0

0

2

0

7 th

0

0

0

1

2

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8. STYLISTIC STUDY (1)

8.1. Plan ofthelieder

A first specific feature of each of the five lieder is the quite similar division intothree vocal units (corresponding to the three stanzas of the poem).

A first discriminating element between the lieder is the number of melodic linesin each composition: 24, 24, 21, 22, 18.

A second similarity between the five works also appears if we compare thequantity of lines in each unit. Four of the composers indeed follow a symmetricalpattern except Liszt whose pattern is: 7, 7, 8.

A first conclusion is that for all composers the structure of the literary stanzas isabsolutely determinant and that the mutual relation as to the length of the stanzasis absolutely determinant for 80% of the composers when they set the poem tomusic. The literary conditioning is very important for the overall formal structure.

8.2. Intervallic structure

8.2.1. Quantity of intervalsAt first sight the total number of intervals in each lied is quite divergent: 241, 268,229, 310 and 184. We notice, however, that the first three figures are rather closeto each other. If we consider that the arithmetical mean of those three figures (246)is equal to 100%, we obtain the following percentages: 97,9%, 108,9%, 93,1%, (amaximum difference of 15.8%). The arithmetical mean of the five figures is(rounded off) also 246, which replaced by 100% gives the following percentages:97.9%, 108.9%, 93.1%, 126.0%, 74.8%, (a maximum difference of 51.2%). There-fore, it is clear that for the first three composers (the two early romanticists and themost traditional among the high romanticist) the quantitative syllabical structure ofthe poem, (i.e. the literary element which the composer uses as a basis fordetermining the number of intervals) entails a certain similarity as to the quantityof intervals. For the last two composers, on the contrary, (the more progressive ofthe high romantic and the late romantic composers) it has led to very differentquantities.

Owing to this, our conclusion is that, with regard to the melodic informationlength the literary conditioning is of great importance for composers who arechronologically and stylistically closer to the generation of the author of the poem,while it is of much lesser importance for younger and progressive ones.

Considering the quantitative distribution of intervals over the three musical units,we can notice a most important symmetry in four of the five compositions (InBeethoven's and Schumann's there is only a maximum difference of 1 interval, inSchubert's of 2 and in Wolf's of 4 intervals). In Liszt's work the quantitative(l)When the five lieder are mentioned without the composer's name, the succession shall be

understood according to the chronological order, i.e. Beethoven, Schubert, Schumann, Lisztand Wolf.

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distribution of intervals follows an asymmetrical pattern which he obtains bylengthening out the third unit.

We think we can conclude that for 80% of the composers the quantitativedistribution of intervals over the vocal units is conditioned for a great part by thesymmetric syllabical structure of the poem.

The literary conditionment is also of great importance for the distribution of themelodic information length, and this for all but one composer.

8.2.2. Classification of intervals according to their directionNone of the three classes of intervals defined according to the direction (ascending,descending and iterations) has an absolutely predominant role (more than 50%) inany of the lieder. A relative preponderant percentage of ascending intervals appearsin two compositions (Schubert's and Schumann's, resp. 46% and 43%); a relativepreponderant percentage of descending intervals in three compositions (Beet-hoven's, Liszt's, Wolf's, resp. 44%, 45%, 47%). The percentage of iterations is thelowest in four compositions (not in Wolf's): resp. 16%, 13%, 20%, 18%.

Therefore, a first possible conclusion is: the vocal quality of the text (i.e. thesuccession of phonemes, the literary element that is to be compared to the differentclasses of intervals in music) gives way to compositions denoting two similarities:

a) no absolute dominance of one direction (for all composers);b) a very clear recessive use of iterations (for 4/5 of the composers).As far as the direction is concerned, the vocal quality of the text determines a

restriction of the preponderance of one class of interval. The influence is also veryimportant (80%) for the secundary use of iterations.

Considering the mutual differences of ascending and descending intervals wenotice that their percentages are progressively increasing for the five composers inchronological order, i.e. 5.81%, 5.97%, 6.55%, 9.36%, 21.47%.

It is clear that with regard to the quantitative relation between both classes ofintervals with variations of pitch, the vocal quality of the text progressivelyincreases the asymmetry of the pattern.

The distribution of the ascending intervals over the three units of each compo-sition gives the following result: quasi — symmetry in Beethoven's, Schubert's andSchumann's, and a rather clear asymmetry in Liszt's and Wolf's (resp. maximumdifference: 7.42% and 9.71%). For descending intervals the results are: quasi-sym-metry in Beethoven's and Schumann's and slight asymmetry in Schubert's, Liszt'sand Wolf's (resp. maximum differences of 2.48%, 4.47%, 3.12%). As to iterations itis here again: quasi — symmetry in Beethoven's and Schumann's, slight asymmetryin Schubert's and Liszt's (resp. maximum difference of 3.68% and 4.72%) andrather clear asymmetry in Wolf's (maximum difference: 8.42%).

Our conclusion is that the distribution of the intervals classified according totheir direction over the different units of the vocal melody is inspired by the vocalquality of the text since it leads to a unification in the use of descending intervalsand iterations, and to a diversification in that of ascending intervals.

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COMPARATIVE COMPUTER STUDY OF STYLE 7 7

8.2.3. Classification of intervals according to their sizeWith regard to intervals with variations of pitch (i.e. any interval except theiteration), the twelve classes determined on the basis of their sizes (i.e. all sizeswithin the octave) are used by the different composers in the following numbers:8,9, 8, 11 ,9 . We notice an important number of those classes of intervals in four ofthe five works and a very important one in Liszt's. Owing to this, our firstconclusion is: for 100% of the composers the vocal quality and/or the content ofthe text is determinant in that it affords a great diversity for determining thenumber of intervallic values.

