Note In Melody Research Articles

Research on Role Orientation and Situation Construction of Contextualized Music Performance in the Background of Artificial Intelligence

Abstract In this paper, the Skip-gram model is used to process the main melody information of contextualized music, combining feature extraction and Schenkel analysis to extract the main melody note sets and vectors. By applying the short-time Fourier transform (STFT) to the audio signal, the spectral center of mass and irregularities can be calculated to represent the emotional features of the music. To obtain music features based on wavelet coefficients, the music signal is decomposed, and each scale’s signal features are counted individually. Finally, by taking the musical elements as independent variables and the perceived results of pleasure and activation in the contextual model as dependent variables, we compared the variability of the dynamic associations between emotional perceptions and the musical elements among different contextualized music pieces. The results showed that the overall differences in emotional cognition across musical performances ranged between ±0.5, with the mean short-term energy amplitude of relatively cheerful music ranging between ±0.2, which was smaller than that of angry (±0.3) and sad (±0.5) music. In this study, musical works were accurately characterized, and their expressive and infectious power was effectively enhanced through contextual construction.

Aransemen Ansambel Woodwind Sebagai Identitas Orkes Keroncong Gita Puspita di Tegal

The Keroncong Orchestra Gita Puspita Orchestra is one of the Keroncong Orchestras that has a place in the hearts of the people of Tegal Regency. This happened not instantaneously, Keroncong Orchestras Gita Puspita has always been in the process of working and being creative so that he managed to get a place in the hearts of the people of Tegal Regency, especially teenagers. One of the uniqueness of Keroncong Orchestras Gita Puspita is the use of woodwind ensembles for Keroncong music, where this kind of collaboration has never existed before in the Tegal district. This study aims to describe the use of woodwind ensembles in Keroncong music by Keroncong Orchestras Gita Puspita in Tegal. This study uses a qualitative method with a music analysis approach, data collection through observation, interviews, and documentation studies. The results showed that the use of the woodwind ensemble on Keroncong Orchestras Gita Puspita is quite important in composition, because the woodwind ensemble functions as an accent filler, filler, blocking note, and melody note, this is what makes the woodwind ensemble have an important role in every Keroncong Orchestras Gita Puspita arrangement

The Musical Language of Rock

The Musical Language of Rock

Historical Trends in Expressive Timing Strategies: Chopin's Etude, Op. 25 no. 1

Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody note onsets were marked manually in 127 commercial recordings dating from 1909 to 2016. Overall, the data do not show an increase or decrease over time in the amount of tempo fluctuation. Independently of a tendency to use slower tempi, pianists changed the way they employ rubato. Several factors contribute to a trend whereby the fourth beat is lengthened at the expense of the second and third beats: an increase in phrase-final lengthening, an increase in the use of tempo arching for shorter groups of measures, and a tendency to delay the arrival of an accented dissonance or change of harmony instead of lengthening the melody inter-onset interval that contains it. The data illustrate nearly imperceptible shifts in interpretation and suggest that some practices thought to be the bedrock of expressive performance may be historically conditioned.

SongMASS: Automatic Song Writing with Pre-training and Alignment Constraint

Automatic song writing aims to compose a song (lyric and/or melody) by machine, which is an interesting topic in both academia and industry. In automatic song writing, lyric-to-melody generation and melody-to-lyric generation are two important tasks, both of which usually suffer from the following challenges: 1) the paired lyric and melody data are limited, which affects the generation quality of the two tasks, considering a lot of paired training data are needed due to the weak correlation between lyric and melody; 2) Strict alignments are required between lyric and melody, which relies on specific alignment modeling. In this paper, we propose SongMASS to address the above challenges, which leverages masked sequence to sequence (MASS) pre-training and attention based alignment modeling for lyric-to-melody and melody-to-lyric generation. Specifically, 1) we extend the original sentence-level MASS pre-training to song level to better capture long contextual information in music, and use a separate encoder and decoder for each modality (lyric or melody); 2) we leverage sentence-level attention mask and token-level attention constraint during training to enhance the alignment between lyric and melody. During inference, we use a dynamic programming strategy to obtain the alignment between each word/syllable in lyric and note in melody. We pre-train SongMASS on unpaired lyric and melody datasets, and both objective and subjective evaluations demonstrate that SongMASS generates lyric and melody with significantly better quality than the baseline method.

