![]() ![]() The General Chord Type (GCT) representation is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). Finally, the learned statistical features are used to generate new harmonisations in the Epirus-song style for unseen Epirus-song melodies or for melodies from other distant idioms. Then, characteristics of harmonic successions are exam-ined via statistical analysis of the common chord transitions in the idiom. Based on these harmonic representations, statistical analyses are performed that provide insights regarding underlying harmony and, especially, on the idiosyncratic use of consonance/dissonance within this idiom. In the General Chord Type (GCT) representation, the notes of a harmonic simultaneity are re-arranged, depending on a given classification of intervals (that reflects culturally-dependent notions of consonance/dissonance), such that abstract idiom-specific types of chords may be derived. A novel chord representation has been devised that adapts to different non-standard tonal harmon-ic spaces. Traditional triadic tonal chord types are inadequate for this corpus' unconventional harmonic language pc-set theoretic tools are too general/abstract. This analysis will mainly focus on unique harmonic aspects of these songs, which feature, for instance, unresolved dissonances (major second and minor seventh inter-vals) at structurally stable positions of the pieces (e.g. ![]() This paper examines a previously unstudied musical corpus de-rived from the polyphonic singing tradition of Epirus employing statistical methods. ![]()
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