With reference to both directions (ascending and descending) the classes ofintervals determined according to the direction are represented in the followingproportions: 7/6, 9/7, 8/8, 11/8, 8/9. For four of the five composers (except forSchumann) there is a disproportion of the number of classes for each direction: for80% of the composers, the vocal quality and/or the content of the text isdeterminant and leads to an asymmetrical pattern of the directions for the choiceof the quantity of intervallic values.

In three of the four cases (except for Wolf) this disproportion has a favourableinfluence on the quantity of classes in the ascending direction: the vocal qualityand/or the content of the text is determinant and entails a + dominance in 75% ofthe cases of asymmetry.

If we divide the intervals with variations of pitch into four categories accordingto the size (1-3 = small, 4-6 = rather small, 7-9 = rather large, 10-12 = large), thefirst three categories are represented in Beethoven's, Schubert's and Schumann's,while the fourth one is also represented in Liszt's and Wolf's: the vocal qualityand/or the content of the text entails such an evolution of the categories of valuesthat early romantic and high but traditional romantic composers use small andmiddle-sized intervals while later and progressive composers also use large ones.

With regard to the frequency of the different values we can say that 1-2 valuesare often used by the five composers; 3-4 values are rather rarely used by Beet-hoven, Schubert and Schumann but rather often by Liszt and Wolf; Beethoven usesthe 5 value rather rarely while the other composers use it rather often. The valuesbetween 6 and 9 are rarely used by Beethoven and Schubert but rather rarely oreven rather often by Schumann, Liszt and Wolf; Liszt and Wolf are the onlycomposers to use the 10-12 intervals but in an insignificant measure, however.

Owing to this, the general rule is an inversely proportional relation betweenfrequency and size of the interval but with a clear dominance of the two smallestclasses (in all compositions), a chronological evolution from "rarely" to "rather"(rarely/often) for the classes between 3 and 9 (included) and a rather importantproportion of the 5 interval (except in Beethoven's). The vocal quality and/or thecontent of the text is 100% determinant for the clear dominance of minor or majorsecond. For 80% of the composers it determines the impressive use of the perfectfourth, and the increasing use of the intervals between the minor third and themajor sixth.

The preponderance of + over — intervals is observed in Beethoven's Lied for thevalues 4, 5, 9; in Schubert's for 1, 4, 5, 7, 8; in Schumann's for 1, 2, 4, 5; in Liszt's

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for 3, 4, 7, 9, 10, 12 and in Wolf's for 3, 4, 5, 6, 9.We notice therefore a + dominance of the 4-interval in all compositions, of the

5-interval in 4 compositions and of the 9-interval in three compositions: for 100%of the composers the vocal quality and/or the content of the text determines the +dominance of the major third; for 80% of the composers the + dominance of theperfect fourth and for 60% the + dominance of the major sixth.

All this means that the + dominance is often observed but only when related tomajor and perfect intervals and to rather small and rather large intervals. Thepreponderance of — over + intervals is noticed in Beethoven's for 1, 2, 6; inSchubert's for 2, 3, 6, 9; in Schumann's for 7, 8; in Liszt's for 1, 2, 5, 6, 8 and inWolf's for 1,2, 7.

So, in four compositions, the -dominance is observed for the 2-interval and inthree compositions for the 1 and the 6 intervals: for 80% of the composers thevocal quality and/or the content of the text determines the -dominance in themajor second and for 60% the -dominance in the minor second and the diminishedfifth. The -dominance is very often observed in minor and diminished intervals andin small intervals.

A balance between + and — is reached in Beethoven's work for the 3 and 7intervals, in Schumann's for the 3 and 6 intervals while it does not exist inSchubert's, Liszt's and Wolf's. With regard to this, it is impossible to draw aconclusion of general application.

8.2.4. Degree of diversity of intervalsAs the maximum of possible different intervals according to the direction and thesize is estimated to 25 (12 ascending, 12 descending and the iteration, all thiswithin the octave) it appears that the real diversity for the different composers is:14, 17,17,20, 18.

If we call the maximum diversity "optimal melodic information" (OMI), the realdiversity "real melodic information" (RMI) and the total number of intervals foreach melody "melodic information length" (MIL), two ways can be followed todetermine the degree of diversity:

a) (RMI/OMI)x 100 (=absolute melodic degree of diversity);b) (RMI/MIL)x 100 (=relative melodic degree of diversity).For the five composers the absolute melodic degrees of diversity are resp. 56%,

68%, 68%, 80%, 72%; the relative melodic degrees of diversity are resp.: 5.81%,6.34%, 7.42%, 6.77%, 9.78%.

The absolute melodic degree of diversity can therefore be divided into threemain categories: rather low degree (Beethoven); rather high degree (Schubert,Schumann, Wolf) and high degree (Liszt). The intermediate position is occupied bythe typical liedcomposers, the extreme positions by the early romantic and the highromantic composers whose works are chiefly instrumental.

The relative melodic degree of diversity is situated between 5 and 10% for allcomposers, i.e. in the category of the low degree. In this category, the lowestpercentages characterize the early romanticists, the highest percentages the lateromanticist, while the intermediate position is occupied by the high romantic

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composers. This can be called a style evolution towards an increasing relativemelodic diversity.

8.3. Rhythmical structure

8.3.1. Quantity of time — values.The total quantity of time- values in the vocal melody is for the five lieder(considered in chronological order): 284, 314, 272, 400, 238. For the first threeones, the arithmetical mean is equal to 290. If we replace this figure by 100%, weobtain the following percentages: 97.9%, 108.3% and 93.8%; this means a maxi-mum difference of 14.5% (to be compared to the max. quantitative difference ofintervals in the same lieder (15.8%)). The arithmetical mean of the five figures is301.6, which gives the following percentages when replaced by 100%: 94.1%,104.1%, 90.2%, 132.6%, 78.9%, i.e. a maximum difference of 53.7% (to becompared to the quantitative distribution of intervals over the five lieder: 51.2%).

