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Addressing the lack of role perception capabilities in existing deep music generation models during polyphonic interactions, this paper conducts an interdisciplinary analysis of Haydn's String Quartet in D Major, The Lark (Op. 64, No. 5). We propose a novel research path: \"Classical Morphology Qualitative Analysis-Electroacoustic Quantitative Measurement-Machine Representation Reconstruction.\" The study first utilizes auditory analysis to dissect the counterpoint morphology of the leading voice and the underlying groove in the first movement. Subsequently, it introduces spectrum and dynamic feature analysis tools from a Digital Audio Workstation (DAW) to translate subjective auditory perception into ","title":"From Textural Counterpoint to Feature Encoding: A Multi-Dimensional Machine Representation Study of Haydn's \"The Lark\" Integrating Electroacoustic Analysis","url":"https://arxiv.org/abs/2607.05902","vendor":"arxiv_cs_ai"},"summary":"arXiv:2607.05902v1 Announce Type: cross \nAbstract: Chamber music, as a highly precise multi-part interactive system, contains a logic of \"role assignment and dynamic interaction\" that provides an extremely valuable blueprint for exploring human-computer collaborative composition paradigms. Addressing the lack of role perception capabilities in existing deep music generation models during polyphonic interactions, this paper conducts an interdisciplinary analysis of Haydn's String Quartet in D Major, The Lark (Op. 64, No. 5). 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