Multi-note intelligent fusion method of music based on artificial neural network

In order to overcome the problems of low fusion efficiency and poor fusion quality of the traditional music multi-note fusion method, an intelligent fusion method of music multi-note based on artificial neural network is proposed. Establish a multi-note model, and analyse the basic signal structure of notes under this model. Collect the initial music audio file, and preprocess the audio file through the steps of parsing, noise reduction, filtering and calibration. Use artificial neural network to segment unit music, extract fundamental note, peak note and melody note, and output in the form of a single note. Extract the features of different notes, and realise the intelligent fusion of music multi-notes according to the feature extraction results. The experimental results show that, compared with the traditional fusion method, the fusion speed of the designed intelligent fusion method is increased by at least 12.6s, and the signal-to-noise ratio is increased by 1.23.

Activation in the Right Inferior Parietal Lobule Reflects the Representation of Musical Structure beyond Simple Pitch Discrimination.

Pitch discrimination tasks typically engage the superior temporal gyrus and the right inferior frontal gyrus. It is currently unclear whether these regions are equally involved in the processing of incongruous notes in melodies, which requires the representation of musical structure (tonality) in addition to pitch discrimination. To this aim, 14 participants completed two tasks while undergoing functional magnetic resonance imaging, one in which they had to identify a pitch change in a series of non-melodic repeating tones and a second in which they had to identify an incongruous note in a tonal melody. In both tasks, the deviants activated the right superior temporal gyrus. A contrast between deviants in the melodic task and deviants in the non-melodic task (melodic > non-melodic) revealed additional activity in the right inferior parietal lobule. Activation in the inferior parietal lobule likely represents processes related to the maintenance of tonal pitch structure in working memory during pitch discrimination.

Timing of Ornaments in the Theme from Beethoven's Paisiello Variations: Empirical Data and a Model

Musicians have to make many interpretive decisions when performing a piece. For example, the grace note, a one-note musical ornament, has no precise duration written in the score; it has to steal its duration from either the preceding or following melody notes. This study addressed several empirical questions: What duration are grace notes given? Does this vary depending upon musical context or individual preferences? And, are the durations of grace notes taken from the preceding or subsequent melody note, or is time added? In an experiment, 16 professional pianists performed three musical fragments (from a Beethoven theme) "with" and "without" grace notes in seven different tempi. The timing of the grace notes was found not to be proportional to changes in global tempo for most, but not all performers, which replicates findings in earlier studies. In the majority of cases, increases in bar duration were matched by relative increases in grace-note duration that were smaller than predicted by a proportional tempo model, with a minority of subjects performing grace notes with fixed duration over tempo. In most cases, grace-note duration was "stolen" from the preceding melody note, with a small contribution from the following (main) note and with minimal disturbance to local tempo. Conversely, where grace notes were played as appoggiatura, the main source of their duration was the main note. The type of grace note performed depended both on its musical context and on individual differences between performers. A model of grace-note duration is proposed to account for these results.

Automatic composer for composing a melody in real time

A composition conditioning system selects a music structure from a music structure database. The selected music structure specifies a first condition of music composition. A style input specifies a second condition of music composition. A melody rhythm composer retrieves, from a rhythm pattern database, an appropriate rhythm pattern for the composition condition. A chord progression composer retrieves, from a chord progression database, a suitable chord progression for the composition condition. A melody pitch composer generates a pitch candidate for a new melody note from an old melody note pitch and a current music progression (tonality and chord). A pattern recognizing module analyzes a melody up to the candidate into a melody pattern. A test module searches through a melody pattern rule base for the analyzed melody pattern.