So, our conclusion is that for the first three composers (the two early romanticand the high but traditional romantic composers), the quantitative syllabicalstructure of the poem (the literary element used by the composer as a basis fordetermining the number of time-values and of intervals) leads to total quantities oftime — values which are very close to each other. For the last two composers, onthe contrary, (the progressive romanticist and the late romanticist) it has entailed aquantitative diversification in the total of time-values.

Owing to this, our conclusion is similar to our previous one with regard to themelodic information length, which means that the literary conditionment of therhythmical information length is very important in works whose composers are,chronologically and stylistically, closer to the generation of the literary author; onthe contrary it is of lesser importance in younger and more progressive compo-sitions.

As far as the distribution of time-values over the three units of each vocalmelody is concerned, we notice a very great symmetry in four of the five compo-sitions: in Schumann's a max. difference equal to 1, in Beethoven's to 2, inSchubert's to 4 and in Wolf's to 6 time — values. Liszt is the only one to reach anasymmetrical pattern by a sensible lengthening out of the third unit.

As expected these results too are quite similar to the results obtained in relationwith the quantitative distribution of intervals. This consequently allows us to givethe same conclusion, namely that for 80% of the composers, the symmetricalsyllabical structure in the literary stanzas has a quite determinant influence on thequantitative distribution of the time-values over the vocal units.

The literary influence on the distribution of the rhythmical information lengthis very important in all but one composition.

8.3.2. Classification of time — values according to their acoustic natureIn each of the five lieder we can notice an absolute preponderance of sonorous

time-values over silent ones.A first conclusion in relation to that is that the succession of words and lines in

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the poem entails a very closed melody, which implies a quasi — abence of rupturesin the structure of the vocal line and consequently, a recessive use of silenttime-values. This is true for all composers.

Here again we can distinguish two groups: on the one hand the two earlyromantic and the traditional romantic composers (in whose works the percentagesof sonorous time-values are the highest and are only 2% different from each other),on the other hand the progressive romantic and the late romantic composers ( inwhose works the quantity of sonorous time-values is inferior by about 10%).

This enables us to complete our previous conclusion: in the compositions whoseauthors are chronologically and stylistically closer to the generation of the authorof the poem, the closedness of the melody is inspired by the structure of the text.The degree of closedness, on the contrary, decreases in younger and more progres-sive compositions.

The quantitative distribution of sonorous time-values over the three units ofeach lied gives the following results: quasi — symmetry in Beethoven's, Schubert's,Schumann's and Liszt's; slight asymmetry in Wolf's (max. difference: 4%).

Our conclusion is that the structure of words and lines in the text leads to aunification in the distribution of time-values, classified according to their acousticnature, for the four eldest composers and to a somehow less absolute but never-theless sensible unification in the distribution for the youngest of them.

8.3.3. Classification of time-values according to their lengthThe following figures reflect the use of the 15 principal classes (cfr. Table) of

time-values according to their length in the different compositions: 9, 8, 8, 9, 9,which means that for all composers the total quantity of classes of time — valuesaccording to their length is rather important. For 100% of the composers theprosody and/or the content of the text is determinant in that it affords a ratherhigh degree of diversity for the choice of the quantity of time-values classifiedaccording to their length.

With reference to both classes of time-values defined by their acoustic nature,the classes of intervals defined according to their length are represented in thefollowing ratios (numerator: sonorous time — values; denominator: silent time —values): 9/4, 8/3, 8/2, 9/8, 9/8. In Beethoven's, Schubert's and Schumann's thequantitative disproportion of the different values defined according to their length,sonorous or silent ones, is very important; in Liszt's and Wolf's the disproportion isinsignificant. The prosody and/or the content of the text influences the relationbetween the number of classes of sonorous and silent values in two ways: a clearasymmetry between both, which can be found in works whose composers arechronologically and stylistically connected with the author of the text; on thecontrary, symmetry is nearly reached in younger and more progressive compo-sitions. In the five instances the disproportion has a favourable influence on thenumber of classes of sonorous time-values: for 100% of the composers the prosodyand/or the content of the text is determinant and affords a greater diversity ofsonorous than of silent time-values.

If we divide those values into four categories according to their length

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(long = more than 1 up to 1/2; moderate = between 1/2 and 1/4 up to 1/8;short = between 1/8 and 1/16 up to 1/32; very short = between 1/32 and 1/64 up tosmaller than 1/64), the first category appears in four compositions (all but Schu-mann's), the second and the third categories in all compositions and the fourth onein none of the works. For 100% of composers the prosody and/ or the content ofthe text has a determinant role for the choice of moderate and short time-valuesand for the use of very short ones; for 80% of the composers, it is determinant forthe choice of long time-values.

As to the frequency of the different time-values classified according to theirlength, long values are rarely or rather rarely used by the four composers whogenerally use them; taken together, moderate values are often and even very oftenused by the five composers; short values are very often used by one composer(Schumann), rather often by another (Schubert), rather rarely by two others(Beethoven and Liszt) and rarely by the last one (Wolf).

Owing to this, the general rule is an increasing frequency from long to moderatetime-values and a decreasing frequency from moderate towards short values. For100% of the composers, the prosody and/or the content of the text determines theclear dominance of moderate time-values (chiefly eighths).

The preponderance of sonorous over silent values is applicable to all composi-tions and to all time-values with three exceptions, however; a preponderance ofsilent values in Beethoven's for 1/2, in Liszt's for values superior to 1 and for valuesbetween 1 and 1/2. In fact we can state as a general rule that the prosody and/orthe content of the text is determinant for the preponderance of sonorous valuesover silent ones in 100% of the compositions.

