Category Archives: Music data

Music information that listeners must have and how music composers and performers can fulfill them

We know it for decades: information is a main key in society. Actually there is nothing new under the sun: education is transmission of information and it always contributed to the building of better human groups. Maybe the novelty is that more and more individuals today can erase the lacks of traditional education and complete it more easily than thousand or even hundred years ago.

In matter of music information, for the individual who is searching to complete some musical culture, interesting questions for music composers and performers to answer are:

What type of music information do people seek?
What are people’s music information search strategies?

In an accurate research (Lee and Downie), I found that users seek music information to build collections of music and for verifying or identifying works, artists, lyrics, etc.

These clear and concrete goals are reached:

  • physically (people visit friend’s places, record stores, music libraries and shops plus bars, church or sessions)
  • through the internet (people search for recordings, music files, news, music styles, etc.)

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All of this is clear and evident. Another evidence appears: professional musicians need to frequent physical places like libraries or shop and publish their sheet music on the web to be known better.

Musicians will notice that a music composition and notation software like Pizzicato can help them to publish their work themselves or to be published by a professional editor – as it already happened.

All musicians will find information related to Pizzicato at (informations like a free demonstration version and newsletters about music composition).

Francoise Delsaux
Arpege Music
Online Marketing


“Toward a unitary music theory?”

What is the basic common denominator of all music styles? Why do we like some types of music and not others?

Since about twenty years, these questions guide me toward a fundamental research in music. The subject is not new and Pythagoras already determined that the most harmonious intervals were related to simple mathematical ratios (for instance, a perfect fifth is formed by a ratio of 3 vibrations to 2).

If the structure of the harmonics of a sound and the scale intervals are explained in almost every music theory or harmony course under the sun, these mathematical considerations are quickly forgotten by the student for the rest of his curriculum.

But would these concepts of relative proportions have something else to unveil? I strongly believe so. There must be a small number of basic natural laws that could explain and unite the various elements found in harmony, counterpoint, rhythm and orchestration for any music style, whether tonal, atonal, micro-tonal, ethnic, techno or acousmatic.

Such a theory must provide a more subtle and finer analysis of music than is possible today and bring a much better understanding of the musical phenomenon. I called it unitary music theory.

It is one of my goals in life. Even if I am still far from the final results, I have accumulated some interesting elements and I would like to share them with you. I am also open to – and even searching for – any collaboration in this vast and exciting field of research.

The ultimate goal is a practical theory, not a pure academic knowledge. It happens in the frame of the development of a music composition software that would be really intuitive, where the user would not need to be enclosed in a notation system or learn elaborate music theories when his only purpose was to express himself/herself as an artist. Too many theoretical barriers still exist today and musical creativity should be available to anyone.


Photograph : Pythagoras and Philolaus experimenting musical pipes

Post written by Dominique Vandenneucker (Arpege Music Software Development CEO)

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