Abstract
This article deals with the question of how the perception of the “immanent accents” can be predicted and modeled. By immanent accent we mean any musical event in the score that is related to important points in the musical structure (e.g., tactus positions, melodic peaks) and is therefore able to capture the attention of a listener. Our aim was to investigate the underlying principles of these accented notes by combining quantitative modeling, music analysis and experimental methods. A listening experiment was conducted where 30 participants indicated perceived accented notes for 60 melodies, vocal and instrumental, selected from Baroque, Romantic and Post-tonal styles. This produced a large and unique collection of perceptual data about the perceived immanent accents, organized by styles consisting of vocal and instrumental melodies within Western art music. The music analysis of the indicated accents provided a preliminary list of musical features that could be identified as possible reasons for the raters’ perception of the immanent accents. These features related to the score in different ways, e.g., repeated fragments, single notes, or overall structure. A modeling approach was used to quantify the influence of feature groups related to pitch contour, tempo, timing, simple phrasing, and meter. A set of 43 computational features was defined from the music analysis and previous studies and extracted from the score representation. The mean ratings of the participants were predicted using multiple linear regression and support vector regression. The latter method (using cross-validation) obtained the best result of about 66% explained variance (r = 0.81) across all melodies and for a selected group of raters. The independent contribution of each feature group was relatively high for pitch contour and timing (9.6 and 7.0%). There were also significant contributions from tempo (4.5%), simple phrasing (4.4%), and meter (3.9%). Interestingly, the independent contribution varied greatly across participants, implying different listener strategies, and also some variability across different styles. The large differences among listeners emphasize the importance of considering the individual listener’s perception in future research in music perception.
Highlights
A large body of studies about the perception of melodies shows that certain notes “stick out” and are more important than others; they are perceptually accented (e.g., Cooper and Meyer, 1960; Lerdahl and Jackendoff, 1983; Clarke, 1988; Drake and Palmer, 1993; Huron and Royal, 1996)
Results of Music Analysis of the Accents, With Individual Raters We analyzed the accents provided by Rater 1 for 18 melodies and those provided by Raters 2–6 for three instrumental melodies and for three vocal melodies for each of them
The most frequent repeated fragment (RF) is of type “a” (13 occurrences, bars 1–8, 13–17, and 19), which is characterized by the syncopation (S) with an anacrusis (A) in sixteenth notes, which are often accented, even if with low frequency (LF)
Summary
A large body of studies about the perception of melodies shows that certain notes “stick out” and are more important than others; they are perceptually accented (e.g., Cooper and Meyer, 1960; Lerdahl and Jackendoff, 1983; Clarke, 1988; Drake and Palmer, 1993; Huron and Royal, 1996). These accented notes are more remembered, and may form the anchors for a perceptual representation of a melody (Jones et al, 1987; Monahan et al, 1987). For a more detailed account of previous literature concerning accents in music, we refer to the comprehensive overview by Müllensiefen et al (2009) and Bisesi et al (2019)
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