8.3.4. Degree of diversity of the time-valuesAs it is agreed that the maximum diversity of time-values defined according to theirlength and their acoustic nature is 30 (15 sonorous and 15 silent), it appears thatthe real diversity for each composer is: 13, 11, 10, 17, 17. If the maximumdiversity is called "optimal rhythmic information" (ORI), the real diversity "realrhythmic information" (RRI) and the total quantity of time-values for each melody"rhythmic information length" (RIL), the rhythmic degree of diversity can bedetermined in two ways:

a) (RRI/ORI) x 100 (= absolute rhythmic degree of diversity);b) (RRI/RIL x 100 (= relative rhythmic degree of diversity).

For the five composers the absolute rhythmic degrees of diversity are resp. 43.33%,36.66%, 33.33%, 56.66%, 56.66%.

The absolute rhythmic degree of diversity can be divided into two maincategories: low degree (Beethoven, Schubert, Schumann) and rather low degree(Liszt and Wolf), i.e. an evolution towards increasing diversity from older andtraditional towards younger and progressive composers.

The relative rhythmic degrees of diversity are resp. for each composer: 4.57%,3.50%, 3.67%, 4.25%, 7.14%.

For the five composers, the relative rhythmic degree of diversity is situatedbetween 3.5 and 7.5% i.e. in the category of the low degree in which the older and

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traditional composers are characterized by the lowest percentages, the younger andprogressive composers by the higher ones (the same observation as with regard tothe absolute rhythmic diversity and the relative melodic diversity).

8.4. Metrical structure

According to the quantities of time signatures for the whole of each vocal melody,we can distinguish two groups: "monometric" lieder (Schubert, Schumann) and"polymetric" lieder (Beethoven, Liszt and Wolf with 6,8, 7 time signatures).

All this means that the prosody of the poem, in two cases, entails unificationand in three cases to a diversification in the musical metrical arrangement. In matterof metrical stability the conditionment of the melody by the text is therefore notvery important.

In the second group of lieder the distribution of the time signatures over thethree units of the melody follows an absolutely symmetrical pattern in twocompositions (Beethoven and Wolf) and a nearly symmetrical one in one compo-sition (Liszt: 3,3,4). Owing to this, it appears that the unification derived from themetrical arrangement of the text has a very strong influence on the internal metricalstructure of each lied. According to the classes of time signatures, each of the fivelieder has only one metrical nature: 3 are binary (Beethoven, Schubert, Liszt) andtwo are ternary (Schumann and Wolf). It accordingly appears that the metricalarrangement of the text entails an absolute quantitative unification of time-sig-natures of the vocal melody although it is not determinant for the choice of theclasses of those time signatures.

8.5. Tonal structure

8.5.1. Quantity of tonalitiesWith regard to the quantity of indications of tonality the diversity of the differentlieder is very important: 13, 17, 43, 29, 31, (the quantity of modulations is alwaysinferior to those figures by one unity because the original tonality is not taken intoaccount). Therefore it is impossible to talk of a general influence by the text on theentire tonal plan.

The quantitative distribution of the tonalities over the different units is quitedifferent. We can indeed notice an absolute symmetry in Beethoven's, Schubert'sand Schumann's, a quasi-symmetry in Liszt's (10, 10, 11) and a slight asymmetry inWolf's (11, 12, 9) (the total quantity of tonalities in the three units is superior tothe total quantity in each composition because the original tonality of each unit istaken into account, even if it is the same as the last tonality of the precedent unit).

Consequently: (a) in the group of the early romantic and of the traditionalromantic composers, regular quantitative distribution of the tonalities with relationto the formal symmetry of the stanzas of the text;

(b) in the group of the progressive romantic and of the late romantic composers,a weakened conditionment in the sense and on basis of the same literary features.

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8.5.2. Classification of modesIf we take as reference the total number of indications of tonality the major modeis absolutely preponderant in the five vocal melodies. The degree of preponderanceis for each group:

a) group Beethoven, Schumann, Wolf: preponderance by 53.84%, 55.81%,58.06%, i.e. an average of 55.90% with a maximum difference of 4.22%;

b) group of the five composers with preponderance by 53.84%; 94.11%;55.81%; 75.86%; 58.06%; with an average of 67.53% and a maximumdifference of 40.27%.

With regard to these figures, the frequency of the major mode is far similar forthree of the five composers, which can imply a quite strong conditionment by thecontent of the text. This is not applicable to Schubert and Liszt.

The relationships between the lieder are quite different if we base our calcula-tions on the quantity of measures defined by a mode: four compositions show anabsolute preponderance of the major mode, one of the minor mode (Schumann's).

The preponderance of the major mode is the most important in the works of thetwo early romanticists (Beethoven and Schubert): 93.64% and 90.22%, an averageof 91.93% and a maximum difference of 3.42%. In the compositions of theprogressive and of the late romanticists (Liszt and Wolf), the preponderance of themajor mode is the least important: 69.61% and 58.02%, an average of 63.81%. Themaximum difference between both figures is the most important too: 11.59%.

So, for the composers who are chronologically and stylistically very close to theauthor of the poem, the duration of the major mode is very long and sensiblysimilar. This can imply a strong influence of the content of the poem; this influenceis much less important in young and progressive compositions.

If the basis for our calculations is the frequency of the preponderant mode, thedistribution of the modes over the different units is absolutely symmetric inBeethoven's and Schumann's, slightly asymmetric in Schubert's (difference of16.66%), clearly asymmetric in Liszt's (difference of 26.36%) and considerablyasymmetric in Wolf's (difference of 39.39%). Here again we can conclude that forthe group of composers who are chronologically and stylistically connected withthe author of the text, the mutual similarity and the symmetric distribution of thepreponderant mode are the most important, while they are much less important forlate and more progressive composers.