Electronic music instrument for shifting tone pitches of input voice according to programmed melody note data

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Detection of Implied Harmony Changes in Triadic Melodies

Three experiments investigated the cues used by musicians and nonmusicians asked to rate their confidence that an implied harmony change had or had not occurred at a specified point in pseudo- randomly generated, isochronous, triadic melodies that conformed to the rules of elementary classical harmony. In the first experiment, a single melody note followed the putative point of harmony change, and subjects' responses were predictable on the basis of whether this note was contained in the previous triad and the size of the melodic interval between this note and the one preceding it. Musicians were relatively more influenced by the former factor, and nonmusicians, by the latter one. In the second experiment, five to seven melody notes followed the putative point of harmony change, which greatly reduced control by the harmonic relationship of the first of these to the previous triad, but the effect of melodic interval size persisted. The third experiment verified the findings of the first two by using the cues that had been identified in them as design variables and evaluating their effect with conventional analytic statistics. This experiment also parametrically manipulated the number of notes after the putative point of harmony change and showed that maximum confidence concerning the occurrence of an implied harmony change was reached with the first note that did not belong to the previous triad. Possible mechanisms for use of these cues to implied harmony changes are discussed, and directions for future research are indicated.

Early musical acculturation

Humans can universally, under typical circumstances, appreciate music. This appreciation is presumably dependent on the ability to process musical structure, but it is not clear how this processing develops. The present study was designed to contribute toward clarification of this issue. Western infants were tested in detection of mistunings (increase of 3.2% in frequency of a randomly selected melody note) in melodies based on either native or nonnative musical scales. Infants repeatedly heard the well-tuned versions of the melodies and learned to turn their heads toward the sound source when they heard a mistuning. If infants, like adults, have developed schematic knowledge of musical tuning, then their performance in this task would be expected to be better in testing conditions involving native scales than in conditions involving nonnative scales. Although infants at 6, 9, and 12 months of age all performed the task with reliably better than chance success, statistically better native than nonnative mistuning detection was evident only at 12 months of age. This finding suggests that perceptual reorganization for musical tuning occurs in an age range that is similar to that observed for speech perception in infants. [Work supported by NICHD Grant No. HD28527.]

Harmonic Landscaping Applied to the Study of Written Harmony

Music examinations frequently require students to harmonise chorale melodies ‘in the style of J. S. Bach’, but the manner in which the skill is taught generally emphasises the adding of chords below the melody note by note ‘arithmetically’, and may thus fail to develop inner hearing and a sense of overall harmonic direction. Using the system of ‘harmonic sketching’ which she developed originally as an approach to keyboard harmony and described in detail in her book Sketching at the Keyboard, Laura Campbell extended the technique to the harmonisation of chorale melodies, in the process comparing her students' choices of outline harmony with those employed by Bach in four settings of the same chorale. In this article she describes the experiment and comments upon its results, showing how the ‘sketching’ method, which reveals the fundamental ‘harmonic landscape’ of a melody, is an especially valuable tool in the acquisition of written harmony skills.

Electronic musical instrument producing chord tones utilizing channel assignment

An electronic musical instrument is of a type in which tones are produced by a limited number of tone production channels which are efficiently used for a large number of tones utilizing channel assignment technology. A plurality of tones to constitute a chord are normally produced simultaneously by using plural channels, but when a duet mode is selected to automatically add a duet note to a melody note, the chord constituent tones are produced in succession as a broken chord utilizing only a single channel, thus leaving another channel available for production of the duet note. This eliminates the need to provide an additional tone production channel for the duet note.

Electronic musical instrument providing automatic ensemble performance

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Automatic chord control circuit for electronic musical instruments

An automatic chord control system is readily incorporated in an electronic organ by means of large scale integrated circuit chips. The automatic chord control causes a chord or group of notes within an octave played on the lower manual keyboard to play through the upper manual voice in the octave below the lowest melody note being played on the upper manual keyboard. The proposed automatic chord control system has two operating modes. In the first mode, the notes transferred to the upper manual are generated in direct correspondence to the keys activated on the lower manual. In the second mode, the notes transferred to the upper manual are generated by a set of preset chords activated by single lower manual keys.

Automatic harmonic interval keying in an electronic musical instrument

An electronic digital type organ having one or more keyboards generating two or more harmonically related tones in response to keying a melody monophonically on one of the keyboards. The harmonic tones may be of different tonal quality, so as to produce the effect of different instruments. The harmonic tones are generated automatically at a pitch determined by either the next lowest note to the accompaniment notes played on another keyboard or, if no other key is depressed, a pitch that is determined by the melody note and stored half-tone interval information.