PENERAPAN IMPROVISASI SAKSOFON TENOR MENGGUNAKAN PENDEKATAN CHORDAL DAN MODAL PADA LAGU STABLEMATES KARYA BENNY GOLSON

Karya tulis ini berjudul “Penerapan Konsep Improvisasi Saksofon Tenor Menggunakan Pendekatan Chordal Dan Modal Pada Lagu Stablemates Karya Benny Golson.” Menjadi musisi jazz, improvisasi merupakan hal yang wajib untuk dipelajari. Meskipun dalam berimprovisasi dilakukan secara spontan, akan tetapi seorang improvisator harus memiliki pemahaman tentang isi dari improvisasi yang akan dimainkan. Dalam mempelajari improvisasi ada beberapa faktor yang perlu diketahui oleh musisi. Seorang musisi perlu mengetahui bentuk lagu, jenis chord yang digunakan, chord progression, dan tangga nada (scale modal). Penulisan ini ditujukan untuk pemain saksofon lain untuk memiliki pedoman dalam berimprovisasi dengan pendekatan chordal dan modal. Penelitian ini menggunakan metode kualitatif dengan proses yang dilakukan melalui pengumpulan data, wawancara, video, audio, analisis, eksplorasi, dan penerapan. Dalam permainan improvisasi, konsep pendekatan chordal dan modal dapat diolah secara bersamaan dalam satu chord. THE APPLICATION OF TENOR SAXOPHONE IMPROVISATION USING CHORDAL AND MODAL APPROACHES TO BENNY GOLSON STABLEMATES SONGThis paper is entitled "The Application of the Tenor Saxophone Improvisation Concept Using Chordal and Modal Approaches to Benny Golson's Stablemates Song." As a jazz musician, improvisation is a must. Even though improvisation is done spontaneously, it would be better if an improviser had an understanding of the content of the improvisation to be played. In learning improvisation, there are several factors that musicians need to know. A musician needs to know the form of the song, the types of chord used, the chord progression, and the scale (modal scale). This writing is intended for other saxophonists to have guidelines for improvising with chordal and modal approaches. This study uses a qualitative method with a process carried out through data collection, interviews, video, audio, analysis, exploration, and application. In improvisational games, the concepts of chordal and modal approaches can be processed simultaneously in one chord

The Effect of Explicit Structure Encoding of Deep Neural Networks for Symbolic Music Generation

With recent breakthroughs in artificial neural networks, deep generative models have become one of the leading techniques for computational creativity. Despite very promising progress on image and short sequence generation, symbolic music generation remains a challenging problem since the structure of compositions are usually complicated. In this study, we attempt to solve the melody generation problem constrained by the given chord progression. This music meta-creation problem can also be incorporated into a plan recognition system with user inputs and predictive structural outputs. In particular, we explore the effect of explicit architectural encoding of musical structure via comparing two sequential generative models: LSTM (a type of RNN) and WaveNet (dilated temporal-CNN). As far as we know, this is the first study of applying WaveNet to symbolic music generation, as well as the first systematic comparison between temporal-CNN and RNN for music generation. We conduct a survey for evaluation in our generations and implemented Variable Markov Oracle in music pattern discovery. Experimental results show that to encode structure more explicitly using a stack of dilated convolution layers improved the performance significantly, and a global encoding of underlying chord progression into the generation procedure gains even more.Comment: 8 pages, 13 figure

AudExpCreator: A GUI-based Matlab tool for designing and creating auditory experiments with the Psychophysics Toolbox

We present AudExpCreator, a GUI-based Matlab tool for designing and creating auditory experiments. AudExpCreator allows users to generate auditory experiments that run on Matlab's Psychophysics Toolbox without having to write any code; rather, users simply follow instructions in GUIs to specify desired design parameters. The software comprises five auditory study types, including behavioral studies and integration with EEG and physiological response collection systems. Advanced features permit more complicated experimental designs as well as maintenance and update of previously created experiments. AudExpCreator alleviates programming barriers while providing a free, open-source alternative to commercial experimental design software.Comment: 15 pages, 6 figure