If we calculate the distribution of the modes over the different units on basis ofthe duration of the preponderant mode (= quantity of measures defined by themode), we notice an absolute symmetry in Beethoven's and Schumann's, a slightasymmetry in Liszt's (difference of 15.67%) and a clear asymmetry in Schubert'sand Wolf's (difference of about 20%).

We are consequently led to modify our previous conclusion with relation to thedistribution of modes according to their frequency since the early romanticcomposer, Schubert, also seems to belong to the group of the composers who arestylistically less connected with the poet.

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8.5.3. Classification of major tonalitiesThe quantity of major tonalities in each of the five vocal melodies is: 2,5, 5, 6,

6, i.e. a gradual increase in chronological order but a sensible similarity in the lastfour compositions. So, we have two possible conclusions: the text seems tocondition the music in an important measure from the point of view of thequantity of different major tonalities, as well in terms of evolution (constantincrease of the diversity) as in terms of synchronization (for 80% : quasi-similarityin the number of different major tonalities of the different lieder).

The quantitative distribution of the major tonalities in each of the five vocalmelodies is: absolutely symmetric in Beethoven's, Schubert's and Schumann's,slightly asymmetric in Liszt's (5, 4, 5) and clearly asymmetric in Wolf's (5, 5, 2).

As to the quantitative distribution of major tonalities, the composers who arestylistically and chronologically very much connected with the author of the poemappear to be conditioned by the text, as well by the symmetrical pattern as by themutual similarity of the distribution. The influence is less important for young andmore progressive composers.

According to the classification of major tonalities on basis of sharp and flatkey-signatures, we can distinguish: Beethoven and Schubert, only one class (resp.sharp-flat), Schumann, Liszt and Wolf, both classes (the tonality without any sharpor flat is considered as a sharp tonality).

The two early romanticists work in a similar way on a single major timbre, theromanticists and the late romanticists work in a similar way on two major timbres.This implies that the conditioning by the text is exerted in two ways: a unificationof major timbres inspired by the general content of the poem and a contrastbetween major timbres inspired by the main oppositions in the poem. The firstinfluence is to be observed in the works whose composers are chronologically themost connected with the poet, the second one is typical of later composers.

The major tonalities with sharps are used in the following proportions: 3 x C (byBeethoven, Schumann and Wolf), 3 x G (by Schumann, Liszt and Wolf), 2 x A (byBeethoven and Liszt), 1 x B (by Liszt), 1 x F sharp (by Liszt) and 1 x C sharp (byWolf). We notice a gradual decrease of the number of sharps according to frequencyand a gradual increase according to chronology. As far as major modes accompaniedby sharp key-signatures are concerned, the conditioning by the text seems tobecome less frequent from limited to complicated key-signatures. Major modesdefined by flat accidentals are used in the following proportions: 1 x F (bySchumann), 3 x B flat (by Schubert, Schumann and Liszt), 3 x E flat (by Schubert,Schumann and Wolf), 2 x A flat (by Schubert and Wolf), 2,x G flat (by Schubertand Wolf) and 1 x C flat (by Schubert).

According to the frequency, we notice a gradual increase from limited tointermediate and a decrease from intermediate to elaborated key-signatures. In thetime there is a decrease from elaborated to intermediate and afterwards fromintermediate to elaborated key-signatures.

As far as major modes defined by flat key-signatures are concerned, theconditionment by the text seems to increase from limited to somehow intricatekey-signatures and afterwards, to decrease from somehow to very intricate key-

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signatures while it varies in the time from very intricate to rather intricate ones andback to very intricate ones.

8.5.4. Classification of minor tonalitiesThe quantitative differences of minor tonalities in each of the five melodies are:

1, 1, 3, 5, 7, i.e. a gradual increase in chronological order. The conditionment bythe text seems to be very important on the music and particularly on the quantityof different minor tonalities. This conditioning can be determined in terms ofevolution given the constant increase of the diversity.

As to the quantitative distribution of the different minor tonalities on the basisof sharp and flat key-signatures, we distinguish: Beethoven, Schubert: exclusivelyone class (resp. sharp-flat), Schumann, Liszt and Wolf: both classes, i.e. preciselythe same relation as for major modes (with the same conclusion).

Minor tonalities defined by sharp key-signatures are used in the followingproportion: 2 x a (by Beethoven and Schumann). 2 x f sharp (by Schumann andWolf), 2 x c sharp (by Schumann and Wolf), 1 x a sharp (by Wolf), which means:

a) according to the frequency, strong similarity between limited and elaboratedkey-signatures, with a slight preponderance of the latter class;

b) in the time, an evolution from limited to elaborated key-signatures.As far as minor tonalities defined by sharps are concerned, the conditioning by

the text seems essentially based on regular quantities of limited and intricatekey-signatures according to the frequency, and on the transition from limited tointricate key-signatures in the time.

The minor tonalities defined by flat key-signatures that are mostly used are:1 x d (by Liszt), 2 x g (by Schumann and Liszt), 1 x c (by Schumann), 1 x f (byWolf), 2 x b flat (by Liszt and Wolf), 2 x e flat (by Schubert and Wolf), 1 x a flat(by Wolf).

In those tonalities, no predominant element can be noticed, neither according tothe frequency, nor in the time (except the gradual numeral increase of the differenttonalities, but, in fact, this element was already included in the general considera-tions at the beginning of this paragraph).

