Thanks for your paper on the "Perceptual basis of evolving western musical styles." I was especially happy to see your engagement with the IR theory of my own teacher, Eugene Narmour.
I know it can be tiresome for people to complain about the corpus, but after downloading the Peachnote corpus I did notice some very odd things (admitting that I may have misread or misunderstood the Excel files for each musical era). There appear to
be 600+ composer names for "Romantic" and just 4 for "Baroque." Of those four, three are German protestants, one is French, and none are Italians, even though 17th and 18th-century musical style was almost entirely determined by Italian composers (Bach, who
accounts for %53 of "Baroque" pieces in the corpus, assiduously copied Italian manuscripts to learn their famous art, whereas the Italians did not even know he was alive). The "Classical" set, by contrast, has 15 names, almost half of which most musicians
would put in the "Romantic" box: Schubert, Weber, Rossini, Mendelssohn, Auber, etc. It may be worth pointing out that only "Romantic" was a term known and used as a style designation by any of the composers from 1700-1900. The Romantic-Classical-Baroque
terminology only becomes widely used in the 1920s.
Interval counts are not a straightforward calculation in musical scores because of the frequent streaming effects and the importance of discontiguous tones. Take, for instance, the following example by Bach from his first suite for solo cello: