Melodic Measures

This study investigated whether and how the musical palindrome (tonal, melodic, and metric) can be recognized in auditory and/or visual perception in musically trained participants. According to the results, we suggest that palindrome recognition can only be aurally perceived if it is short enough and the listener is quite sophisticated. There is a fair amount of research on the recognition of transformed auditory and visual patterns, as well as the visual symmetry perception in persons with ASD. Thus, a future study will test more people with ASD, on one hand, and musically trained participants recognizing short musical palindromes.

1. Abstract 2. Introduction 3. Grouping of musical sounds 3.1. Perceptual fusion and separation of spectral components 3.1.1. Harmonicity 3.1.2. Onset and time-varying synchronicity 3.2. Auditory continuity effects 3.3. Grouping of rapid sequences of tones 3.3.1. Grouping by pitch proximity 3.3.2. Grouping by timbre 3.3.3. Grouping by temporal proximity 4. Grouping of tone sequences from different spatial locations 4.1. The scale illusion 4.2. The glissando illusion 4.3. Grouping of nonsimultaneous sounds from different spatial locations 5. Ambiguities of musical pitch 5.1. Pitch circularity effects 5.2. The tritone paradox 6. Conclusion 7. References

Congenital deafness affects different aspects of information processing and time perception. In deafness the accuracy of duration judgments seems to be linked to differences in the use of conventional time units, applied strategy as well as cognitive processes such as attention or working memory (Kowalska & Szelag, 2006). The present experiment investigated the effect of different event structures on duration reproduction in deaf and normal hearing subjects. The accuracy and variability of performances were calculated respectively by means of the absolute error score and coefficient of variation of time reproductions. Results showed a global underestimation of durations for all subjects; moreover all subjects performed more accurate reproductions for regular than for irregular patterns. No differences in reproduction accuracy between deaf and normal hearing subjects were found, even if reproductions in the deaf subjects showed a greater variability. Accuracy of time reproductions wa...

https://www.ijert.org/various-artificial-intelligence-techniques-for-automated-melody-generation

https://www.ijert.org/research/various-artificial-intelligence-techniques-for-automated-melody-generation-IJERTV2IS70744.pdf

Music Composition involves different steps like melody creation, adding variations, rhythm, basses, etc. Out of these, melody generation is the basis of the musical piece created. This paper discusses generating novel pieces of monophonic melodies using three different techniques, namely, Elman Recurrent Neural Networks, a hybrid approach of Genetic Algorithms with Neural Networks as fitness evaluator and Genetic Algorithms with fitness evaluation by musical rules.

The ability to extract meaningful relationships from sequences is crucial to many aspects of perception and cognition, such as speech and music. This paper explores how leading computational techniques may be used to model how humans learn abstract musical relationships, namely, tonality and octave equivalence. Rather than hard-coding musical rules, this model uses an unsupervised learning approach to glean tonal relationships from a musical corpus. We develop and test a novel input representation technique, using a perceptually-inspired harmonics-based representation, to boot-strap the model's learning of tonal structure. The results are compared with behavioral data from listeners' performance on a standard music perception task: the model effectively encodes tonal relationships from musical data, simulating expert performance on the listening task. Lastly, the results are contrasted with previous findings from a computational model that uses a more simple symbolic input representation of pitch.

In this paper, I propose that embodied cognition in music has two distinct levels: 1) the apparent corporeal articulation of music by performers and listeners, which reflects either a desire to make visible their emotional responses to the music or rhythmic entrainment, and 2) the principal (though concealed) level of transient muscular reactions to the main coding aspects in music: the tonal relationships arranged in time. This paper argues that the apparent corporeal articulation with regard to the entrainment effect and dance (Leman & Maes, 2014) is more related to the multimodal integration that is characteristic of attending to such a multidisciplinary performing art as opera and ballet than to purely musical content. I also present empirical data on the perception of tonal distances (Korsakova-Kreyn & Dowling, 2014) and suggest an explanation of why listeners' intuitive navigation in tonal and temporal space lies at the heart of emotional responses to music, including corporeal articulation. In addition, the paper touches on the research into temporality in music, such as memory constraints in the perception of tonal structures (Tillmann & Bigand, 2004). The main emphasis of this paper is on the principal two dimensions of music: tonal relationships and time. Understanding the primacy of these dimensions is important for defining music cognition and music in general. The paper also identifies the need for collaboration among various subdisciplines in musicology and the cognitive sciences so as to further the development of the nascent field of embodied cognition in music. KEYWORDS: music perception, embodied cognition, emotional processing in music Expressive distinctions are easily encoded by the listeners through the verbal labels, but they are practically untranslatable by bodily mediation, when body expression is induced by the musical stimulus. Frances and Bruchon-Schweitzer (1983) The concept of embodied cognition is based on the understanding that our emotions, memory, speech, and imagination are inseparable from the experiences of our bodies. To say it differently, a mind is shaped by the motor and somatosensory experience of the body that houses that mind. Music, a very special form of communication between humans, illustrates two levels of embodied cognition. The first, " surface " level is the influence of visible bodily movement on music perception and cognition. The second, " deep " level deals with melodic morphology. Our minds read melodic information by comparing differences in the perceived tonal stability of melodic elements. The sense of stability is directly related to a physical sensation of perceived tension, which means that melodic morphology is based on a highly primitive principle of perception that involves changes in somatic tension (Radchenko et al., 2015)—changes that most likely include transient actions of the musculature in response to tonal and temporal patterns. This is why tonal music presents what is probably the most obvious and holistic example of embodied cognition. SPEECH AND EMBODIED COGNITION The theory of embodied cognition postulates that sensory information and motor activity are essential for understanding the surrounding world and for developing the abilities that are important for abstract reasoning (Foglia & Wilson, 2013). Because both memory and speech include sensorimotor representations, our imagination relies on previously experienced gestures and movements (Wellsby &

