Clustering of Musical Pieces through Complex Networks: an Assessment over Guitar Solos

Musical pieces can be modeled as complex networks. This fosters innovative ways to categorize music, paving the way towards novel applications in multimedia domains, such as music didactics, multimedia entertainment and digital music generation. Clustering these networks through their main metrics allows grouping similar musical tracks. To show the viability of the approach, we provide results on a dataset of guitar solos.Comment: to appear in IEEE Multimedia magazin

A Rapid Sound-Action Association Effect in Human Insular Cortex

BACKGROUND: Learning to play a musical piece is a prime example of complex sensorimotor learning in humans. Recent studies using electroencephalography (EEG) and transcranial magnetic stimulation (TMS) indicate that passive listening to melodies previously rehearsed by subjects on a musical instrument evokes differential brain activation as compared with unrehearsed melodies. These changes were already evident after 20–30 minutes of training. The exact brain regions involved in these differential brain responses have not yet been delineated. METHODOLOGY/PRINCIPAL FINDING: Using functional MRI (fMRI), we investigated subjects who passively listened to simple piano melodies from two conditions: In the ‘actively learned melodies’ condition subjects learned to play a piece on the piano during a short training session of a maximum of 30 minutes before the fMRI experiment, and in the ‘passively learned melodies’ condition subjects listened passively to and were thus familiarized with the piece. We found increased fMRI responses to actively compared with passively learned melodies in the left anterior insula, extending to the left fronto-opercular cortex. The area of significant activation overlapped the insular sensorimotor hand area as determined by our meta-analysis of previous functional imaging studies. CONCLUSIONS/SIGNIFICANCE: Our results provide evidence for differential brain responses to action-related sounds after short periods of learning in the human insular cortex. As the hand sensorimotor area of the insular cortex appears to be involved in these responses, re-activation of movement representations stored in the insular sensorimotor cortex may have contributed to the observed effect. The insular cortex may therefore play a role in the initial learning phase of action-perception associations

Methodological contributions by means of machine learning methods for automatic music generation and classification

189 p.Ikerketa lan honetan bi gai nagusi landu dira: musikaren sorkuntza automatikoa eta sailkapena. Musikaren sorkuntzarako bertso doinuen corpus bat hartu da abiapuntu moduan doinu ulergarri berriak sortzeko gai den metodo bat sortzeko. Doinuei ulergarritasuna hauen barnean dauden errepikapen egiturek ematen dietela suposatu da, eta metodoaren hiru bertsio nagusi aurkeztu dira, bakoitzean errepikapen horien definizio ezberdin bat erabiliz.Musikaren sailkapen automatikoan hiru ataza garatu dira: generoen sailkapena, familia melodikoen taldekatzea eta konposatzaileen identifikazioa. Musikaren errepresentazio ezberdinak erabili dira ataza bakoitzerako, eta ikasketa automatikoko hainbat teknika ere probatu dira, emaitzarik hoberenak zeinek ematen dituen aztertzeko.Gainbegiratutako sailkapenaren alorrean ere binakako sailkapenaren gainean lana egin da, aurretik existitzen zen metodo bat optimizatuz. Hainbat datu baseren gainean probatu da garatutako teknika, baita konposatzaile klasikoen piezen ezaugarriez osatutako datu base batean ere

AI Methods in Algorithmic Composition: A Comprehensive Survey

Algorithmic composition is the partial or total automation of the process of music composition by using computers. Since the 1950s, different computational techniques related to Artificial Intelligence have been used for algorithmic composition, including grammatical representations, probabilistic methods, neural networks, symbolic rule-based systems, constraint programming and evolutionary algorithms. This survey aims to be a comprehensive account of research on algorithmic composition, presenting a thorough view of the field for researchers in Artificial Intelligence.This study was partially supported by a grant for the MELOMICS project (IPT-300000-2010-010) from the Spanish Ministerio de Ciencia e Innovación, and a grant for the CAUCE project (TSI-090302-2011-8) from the Spanish Ministerio de Industria, Turismo y Comercio. The first author was supported by a grant for the GENEX project (P09-TIC- 5123) from the Consejería de Innovación y Ciencia de Andalucía

Methodological contributions by means of machine learning methods for automatic music generation and classification

