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This dissertation revolves around the task of computational key estimation in electronic dance music, upon which three interrelated operations are performed. First, I attempt to detect possible misconceptions within the task, which is typically accomplished with a tonal vocabulary overly centred in Western classical tonality, reduced to a binary major/minor model which might not accomodate popular music styles. Second, I present a study of tonal practises in electronic dance music, developeddoi:10.5281/zenodo.1154586 fatcat:fqd24dcqlvhflcsluwpja2x4zu