After reading Section A.1 (Data Collection and Network Construction), I wonder to what degree their analysis depends on MIDI encoding practices. For example, fo

After reading Section A.1 (Data Collection and Network Construction), I wonder to what degree their analysis depends on MIDI encoding practices. For example, for a keyboard fugue, you could use one channel for the entire piece, one channel per voice, or one channel for each hand, with the voices moving between the two as a human player would play them. Apart from rare corner cases (especially in the WTCs), they would sound exactly the same, but I think their method generates very different networks for them. And MIDI files might be a recording of an actual performance (with all ornamentals played out, chords arpeggiated to varying degrees, etc.), or try to capture an urtext edition as accurately as possible (leaving much to interpretation).