<resource xmlns:datacite="http://datacite.org/schema/kernel-4">
<creators>
<creator>
<creatorName nameType="Personal">Johannes Hentschel</creatorName>
<givenName>Johannes</givenName>
<familyName>Hentschel</familyName>
</creator>
<creator>
<creatorName nameType="Personal">Yannis Rammos</creatorName>
<givenName>Yannis</givenName>
<familyName>Rammos</familyName>
</creator>
<creator>
<creatorName nameType="Personal">Fabian C. Moss</creatorName>
<givenName>Fabian C.</givenName>
<familyName>Moss</familyName>
</creator>
<creator>
<creatorName nameType="Personal">Markus Neuwirth</creatorName>
<givenName>Markus</givenName>
<familyName>Neuwirth</familyName>
</creator>
<creator>
<creatorName nameType="Personal">Martin Rohrmeier</creatorName>
<givenName>Martin</givenName>
<familyName>Rohrmeier</familyName>
</creator>
</creators>
<titles>
<title>An annotated corpus of tonal piano music from the long 19th century</title>
</titles>
<publicationYear>2024</publicationYear>
<descriptions>
<description descriptionType="Other">We present a dataset of 264 annotated piano pieces of nine composers, composed in the long 19th century (https://doi.org/10.5281/zenodo.7483349). Annotations adhere to the DCML harmony annotation standard and include Roman numerals, phrase boundaries, and cadence types. The scores are encoded in the XML-based MuseScore 3 format. Annotations are embedded within the MuseScore files. In addition, all harmony information, alongside key features of the encoded measure and note objects, is provided in the form of plaintext TSV-formatted tables for increased interoperability with other datasets and analysis tools. Annotations were collaboratively created and reviewed by a pool of trained music theorists. Collaboration took place asynchronously online via a semi-automated GitHub-based workflow designed for quality assurance, allowing cycles of revisions and reviews until consensus is reached. The full revision history is retained, providing data for further empirical research on inter-annotator agreement and related topics. We also present descriptive statistics about the nine corpora and the dataset as a whole, including comparisons of pitch-class contents, phrase lengths, modulations, and cadence types. We conclude with a discussion of our musicological principles for corpus building and considerations of representability.</description>
</descriptions>
<resourceType resourceTypeGeneral="Text">PDFDocument</resourceType>
<language>eng</language>
<dates>
<date dateType="Created">2025-06-26T11:53:46.963191Z</date>
<date dateType="Issued">2024-01-12</date>
</dates>
<subjects>
<subject>corpora</subject>
<subject>harmony</subject>
<subject>phrase</subject>
<subject>cadence</subject>
<subject>piano</subject>
<subject>19th century</subject>
</subjects>
<sizes>
<size>1183532 b</size>
</sizes>
<formats>
<format>application/pdf</format>
</formats>
<rightsList>
<rights rightsURI="http://creativecommons.org/licenses/by-nc/4.0/">http://creativecommons.org/licenses/by-nc/4.0/</rights>
</rightsList>
</resource>
