Topic
Melodic pattern
About: Melodic pattern is a research topic. Over the lifetime, 21 publications have been published within this topic receiving 433 citations.
Papers
TL;DR: The notion that the melody of familiar music is more recognizable than its accompanying rhythm was examined with the same set of nameable musical excerpts in three experiments, and rhythm was found to be a poor cue for the musical representations that are stored in long-term memory.
Abstract: The notion that the melody (i.e., pitch structure) of familiar music is more recognizable than its accompanying rhythm (i.e., temporal structure) was examined with the same set of nameable musical excerpts in three experiments. In Experiment 1, the excerpts were modified so as to keep either their original pitch variations, whereas durations were set to isochrony (melodic condition) or their original temporal pattern while played on a single constant pitch (rhythmic condition). The subjects, who were selected without regard to musical training, were found to name more tunes and to rate their feeling of knowing the musical excerpts far higher in the melodic condition than in the rhythmic condition. These results were replicated in Experiment 2, wherein the melodic and rhythmic patterns of the musical excerpts were interchanged to create chimeric mismatched tunes. The difference in saliency of the melodic pattern and the rhythmic pattern also emerged with a music-title-verification task in Experiment 3, hence discarding response selection as the main source of the discrepancy. The lesser effectiveness of rhythmic structure appears to be related to its lesser encoding distinctiveness relative to melodic structure. In general, rhythm was found to be a poor cue for the musical representations that are stored in long-term memory. Nevertheless, in all three experiments, the most effective cue for music identification involved the proper combination of pitches and durations. Therefore, the optimal code of access to long-term memory for music resides in a combination of rhythm and melody, of which the latter would be the most informative.
146 citations
TL;DR: The goal of this article is to review the different techniques proposed for melodic description and extraction, and some useful melodic transformations are reviewed.
Abstract: A huge amount of audio data is accessible to everyone by on-line or off-line information services and it is necessary to develop techniques to automatically describe and deal with this data in a meaningful way. In the particular context of music content processing it is important to take into account the melodic aspects of the sound. The goal of this article is to review the different techniques proposed for melodic description and extraction. Some ideas around the concept of melody are first presented. Then, an overview of the different ways of describing melody is done. As a third step, an analysis of the methods proposed for melody extraction is made, including pitch detection algorithms. Finally, techniques for melodic pattern induction and matching are also studied, and some useful melodic transformations are reviewed.
104 citations
TL;DR: A musically contextualized perspective reveals that Schuller9s principal argument that, in this particular improvisation, Rollins developed motivic elements of a composed theme is false as discussed by the authors.
Abstract: Scholarly opinion has for many years been divided over Gunther Schuller9s landmark 1958 article, “Sonny Rollins and the Challenge of Thematic Improvisation.” Jazz theorists view the article9s close analysis of Rollins9s 1956 jazz saxophone improvisation “Blue 7” as one of their discipline9s founding statements; historians and ethnomusicologists meanwhile tend to fault it for neglecting cultural context. In either instance the specific details of Schuller9s analysis have been largely accepted as being internally consistent. The present study proposes that the analysis of jazz improvisation ought to engage more extensively with broader stylistic issues in addition to the specifics of isolated individual performances. Such a musically contextualized perspective reveals that Schuller9s principal argument—that, in this particular improvisation, Rollins developed motivic elements of a composed theme—is false. “Blue 7” was in fact improvised in its entirety, and the melodic pattern that Schuller cited as a thematic motive was one of Rollins9s habitual improvisational formulas, heard on many of the saxophonist9s other 1950s recordings. This canonic recording, as well as the notion of Rollins as a “thematic” improviser, therefore needs to be reconsidered.
34 citations
19 Apr 2015
TL;DR: A comparative evaluation of methodologies for computing similarity between short-time melodic fragments of audio recordings of Indian art music indicates that melodic fragment similarity is particularly sensitive to distance measures and normalization techniques.
Abstract: We perform a comparative evaluation of methodologies for computing similarity between short-time melodic fragments of audio recordings of Indian art music. We experiment with 560 different combinations of procedures and parameter values. These include the choices made for the sampling rate of the melody representation, pitch quantization levels, normalization techniques and distance measures. The dataset used for evaluation consists of 157 and 340 annotated melodic fragments of Carnatic and Hindustani music recordings, respectively. Our results indicate that melodic fragment similarity is particularly sensitive to distance measures and normalization techniques. Sampling rates do not have a significant impact for Hindustani music, but can significantly degrade the performance for Carnatic music. Overall, the performed evaluation provides a better understanding of the processing steps and parameter settings for melodic similarity in Indian art music. Importantly, it paves the way for developing unsupervised melodic pattern discovery approaches, whose evaluation is a challenging and, many times, ill-defined task.
22 citations
TL;DR: In this article, a comparison between le Nord and le Sud is made for le mode, lechelle, the progression melodique, the forme, and l'echelle et le mode.
Abstract: Comparaison entre le Nord et le Sud pour ce qui concerne : l'echelle et le mode, la progression melodique, la forme. Classification par type de chants (identification de la structure musicale, localisation, exemples) : chants de travail, chants de la montagne, chants lyriques| en annexe : echelles et modes musicaux, glossaire
20 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 1 |
| 2019 | 2 |
| 2018 | 1 |
| 2015 | 1 |
| 2014 | 3 |
| 2006 | 1 |