8.5.5. ModulationsThe five compositions include resp. 12, 16, 42, 28 and 30 modulations for resp.

241, 268, 229, 310 and 184 melodic intervals, i.e. an average of one modulation for20.08; 16.75; 5.45; 11.07 and 6.13 intervals for each tonal fragment.

Thanks to this we can distinguish three categories according to the tonalmobility: Beethoven with a moderate mobility, Schubert and Liszt with a highmobility, Schumann and Wolf with a very high mobility, which, generally speaking,represents a chronological evolution with an increasing tonal mobility. This cannotbe applied to Schumann whose works reflect a higher degree of mobility thanexpected (according to chronology and style).

If the tension caused by the modulations is called "tonal energy" and if itsdegree is determined on basis of the mutual relationship between the originaltonality and the new tonality, we can state: the tonal energy is inversely

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proportional to the importance of the relationship, so that the tonal energy isattributed so many quantas of psychic energy as the numeral importance of therelationship between the original tonality and the new tonality of the consideredmodulation.

Taking this into account, the following results are obtained for the fivecompositions: in Beethoven's, the 12 modulations are of the first degree, i.e. 12quantas of tonal energy for the whole lied; in Schubert's: 4 modulations of the firstdegree, 7 of the second degree, 2 of the third degree and three of the fourth degree,i.e. 4+7x2+2x3+3x4 = 36 quantas of tonal energy for the whole lied.

In Schumann's: 36 modulations of the first degree and 6 of the second degree,i.e. 36+6x2 = 48 quantas of tonal energy for the whole lied.

In Liszt's: 13 modulations of the first degree, 5 of the second degree, 4 of thethird degree, 2 of the sixth degree and 1 of the seventh degree, i.e. 13+5x2+4x3+3x4+2x6+lx7 = 66 quantas of tonal energy for the whole lied.

In Wolf's: 9 modulations of the first degree, 11 of the second degree, 4 of thethird degree, 2 of the fourth degree, 2 of the fifth degree and two of the seventhdegree, i.e. 9+11x2+4x3+2x4+2x5+2x7 = 75 quantas of tonal energy for the wholelied. We observe a chronological and stylistic evolution towards an ever increasingtonal energy in ratios of: 1; 3; 4; 5,5; 6,25; so that the tonal energy has beenmultiplied by more than six from the earliest to the latest version.

8.5.6. Degree of tonal diversityThe quantities of different tonalities used by the five composers are 3, 6, 6, 11,

13.If it is considered that the maximal tonal diversity is 24 (12 major and 12 minor

tonalities, not taking enharmonic ones into consideration) and if it is called"optimal tonal information" (OTI); if the real quantity of different tonalities ineach composition is called "real tonal information" (RTI) and the total quantity ofintervals in each composition "total information length" (TIL), we can determinethe tonal degree of diversity along two ways:

a) (RTI/OTI) x 100 (= absolute tonal degree of diversity);b) (RTI/TIL) x 100 (= relative tonal degree of diversity).

For each of the five composers the absolute tonal degree of diversity is resp. 12,5%;25%; 25%; 45,8%; 54,1%.

The absolute tonal degree of diversity can be divided into three categories: lowdegree (Beethoven), rather low (Schubert-Schumann) and rather high (Liszt-Wolf),i.e. an evolution towards an increasing diversity from older and traditional toyounger and progressive composers.

For each of the five composers, the relative tonal degree of diversity is resp.1.2%; 2.2%; 2.6%; 3.5%; 7%, which means that the first four belong to the category"low degree" and Wolf to the category "moderate diversity".

We notice again a constant, chronological evolution towards increase of relativetonal diversity.

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8.6. Structure of the tempo

Each of the five melodies is based on a main tempo; two melodies on a moderateone (Beethoven and Schubert), three on a slow one (Schumann, Liszt and Wolf). Inthree of the lieder, no variation of the main tempo is to be noticed, neither towardsan inferior level, nor in the shape of continuous transitions, namely in Schubert's,Liszt's and Wolf's. In two of the lieder, the tempo is submitted to discontinuousmodifications of inferior level: Beethoven (6 alternations of rather slow and ratherfast, regularly distributed over the three units) and Liszt (one transition from veryslow to slow in the third unit).

One lied is moreover characterized by transitions of tempo (Liszt's: six slowingdowns distributed over the units in the proportion: 3, 2, 1).

Taking this into account we can conclude that the conditionment by the text isobserved in this sense;

a) for all composers, a unique tempo, for three of them in an absolute sense, fortwo of them in a less absolute sense.

b) for the early romantic composers: moderate tempo, for romantic and lateromantic composers, evolution towards a slow tempo;

c) for four of them, a constant tempo, for one of them a variation of the tempo,only in the sense of a slowing down.

In short: the conditionment by the text is based on a strong stability of the tempo;it is also based on a chronological evolution from moderate to slow tempo.

8. 7. Structure of the intensity of sound

In the five lieder we notice a lot of indications defining the level of sound intensity(18, 17, 25, 22, 19); they are distributed over the different units in two ways:symmetrically (Beethoven, Schubert and Schumann) and asymmetrically (Liszt andWolf).

In the five melodies we notice an absolute preponderance of the soft generallevel (66%, 58%, 52%, 81% and 63%); three of the lieder are based on alternationsof soft and loud (Beethoven, Schubert and Schumann) and two on alternations ofsoft, loud and moderate (Liszt and Wolf).

In the five lieder are also to be found a lot of indications with relation to gradualtransitions of intensity (23, 9, 6, 17, 16); they are distributed in two ways over theunits: symmetrically, quasi-symmetrically (Beethoven, Schubert and Schumann)and asymmetrically (Liszt and Wolf).

In four lieder crescendo sensibly prevails upon diminuendo {not Schumann's inwhich an absolute balance is reached between both kinds).

