7,217 research outputs found
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 and a text string , we say that is an
\emph{equidistant subsequence} of if is a subsequence of the text such
that consecutive symbols of 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 time
algorithms for finding -(sub-)cadences and equidistant subsequences.
Furthermore, and time algorithms, respectively for
equidistant and Abelian equidistant matching for the case , 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
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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
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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
Cadence and Formal Function in Mendelssohn's Sonata Forms
Mendelssohn’s sonata-form practices owe much to classical syntactic paradigms, but his music testifies to the growing trend in the nineteenth century for novel methods of syntactic organisation. He engages methods of syntactic proliferation, functional expansion and extension, truncation, compression, and deletion, which engenders a phrase-structural complexity and a multi-layered thematic syntax. In so doing, Mendelssohn makes cadences and structural support subservient to a continuous, proliferative agenda, and capitalises on the capacity for cadential deferral, and delayed consolidation of the tonic. Despite marshalling seemingly coherent, conventional intrathematic units, Mendelssohn’s radical treatment therein undermines clear interthematic groupings, engaging a continuous reorientation of functionality. As a point of departure from classical precedents, reconsideration of the interdependence between cadence and closure is evidently necessary. This study contributes to recent scholarly momentum in nineteenth-century music and in Mendelssohn studies by addressing formal articulation in the context of Mendelssohn’s novel approach to syntax, in order to illuminate his continued process of downplaying, deferring, and deleting cadences, and the issues of long-range teleology, functional instability, and interthematic indeterminateness that result from these processes
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