In this paper, I propose that embodied cognition in music has two distinct levels: 1) the apparent corporeal articulation of music by performers and listeners, which reflects either a desire to make visible their emotional responses to the music or rhythmic entrainment, and 2) the principal (though concealed) level of transient muscular reactions to the main coding aspects in music: the tonal relationships arranged in time. This paper argues that the apparent corporeal articulation with regard to the entrainment effect and dance (Leman & Maes, 2014) is more related to the multimodal integration that is characteristic of attending to such a multidisciplinary performing art as opera and ballet than to purely musical content. I also present empirical data on the perception of tonal distances (Korsakova-Kreyn & Dowling, 2014) and suggest an explanation of why listeners' intuitive navigation in tonal and temporal space lies at the heart of emotional responses to music, including corporeal articulation. In addition, the paper touches on the research into temporality in music, such as memory constraints in the perception of tonal structures (Tillmann & Bigand, 2004). The main emphasis of this paper is on the principal two dimensions of music: tonal relationships and time. Understanding the primacy of these dimensions is important for defining music cognition and music in general. The paper also identifies the need for collaboration among various subdisciplines in musicology and the cognitive sciences so as to further the development of the nascent field of embodied cognition in music. KEYWORDS: music perception, embodied cognition, emotional processing in music Expressive distinctions are easily encoded by the listeners through the verbal labels, but they are practically untranslatable by bodily mediation, when body expression is induced by the musical stimulus. Frances and Bruchon-Schweitzer (1983) The concept of embodied cognition is based on the understanding that our emotions, memory, speech, and imagination are inseparable from the experiences of our bodies. To say it differently, a mind is shaped by the motor and somatosensory experience of the body that houses that mind. Music, a very special form of communication between humans, illustrates two levels of embodied cognition. The first, " surface " level is the influence of visible bodily movement on music perception and cognition. The second, " deep " level deals with melodic morphology. Our minds read melodic information by comparing differences in the perceived tonal stability of melodic elements. The sense of stability is directly related to a physical sensation of perceived tension, which means that melodic morphology is based on a highly primitive principle of perception that involves changes in somatic tension (Radchenko et al., 2015)—changes that most likely include transient actions of the musculature in response to tonal and temporal patterns. This is why tonal music presents what is probably the most obvious and holistic example of embodied cognition. SPEECH AND EMBODIED COGNITION The theory of embodied cognition postulates that sensory information and motor activity are essential for understanding the surrounding world and for developing the abilities that are important for abstract reasoning (Foglia & Wilson, 2013). Because both memory and speech include sensorimotor representations, our imagination relies on previously experienced gestures and movements (Wellsby &

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler’s gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests.

© 2010 American Institute of Physics

In this work, an Elman recurrent neural network
is used for automatic musical structure composition based on
the style of a music previously learned during the training
phase. Furthermore, a small fragment of a chaotic melody is
added to the input layer of the neural network as an inspiration
source to attain a greater variability of melodies. The neural
network is trained by using the BPTT (back propagation through
time) algorithm. Some melody measures are also presented for
characterizing the melodies provided by the neural network and
for analyzing the effect obtained by the insertion of chaotic
inspiration in relation to the original melody characteristics.
Specifically, a similarity melodic measure is considered for
contrasting the variability obtained between the learned melody
and each one of the composite melodies by using different
quantities of inspiration musical notes.