Our conclusion is therefore:a) for all composers, multiplicity of intensity levels and absolute preponderance

of the soft level;b) for early and traditional composers, duple modifications of intensity, sym-

metrically distributed; for later and progressive composers, triple modifica-tions of intensity, asymmetrically distributed;

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c) for all composers, multiplicity of gradual transitions, symmetrically distri-buted for early and traditional composers, asymmetrically distributed forlater and progressive composers;

d) for 4/5 of the composers, preponderance of continuously increasing intensityover decreasing one.

In short: The conditionment by the text is based on a strong mobility as well of theintensity levels as of the gradual transitions; it is also based on a chronologicalevolution from symmetric towards asymmetric distribution of levels and transitionsand on an absolute dominance of the soft level (100%) and of the crescendo (80%).

8.8. Summary

We can distinguish numerous factors of similarity in the melodies of the liederstudied here — factors of similarity that we consider, as we stated before, as theunconscious expression of the conditioning effect of the text.

These factors can be classified in four main categories, based on the nature oftheir similarity with regard to each other. They are:

a) constant factors that are common to all compositions;b) constant factors, common to four out of five compositions;c) factors of a conjunctive evolution uninterruptedly common to the five

compositions (progressively growing or diminishing through the five composi-tions in a chronological way) ;

d) factors of evolutions grouped into two stages (mostly early and traditionalcomposers (Beethoven, Schubert and Schumann) and later and progressivecomposers (Liszt and Wolf).

8.8.1. Constant factors that are common to all compositionsa) Threefold scheme of the composition;b) lack of absolute dominance of one out of the three sorts of intervals according

to the direction (+int., —int. nor iterations reach more than 50% out of the totalof counted intervals per composition) ;

c) In general, inversely proportional relation between frequency and size of theintervals (the number of intervals of each sort decreases while the category ofsize of intervals grows) ;

d) obvious dominance of the shortest two intervals (1-2);e) in the 4-interval still dominance of the ascendant direction;f) marked preponderance of sonorous over silent time-values;g) the total number of the different time-values according to the length is in all

lieder moderately marked (8 to 9 out of a maximum of 15);h) all compositions contain moderate and short time-values and no one compo-

sition contains very short time-values;i) marked dominance of moderate time-values;j) only one sort of time-signature per composition (three times binary and twice

ternary) ;

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k) absolute dominance of major tonalities over minor tonalities;1) unicity of main tempo ;m) multitude of intensity levels and intensity transitions (strong mobility of the

dynamics) ;n) dominance of the low intensity level.

The factor of equality with reference to the formal scheme of the composition(a) indicates a conditioning effect of the construction of the stanza in the text(similarity between construction of the stanza and musical scheme).

The factor of equality with reference to intervals (b to e) indicates a condi-tioning effect of the vocal quality and/or the content of the text; b) lack ofdominance of one sort of phonemes is similar to lack of dominance of one directionof intervals; ed) more connected than oppositionâl succession of images andconcepts within each stanza is similar to more short than large intervals; e) moresuccession of lower to higher phonemes (cf.: "dahin") is similar to + dominance ofsome intervals.

The factors of equality with reference to time-values (f to i) indicate aconditioning effect of the prosody and/or the content of the text: f) preponderanceof uninterrupted over interrupted elements in the construction of the sentence andcontent of the text is similar to preponderance of sonorous over silent time-values;g) the degree of diversity between contemplative, narrative and dramatic parts ofthe text is similar to the degree of diversity in sorts of time-values according to thelength; hi) the degree of mobility in the succession of images and concepts in thetext is similar to the choice of moderate and short time-values and the dominanceof moderate time-values.

The factor of equality with reference to metrics (j) indicates a conditioningeffect of the metrics of the text (analogy between unicity of the metrics of the textand the musical metrics).

The factor of equality with reference to tonality (k) indicates a conditioningeffect of the content of the text (analogy between the aspiring character of thecontent of the text and the dominance of major).

The factor of equality with reference to tempo (1) indicates a conditioning effectof the content of the text (analogy between unity in the main idea and unicity ofthe main tempo).

The factors of equality with reference to intensity (m,n) indicate a conditioningeffect of the content of the text; m) diversity of moods in the text is similar tomobility of dynamics; n) dominance of the interiorization in the text is similar todominance of the low intensity level.

8.8.2. Constant factors applicable in 80% of the compositionsa) Symmetry in the scheme of composition (equal number of melodic lines per

unit) and quasi-symmetry in the number of intervals per unit (not in Liszt's):b) absolute recession of iterations (not in Wolf's) with regard to ascending and

descending intervals;c) great variety of sorts of intervals according to size (not in Liszt's);

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d) asymmetry in the direction of intervals in the choice of different sizes ofintervals (not in Schumann's);

e) great use of the 5-interval (not in Beethoven's);f) —dominance at the 2-interval (not in Schumann's) ;g) quasi-symmetry in the total number of time-values per unit (not in Liszt's)

and quasi-symmetry in the number of sonorous time-values per unit (not inWolf's);

h) quasi-similarity in the number of major tonalities per composition (5, 5, 6,6)(not in Beethoven's);

i) agogic-invariability (not in Liszt's);j) preponderance of crescendo over diminuendo (not in Schumann's).

The factor of equality with reference to the formal scheme (a) indicates aconditioning effect of the construction of the text (quantitative symmetry of versesand syllables per strophe is similar to symmetry in the number of melodic lines andintervals per unit).

