Non-Rectangular Convolutions and (Sub-)Cadences with Three Elements

The discrete acyclic convolution computes the 2n-1 sums sum_{i+j=k; (i,j) in [0,1,2,...,n-1]^2} (a_i b_j) in O(n log n) time. By using suitable offsets and setting some of the variables to zero, this method provides a tool to calculate all non-zero sums sum_{i+j=k; (i,j) in (P cap Z^2)} (a_i b_j) in a rectangle P with perimeter p in O(p log p) time. This paper extends this geometric interpretation in order to allow arbitrary convex polygons P with k vertices and perimeter p. Also, this extended algorithm only needs O(k + p(log p)^2 log k) time. Additionally, this paper presents fast algorithms for counting sub-cadences and cadences with 3 elements using this extended method

Detecting k-(Sub-)Cadences and Equidistant Subsequence Occurrences

The equidistant subsequence pattern matching problem is considered. Given a pattern string $P$ and a text string $T$, we say that $P$ is an \emph{equidistant subsequence} of $T$ if $P$ is a subsequence of the text such that consecutive symbols of $P$ in the occurrence are equally spaced. We can consider the problem of equidistant subsequences as generalizations of (sub-)cadences. We give bit-parallel algorithms that yield $o(n^2)$ time algorithms for finding $k$-(sub-)cadences and equidistant subsequences. Furthermore, $O(n\log^2 n)$ and $O(n\log n)$ time algorithms, respectively for equidistant and Abelian equidistant matching for the case $|P| = 3$, are shown. The algorithms make use of a technique that was recently introduced which can efficiently compute convolutions with linear constraints

Automatic estimation of harmonic tension by distributed representation of chords

The buildup and release of a sense of tension is one of the most essential aspects of the process of listening to music. A veridical computational model of perceived musical tension would be an important ingredient for many music informatics applications. The present paper presents a new approach to modelling harmonic tension based on a distributed representation of chords. The starting hypothesis is that harmonic tension as perceived by human listeners is related, among other things, to the expectedness of harmonic units (chords) in their local harmonic context. We train a word2vec-type neural network to learn a vector space that captures contextual similarity and expectedness, and define a quantitative measure of harmonic tension on top of this. To assess the veridicality of the model, we compare its outputs on a number of well-defined chord classes and cadential contexts to results from pertinent empirical studies in music psychology. Statistical analysis shows that the model's predictions conform very well with empirical evidence obtained from human listeners.Comment: 12 pages, 4 figures. To appear in Proceedings of the 13th International Symposium on Computer Music Multidisciplinary Research (CMMR), Porto, Portuga

The folk fiddle music of Lithuania’s coastal regions

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Automatic Semantic Annotation of Music with Harmonic Structure

This paper presents an annotation model for harmonic structure of a piece of music, and a rule system that supports the automatic generation of harmonic annotations. Musical structure has so far received relatively little attention in the context of musical metadata and annotation, although it is highly relevant for musicians, musicologists and indirectly for music listeners. Activities in semantic annotation of music have so far mostly concentrated on features derived from audio data and file-level metadata. We have implemented a model and rule system for harmonic annotation as a starting point for semantic annotation of musical structure. Our model is for the musical style of Jazz, but the approach is not restricted to this style. The rule system describes a grammar that allows the fully automatic creation of an harmonic analysis as tree-structured annotations. We present a prototype ontology that defines the layers of harmonic analysis from chords symbols to the level of a complete piece. The annotation can be made on music in various formats, provided there is a way of addressing either chords or time points within the music. We argue that this approach, in connection with manual annotation, can support a number of application scenarios in music production, education, and retrieval and in musicology

A Gallery of Simple Examples of Extended Rising Melodic Shapes

Prevailing stereotypes of formal cadences and arch-shaped melodies were especially strong in the eighteenth century, but they did not prevent European musicians from occasionally introducing rising melodic figures into cadences and sometimes connecting those figures abstractly in lines with focal notes earlier in a composition. This essay presents a few of the most direct, cleanly formed rising lines in music from the eighteenth and nineteenth centuries.Musi

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

Faculty recital series: Shiela Kibbe, piano with guest artists Bayla Keyes, violin, Sarah Pelletier, soprano, Julia Scolnik, flute, February 11, 2005

This is the concert program of the Faculty recital series: Shiela Kibbe, piano with guest artists Bayla Keyes, violin, Sarah Pelletier, soprano, Julia Scolnik, flute performance onFriday, February 11, 2005 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "Cinq chansons de Venise," Op. 58 by Gabriel Fauré, Sonata No. 1 in A major for violin and piano, Op. 13 by G. Fauré, Sonata for flute and piano by Francis Poulenc, and "Tel Jour Telle Nuit" by F. Poulenc. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Bridging fiddle and classical communities in Calgary, Canada : the Baroque & Buskin’ String Orchestra

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