Paper year
2026
Paper dossier
Methods for Pitch Analysis in Contemporary Popular Music: Multiple Pitches From Harmonic Tones in Vitalic's Music
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Citations
0
Authors
0
Topic labels
0
Source readout
Source and corpus status
Venue
Unknown venue
Source slug
jaes
Corpus placement
Core corpus
Similarity rows
Not available yet
Ranking readout
Where this paper lands in the current run
Run shadow-generalization-product-candidate-ranking-v1Top 50 surfaced
This block uses the same resolved ranking run as Recommended. Ranks here are materialized paper_scores ranks; live Emerging may be reordered by the bounded ML scorer. Family rank is global within each family, but rank is only shown when this paper lands inside the surfaced top 50.
Families present
3
Top 50
0
Run label
shadow-generalization-product-candidate-ranking-v1
Snapshot
source-snapshot-shadow-generalization-v1-20260521
Scope: family global | run rank-83787b91ef
Emerging
Present in run, outside top 50
Emerging: embedding slice fit vs included-corpus centroid (title+abstract), plus citation velocity and topic growth; not universal relevance. Bridge signal not used here.
Signals: semantic=0.8239, citation_velocity=0.0000, topic_growth=0.0000, diversity_penalty=0.0000
Why this surfaced | 3 used | 1 penalty | 1 not computed
Embedding slice fit (corpus centroid)used
Embedding slice fit (corpus centroid): high; used in final ranking (contribution to score: 0.1648)
Recent attentionused
Recent attention: low; used in final ranking (contribution to score: 0.0000)
Topic momentumused
Topic momentum: low; used in final ranking (contribution to score: 0.0000)
Cross-cluster signalnot computed
Cross-cluster signal: not computed for this run
Similarity penaltypenalty
Similarity penalty: reduces score when non-zero (contribution to score: 0.0000)
Bridge
Present in run, outside top 50
Multi-topic paper in active topics; no cluster_version on this run so bridge_score was not computed.
Signals: citation_velocity=0.0000, topic_growth=0.0000, diversity_penalty=1.0000
Why this surfaced | 2 used | 1 penalty | 2 not computed
Semantic matchnot computed
Semantic match: not computed for this run
Recent attentionused
Recent attention: low; used in final ranking (contribution to score: 0.0000)
Topic momentumused
Topic momentum: low; used in final ranking (contribution to score: 0.0000)
Cross-cluster signalnot computed
Cross-cluster signal: not computed for this run
Topic breadth penaltypenalty
Topic breadth penalty: reduces score when non-zero (contribution to score: -0.2000)
Under-cited
Present in run, outside top 50
Low-cite candidate pool (see docs/candidate-pool-low-cite.md v0): core corpus, recency floor, citation ceiling, title+abstract gate; popularity penalty among pool members only. Semantic and bridge not yet modeled.
Signals: citation_velocity=0.0000, topic_growth=0.0000, diversity_penalty=0.0000
Why this surfaced | 2 used | 1 penalty | 2 not computed
Semantic matchnot computed
Semantic match: not computed for this run
Recent attentionused
Recent attention: low; used in final ranking (contribution to score: 0.0000)
Topic momentumused
Topic momentum: low; used in final ranking (contribution to score: 0.0000)
Cross-cluster signalnot computed
Cross-cluster signal: not computed for this run
Pool popularity penaltypenalty
Pool popularity penalty: reduces score when non-zero (contribution to score: 0.0000)
Abstract
This study shows that contemporary popular music with electronic elements can intentionally exploit multiple or ambiguous pitch perceptions arising from a single harmonic complex tone. The phenomenon is illustrated with examples from the work of electronic artist Vitalic and from widely used electronically mediated tones. Two listening tests were conducted: (1) evaluation of the number of simultaneous pitches perceived in sequences of quasi-harmonic tones, and (2) manual pitch transcription of selected sequences. Relationships between signal characteristics and pitch perception were subsequently analyzed. In the musical sequences under consideration, the synthesized harmonic tones were found to convey a greater number of perceived pitches than the acoustic tones. Multiple ambiguous pitches were associated with features such as prominent upper partials and specific autocorrelation profiles. In contemporary popular music with an electronic component, harmonic tones can convey multiple ambiguous pitches. The set of perceived pitches depends on both the listener and the listening conditions.
Authors
No authors available.
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