The factors of equality with reference to intervals (b to f) indicate a condi-tioning effect with regard to vocal quality and/or content of the text: b) lack ofrepetition of phonemes and recession of almost meaningless words are similar torecession of iterations; c) the degree of diversity in the successive parts of the text issimilar to the degree of diversity in the size of intervals; d) the aspiring character ofthe text is similar to the avoidance of absolute equilibrium between the two classesof intervals with variation of pitch; e) numerous successions of lower and higherphonemes is similar to great use of a certain leaping interval (5-int.);f) interioriza-tion of numerous parts of the text is similar to —dominance at a defined interval(2-int).

The factor of equality with reference to time-values (g) indicates a conditioningeffect of the prosody of the text (quantitative symmetry in verses and syllables inthe strophes is similar to quasi-symmetry in time-values in the vocal units).

The factor of equality with reference to tonality (h) indicates a conditioningeffect of the content of the text (aspiring character is similar to quasi-equivalenceof the number of major tonalities per composition).

The factor of equality with reference to tempo (i) indicates a conditioning effectof the content of the text (analogy between unity of the main idea in the text andagogic invariability).

The factor of equality with reference to intensity (j) indicates a conditioningeffect of the content of the text (aspiring character is similar to dominance ofcrescendo over diminuendo).

8.8.3. Factors of conjunctive evolution, applicable uninterruptedlya) Growing asymmetry in the proportion of ascending and descending intervals;b) increasing number of intervals between 3 and 9;c) rising relative melodic degree of diversity;d) increasing number of different minor tonalities;e) growing complexity in the key-signatures of major and minor sharp tonalities;f) growing tonal mobility, tonal energy and tonal diversity as well in absolute as in

relative sense.

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The factors of uninterrupted evolution with regard to intervals show a welldefined curve in the interpretation of the text:a) increasing effect of the aspiring character of the text is similar to growing

asymmetry in the proportion of ascending and descending intervals;b) increasing effect of the imaginative character of the text is similar to increasing

number of moderate and large intervals;c) growing individualization of the separate parts of the text is similar to rising

melodic degree of diversity.

8.8.4. Factors of evolution grouped into two stages

Beethoven-Schubert-Schumann.

a) Totals of intervals in the melody arevery similar.

b) quasi-symmetry in the distribution of+ intervals through the units.

c) totals of time-values are very similar

d) marked dominance of the number ofdifferent sonorous over the numberof different silent time-values.

e) absolute rhythmic diversity:few.

f) little relative rhytmic diversity withlow percentages.

g) absolute symmetry in the repartitionof the total number of tonal schemeson three units.

h) symmetric repartition of intensitylevels and intensity transitions onthree units.

Beethoven-Schubert.i) unique major timbre (sharp of flat)

and unique minor timbre (id.).j) main tempo: moderate.

Liszt-Wolf.

Great difference in the totals of inter-vals.asymmetry in the distribution of+ intervals.great difference in the totals of time-values.slight dominance of the number ofdifferent sonorous time-values.

absolute rhytmic diversity:a little more.little relative rhytmic diversity withhigher percentages.quasi-symmetry or light asummetry inthe repartition of the number of tonalschemes.asymmetric repartition of the intensitylevels and intensity transitions.

Schumann-Liszt-Wolf.dual major timbre and dual minortimbre (sharp and flat).main tempo: slow.

The grouped factors of evolution with reference to intervals show well definedvariegation in the treatment and the interpretation of the text:a) from strict concordance between the number of words and syllables and the

number of intervals to freer quantitative relations between text and melody;b) from equilibrium in the relation between stimulating and frustrating moods all

through the strophes, to stress of the particular character of each stanza.The grouped factors of evolution with reference to time-values show welldefined variegation with regard to prosody and content of the text:

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c) from strict concordance between words and syllables and the number oftime-values to freer relation between the two (cf. a);

d) from strong to lighter stress of the permanent character of the successive wordsand phrases;

ef) from strong to less strong stress on the similarity in the successive syllables andwords.The grouped factors of evolution with reference to tonality show well defined

variegation in the interpretation of the content of the text;gi) from stress of the unity of the main idea and the similarity of the mood

variations all through the strophe to stress of oppositional aspects of the mainidea and dissimilarity of the mood variation from the one to the other strophe.The grouped factor of evolution with reference to intensity shows well defined

variegation in the interpretation of the content of the text:h) from similarity in the mood variations all through the strophes to dissimilarity in

the mood variations from the one to the other strophe.The grouped factor of evolution with reference to tempo shows well defined

variegation in the interpretation of the content of the text:j) from moderate to intenser interiorization.

In brief it can be said:a) that the constant conditionment by the text especially concerns:— the formal scheme (threefold aspect of stanza's and vocal units);— the phonetic many-sidedness (no dominance of one sort of phonemes, nor of

one sort of intervals according to the direction) ;— regularity of the prosody (symmetry of the number of syllables, intervals and

time-values in three units) ;— permanent way of expression (few digressions and many related images and

concepts in the text; preponderance of short and moderate intervals and ofsonorous over silent time-values) ;

— the unity of the content (constancy of the main idea and unicity of the maintempo);

— many-sidedness of the moods (mobility of the dynamics);— interiorization (dominance of the low intensity level) ;— the aspiring character (dominance of crescendo over diminuendo).b) that the evolution of the text particularly refers to:— growing significance of the aspiring character (increasing asymmetry in the

proportion of ascending and descending intervals and growing tonal complexity,mobility, energy and diversity);

— growing significance of the particular character of separate parts of the text andstrophes (increasing melodic and rhythmic diversity, freer quantitative relationsof intervals and time-values from the one to the other unit; growing asymmetryin the repartition of the tonal schemes, the intensity levels and the intensitytransitions and passage from unique to dual major and minor timbre) ;

— rising intensity of the aspect of interiorization and frustration in the text(increasing number of minor tonalities and passage from moderate to slowtempo).

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comparative computer study of style, based on five liedmelodies

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