189 p.Ikerketa lan honetan bi gai nagusi landu dira: musikaren sorkuntza automatikoa eta sailkapena. Musikaren sorkuntzarako bertso doinuen corpus bat hartu da abiapuntu moduan doinu ulergarri berriak sortzeko gai den metodo bat sortzeko. Doinuei ulergarritasuna hauen barnean dauden errepikapen egiturek ematen dietela suposatu da, eta metodoaren hiru bertsio nagusi aurkeztu dira, bakoitzean errepikapen horien definizio ezberdin bat erabiliz.Musikaren sailkapen automatikoan hiru ataza garatu dira: generoen sailkapena, familia melodikoen taldekatzea eta konposatzaileen identifikazioa. Musikaren errepresentazio ezberdinak erabili dira ataza bakoitzerako, eta ikasketa automatikoko hainbat teknika ere probatu dira, emaitzarik hoberenak zeinek ematen dituen aztertzeko.Gainbegiratutako sailkapenaren alorrean ere binakako sailkapenaren gainean lana egin da, aurretik existitzen zen metodo bat optimizatuz. Hainbat datu baseren gainean probatu da garatutako teknika, baita konposatzaile klasikoen piezen ezaugarriez osatutako datu base batean ere

Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content

Melodic dictation has long been a daunting task for students in aural skills training. Research has found that interval identification is a factor when taking melodic dictation. Research has also found that some intervals are easier to identify than other intervals. The goal of this thesis is to determine whether the difficulty of melodic dictation examples can be categorized by their intervallic content. A popular aural skills text was used as the source for the melodic dictation examples. The adjacent intervals in each melodic dictation example were counted and recorded by interval type. The analysis of the melodic dictation examples according to their intervallic content was then performed using an SPSS two-step cluster analysis. Two clusters emerged, proving that there were natural groupings within the data. Cluster 1 examples contained mostly conjunct motion, i.e., intervals of a m2 to M3, while cluster 2 examples were characterized by their disjunct intervallic content, i.e., intervals of a m6 to M7. Melodic dictation examples of both clusters were found to appear throughout the textbook organization, with the exception that no cluster 2 examples were found in the beginning units of the text. Other variables that were tracked were whether an example was composed (C) for the text or derived from music literature (L), the unit and melody number, and total number of intervals per melody. Rhythm was not observed

The Effect of Simple Melodic Lines on Aesthetic Experience: Brain Response to Structural Manipulations

This fMRI study investigates the effect of melody on aesthetic experience in listeners na\uefve to formal musical knowledge. Using simple melodic lines, whose syntactic structure was manipulated, we created systematic acoustic dissonance. Two stimulus categories were created: canonical (syntactically \u201ccorrect,\u201d in the Western culture) and modified (made of an altered version of the canonical melodies). The stimuli were presented under two tasks: listening and aesthetic judgment. Data were analyzed as a function of stimulus structure (canonical and modified) and stimulus aesthetics, as appraised by each participant during scanning. The critical contrast modified versus canonical stimuli produced enhanced activation of deep temporal regions, including the parahippocampus, suggesting that melody manipulation induced feelings of unpleasantness in the listeners. This was supported by our behavioral data indicating decreased aesthetic preference for the modified melodies. Medial temporal activation could also have been evoked by stimulus structural novelty determining increased memory load for the modified stimuli. The analysis of melodies judged as beautiful revealed that aesthetic judgment of simple melodies relied on a fine-structural analysis of the stimuli subserved by a left frontal activation and, possibly, on meaning attribution at the charge of right superior temporal sulcus for increasingly pleasurable stimuli

The Effect of Simple Melodic Lines on Aesthetic Experience: Brain Response to Structural Manipulations

This fMRI study investigates the effect of melody on aesthetic experience in listeners na \u308\u131ve to formal musical knowledge. Using simple melodic lines, whose syntactic structure was manipulated, we created systematic acoustic dissonance. Two stimulus categories were created: canonical (syntactically \u201ccorrect,\u201d in the Western culture) and modified (made of an altered version of the canonical melodies). The stimuli were presented under two tasks: listening and aesthetic judgment. Data were analyzed as a function of stimulus structure (canonical and modified) and stimulus aesthetics, as appraised by each participant during scanning. The critical contrast modified versus canonical stimuli produced enhanced activation of deep temporal regions, including the parahippocampus, suggesting that melody manipulation induced feelings of unpleasantness in the listeners. This was supported by our behavioral data indicating decreased aesthetic preference for the modified melodies. Medial temporal activation could also have been evoked by stimulus structural novelty determining increased memory load for the modified stimuli. The analysis of melodies judged as beautiful revealed that aesthetic judgment of simple melodies relied on a fine-structural analysis of the stimuli subserved by a left frontal activation and, possibly, on meaning attribution at the charge of right superior temporal sulcus for increasingly pleasurable stimul