These functions show how music21 can be used to analyze whether the idea of tonal closure applies in the music of the Italian fourteenth century by seeing how often the first note of the tenor (or the given voice stream number) and the last note of that same voice are the same note.
The script also demonstrates the PNG generating abilities of the software, etc.
Note that when the tests are run they just check that the program does not crash – the numbers are not checked because the underlying data is changing too often.
Gives a list of all anonymous ballate with their incipit tenor note and cadence tenor notes keeps track of how often they are the same and how often they are different.
And then generates a PNG of the incipit and first cadence of all the ones that are the same.
generates information about the tonality of Landini’s ballate using the tenor (streamName = “T”) and the A cadence (which we would believe would end the piece)
generates information about the tonality of not anonymous ballate that are not by Francesco (Landini) using the tenor (streamName = “T”) and the A cadence (which we would believe would end the piece)
>>> from music21 import * >>> trecento.tonality.nonLandiniTonality(show = True)
Prints something like this:
Deduto sey a quel C F A pianger l'ochi C D Con dogliosi martire E D De[h], vogliateme oldire C G Madonna, io me ramento C D Or tolta pur F A I' senti' matutino G C Ad ogne vento C C ... etc... ... Donna, perche mi veggi G D Lasso! grav' è 'l partire F F La vaga luce G F Lena virtù et sperança F D Ma' ria avere C F Non c'è rimasa fe' G D Or sie che può G D Perchè vendetta F D Perch'i' non sep(p)i G D Poc' [h]anno di mirar F D S'amor in cor gentile F C Se per virtù amor, C G Sofrir m'estuet A C Una cosa di veder G D Vago et benigno amor G D L'adorno viso C G Già molte volte G C O me! al cor dolente D D Benchè lontan mi trovi A D Dicovi per certança G G Ferito già d'un amoroso A D Movit' a pietade D D Non voler donna A D Sol mi trafig(g)e 'l cor C C Se le lagrime antique F F **** A A 1 A C 3 A D 15 A diff 18 B F 1 B diff 1 C A 1 **** C C 10 C D 4 C F 2 C G 4 C diff 11 D A 1 D C 6 **** D D 16 D F 4 D G 10 D diff 21 E C 2 E D 1 E F 1 E diff 4 F A 2 F B 1 F C 3 F D 8 **** F F 11 F G 4 F diff 18 G A 1 G B 1 G C 12 G D 15 G E 1 G F 1 **** G G 11 G diff 31 Total Same 49 32.0% Total Diff 104 68.0%
Gives a list of all sacred pieces by incipit tenor note and last cadence tenor note and then notices which are the same and which are different.
note that we only have a very very few sacred pieces encoded at this point so the results are NOT statistically significant, but it’s very fast for testing.
The TonalityCounter object takes a list of Trecento Works (defined in music21.trecento.cadencebook) and when run() is called, stores a set of information about the cadence tonalities of the works.
streamName can be “C” (cantus), “T” (tenor, default), or “Ct” (contratenor), or very rarely “4” (fourth voice).
cadenceName can be “A” or “B” (which by default uses the second ending of cadence B if there are two endings) or an integer specifying which cadence to consult (-1 being the last one coded. Useful for sacred music where we want the Amen no matter how many internal cadences there are).
This example takes three ballata and how that all three of them cadence on a different note than they began on. All three cadence on D despite beginning on C, A, and B (or B flat) repsectively.
>>> from music21.trecento import cadencebook >>> threeBallata = cadencebook.BallataSheet()[15:18] >>> tc1 = TonalityCounter(threeBallata) >>> tc1.run() >>> print tc1.output Bench'amar C D Bench'I' serva A D Checc' a tte piaccia B D A D 1 A diff 1 B D 1 B diff 1 C D 1 C diff 1 D diff 0 E diff 0 F diff 0 G diff 0 Total Same 0 0.0% Total Diff 3 100.0%