ABSTRACT Harmonic transcriptions by ear rely heavily on subjective perceptions, which can lead to disagreement between annotators. The current computational metrics employed to measure annotator disagreement are useful for determining similarity on a pitch-class level, but are agnostic to the functional properties of chords. In contrast, music theories like Hugo Riemann's theory of ‘harmonic function’ acknowledge the similarity between chords currently unrecognised by computational metrics. This paper, utilises Riemann's theory to explain the harmonic annotator disagreements in the Chordify Annotator Subjectivity Dataset. This theory allows us to explain 82% of the dataset, compared to the 66% explained using pitch-class based methods alone. This new interdisiplinary application of Riemann's theory increases our understanding of harmonic disagreement and introduces a method for improving harmonic evaluation metrics that takes into account the function of a chord in relation to a tonal centre.

中文翻译：

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使用 Hugo Riemann 的“调和函数”理论解释调和注释者间的分歧

摘要 耳朵的谐波转录在很大程度上依赖于主观感知，这可能导致注释者之间的分歧。当前用于测量注释者分歧的计算指标对于确定音级级别的相似性很有用，但与和弦的功能特性无关。相比之下，像雨果·黎曼 (Hugo Riemann) 的“谐波函数”理论这样的音乐理论承认目前计算指标无法识别的和弦之间的相似性。本文利用黎曼理论来解释 Chordify Annotator Subjectivity Dataset 中的谐波标注器分歧。该理论使我们能够解释 82% 的数据集，而仅使用基于音高级别的方法解释的 66%。黎曼的这种新的跨学科应用