Testing Schenkerian theory: an experiment on the perception of key distances

The lack of attention given to Schenkerian theory by empirical research in music is striking when compared to its status in music theory as a standard account of tonality. In this paper I advocate a different way of thinking of Schenkerian theory that can lead to empirically testable claims, and report on an experiment that shows how hypotheses derived from Schenker’s theories explain features of listener’s perception of key relationships. To be relevant to empirical research, Schenker’s theory must be treated as a collection of interrelated but independent theoretical claims rather than a comprehensive analytical method. These discrete theoretical claims can then lead to hypotheses that we can test through empirical methods. This makes it possible for Schenkerian theory improve our scientific understanding of how listeners understand tonal music. At the same time, it opens the possibility of challenging the usefulness of certain aspects of the theory. This paper exemplifies the empirical project with an experiment on the perception of key distance. The results show that two features of Schenkerian theory predict how listeners rate stimuli in terms of key distance. The first is the Schenkerian principle of “composing out” a harmony, and the second is the theory of “voice-leading prolongations.” In a regression analysis, both of these principles significantly improve upon a model of distance ratings based on change of scalar collection alone.Accepted manuscrip

JamBot: Music Theory Aware Chord Based Generation of Polyphonic Music with LSTMs

We propose a novel approach for the generation of polyphonic music based on LSTMs. We generate music in two steps. First, a chord LSTM predicts a chord progression based on a chord embedding. A second LSTM then generates polyphonic music from the predicted chord progression. The generated music sounds pleasing and harmonic, with only few dissonant notes. It has clear long-term structure that is similar to what a musician would play during a jam session. We show that our approach is sensible from a music theory perspective by evaluating the learned chord embeddings. Surprisingly, our simple model managed to extract the circle of fifths, an important tool in music theory, from the dataset.Comment: Paper presented at the 29th International Conference on Tools with Artificial Intelligence, ICTAI 2017, Boston, MA, US

Combinatorics of Chord Progressions

Color poster with text and diagrams.This study explored an overlap between combinatorics and music. The goal was to show chord progressions that are common to a specific collection of music, composer, or era.University of Wisconsin--Eau Claire Office of Research and Sponsored Programs

A psychoacoustic model of harmonic cadences: a preliminary report

This report presents a psychoacoustically derived computational model of the perceived distance between any two major or minor triads, the degree of activity created by any given pair of triads, and the cadential effectiveness of three-triad progressions. It also provides statistical analyses of the ratings given by thirty-five participants for the "similarity" and "fit" of triads in a pair, and the "cadential effectiveness" of three-triad progressions. Multiple regressions show that the model provides highly significant predictions of the experimentally obtained ratings. Finally, it is argued that because the model is based upon psychoacoustic axioms, it is likely the regression equations represent true causal models. As such, the computational model and its associated theory question the plausibility of theoretical approaches to tonality that use only long-term memory and statistical features, as well as those approaches based upon symmetrical geometrical structures like the torus. It is hoped that the psychoacoustic approach proposed here may herald not only the return of psychoacoustic approaches to tonal music theory, but also the exploration of the tonal possibilities offered by non-standard tunings and non-harmonic timbres

Evaluating musical software using conceptual metaphors

An open challenge for interaction designers is to find ways of designing software to enhance the ability of novices to perform tasks that normally require specialized domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of conceptual metaphors and image schemas, found by analyzing discourse. This kind of analysis has already been applied, with some success, both to musical concepts and, separately, to user interface design. The present work appears to be the first to combine these hitherto distinct bodies of research, with the aim of devising a general method for improving user interfaces for music. Some areas where this may require extensions to existing method are noted. This paper presents the results of an exploratory evaluation of Harmony Space, a tool for playing, analysing and learning about harmony. The evaluation uses conceptual metaphors and image schemas elicited from the dialogues of experienced musicians discussing the harmonic progressions in a piece of music. Examples of where the user interface supports the conceptual metaphors, and where support could be improved, are discussed. The potential use of audio output to support conceptual metaphors and image schemas is considered