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In recent years, transformers, initially developed for language, have been successfully applied to visual tasks. Vision transformers have been shown to push the state of the art in a wide range of tasks, including image classification, object detection, and semantic segmentation. While ample research has shown promising results in art attribution and art authentication tasks using convolutional neural networks, this paper examines whether the superiority of vision transformers extends to art authentication, improving, thus, the reliability of computer-based authentication of artworks. Using a carefully compiled dataset of authentic paintings by Vincent van Gogh and two contrast datasets, we compare the art authentication performances of Swin transformers with those of EfficientNet. Using a standard contrast set containing imitations and proxies (works by painters with styles closely related to van Gogh), we find that EfficientNet achieves the best performance overall. With a contrast set that only consists of imitations, we find the Swin transformer to be superior to EfficientNet by achieving an authentication accuracy of over 85%. These results lead us to conclude that vision transformers represent a strong and promising contender in art authentication, particularly in enhancing the computer-based ability to detect artistic imitations. [ABSTRACT FROM AUTHOR]

Claude Debussy's personal style is typically characterised as a departure from earlier diatonic tonality, including a greater variety of pitch-class materials organised in fragmented yet coherent compositions. Exploiting the music-theoretical interpretability of Discrete Fourier Transforms over pitch-class distributions, we performed a corpus study over Debussy's solo-piano works in order to investigate the diachronic development of such stylistic features across the composer's lifespan. We propose quantitative heuristics for the prevalence of different pitch-class prototypes, the fragmentation of a piece across different prototypes, as well as some aspect of the overall coherence of a piece. We found strong evidence for a decrease of diatonicity in favour of octatonicity, as well as for an increase of fragmentation accompanied by non-decreasing coherence. These results contribute to the understanding of the historical development of extended-tonal harmony, while representing a fertile testing ground for the interaction of computational corpus-based methods with traditional music analytical approaches. [ABSTRACT FROM AUTHOR]