Part Of Melody Research Articles

The Representation of East Asian Music in Silent Film Accompaniment Scores

The Representation of East Asian Music in Silent Film Accompaniment Scores

A MUSIC GENERATION BY A COMBINING MODELOF RESNET AND LSTM NETWORKS

In this paper, to automatically generate a music for the melody part by deep learning with training data collected from Chopins piano piecies, a combining model of Residual Neural Networks(ResNet) and Long-Short Term Memory Networks (LSTM) are proposed. First, to generate a music for the melody part of a piano music, a training dataset used for deep learning is provided. Secondly, by using each of a LSTM Model and a combining model of LSTM and ResNet,experiments on music generationare presented. Thirdly, the results of music generation by each model are compared and discussed. In conclusion, the principal results are summarized.

F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking

F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking

Audience gaze while appreciating a multipart musical performance.

Visual information has been observed to be crucial for audience members during musical performances. The present study used an eye tracker to investigate audience members' gazes while appreciating an audiovisual musical ensemble performance, based on evidence of the dominance of musical part in auditory attention when listening to multipart music that contains different melody lines and the joint-attention theory of gaze. We presented singing performances, by a female duo. The main findings were as follows: (1) the melody part (soprano) attracted more visual attention than the accompaniment part (alto) throughout the piece, (2) joint attention emerged when the singers shifted their gazes toward their co-performer, suggesting that inter-performer gazing interactions that play a spotlight role mediated performer-audience visual interaction, and (3) musical part (melody or accompaniment) strongly influenced the total duration of gazes among audiences, while the spotlight effect of gaze was limited to just after the singers' gaze shifts.

Design and Implementation of a Fixed-Mobile Convergent Music Search Engine (FMC-MUSE)

Query by Singing/Humming (QBSH) is a most natural way for music search. A music search system can help music finders search songs by matching a part of melody by singing or humming. Many music information retrieval techniques have been developed to carry out music search for years. On the other hand, thanks to the rapid growth of mobile wireless Internet technologies this decade, music search applications can be implemented on hand-carried devices, such as cellular phones, to conduct music search anytime and anywhere via any available networks, such as Wi-Fi, UMTS, WiMAX to the emerging 3GPP-LTE networks. In the past, little studies had ever been revealed about how to design and implement a lightweight music search engine over a fixed or mobile Internet. In this article, we aim to elaborate a practical skeleton of developing a simple music search engine over fixed or mobile networks--a Fixed-Mobile Convergent Music Search Engine (FMC-MUSE). FMC-MUSE can process music queries by QBSH from fixed or mobile clients and return a dataset containing the search results and meta-info back to music finders via ubiquitous networks.

Feature Transformation based Music Retrieval System

People have tendency of forgetting music title, though they easily remember particular part of music. If a music search system can find the title through a part of melody, this will provide very convenient interface to users. In this paper, we propose an algorithm that enables this type of search using feature transformation function. The original music is transformed to new feature information with sequential melodies. When a melody that is a part of search music is given to the system, the music retrieval system searches the music similar to the feature information of the melody. Moreover, this transformation function can be easily extended to various music recognition systems.

Music composition by interaction between human and computer

This paper aims at constructing a music composition system that composes music by the interaction between human and a computer. Even users without special musical knowledge can compose 16-bar musical works with one melody part and some backing parts using this system. The interactive Genetic Algorithm is introduced to music composition so that users' feeling toward music is reflected in the composed music. One chromosome corresponds to 4-bar musical work information. Users participate in music composition by evaluating composed works after GA operators such as crossover mutation virus infection are applied to chromosomes based on the evaluation results. From the experimental results, it is found that the users evaluation values become high over the progress of generations. That is the system can compose 16-bar musical works reflecting users feeling.

Music composition system with human evaluation as human centered system

This paper presents an interactive music composition system as one example of human centered systems that are defined as subjective systems in which human judgement, evaluation, recognition and emotion play central roles. The present music composition system reflects user's evaluation of music and employs Interactive Genetic Algorithm. One musical work is assumed to be expressed by one chromosome containing information on a melody part and backing parts through 4 bars. The composition procedures are as follows. (1) Two hundred chromosomes are generated based on general music theory. (2) A user listens to 20 musical works chosen from 200 works and performs three types of evaluations such as total evaluation, partial evaluation, and the choice of the best work. (3) The system performs the GA operations to 200 chromosomes reflecting these evaluations. Procedures (2) and (3) are repeated until a musical work reflecting user's evaluation is obtained. From the results of the evaluation experiments to confirm the validity of the system, it is found that the present system composes music reflecting user's evaluation well and is one example of human centered systems.

The role of contour and intervals in the recognition of melody parts: Evidence from cerebral asymmetries in musicians

The left hemisphere (LH) has been shown to be involved in tasks requiring interval-based procedures, and the right hemisphere (RH) in task allowing a contour-based approach in melody recognition. Support for this distinction was obtained by studying contour properties at the level of whole melodies and interval characteristics at the level of individual tones. The purpose of the present study was to extend the validity of this two-component model at the level of melody parts. It was predicted that both the LH interval-based procedure and the RH contour-based approach contribute to melody part recognition, but that their respective efficiency will depend on the structure of the parts used as recognition probes. To address this question along the lines of prior work [3] ( Bever and Chiarello, Science 185, 537–539, 1974), a probe recognition task was presented monaurally to right- handed musicians. The recognition probes that corresponded to one of the melody parts were found to be far more accurately and quickly recognized than the probes that bridged across the contour- defined boundary. On the latter, subjects performed initially at about chance level. They improved, however, after some exposure to the task, that is on the second half of the test material in Experiment 1 and on the second half of Experiment 2, and displayed the predicted interaction between laterality and probe type. Subjects recognized the probes that coincided with a part delineated by contour boundaries in the left ear (or the RH) more easily; whereas they recognized more easily the probes which crossed contour boundaries in the right ear (or the LH). These findings justify the consideration of contour as an important grouping factor in pitch sequences and emphasize the usefulness of laterality effects.

The Novello Junior Book of Carols parts 1 and 2 arranged by William Llewellyn. London: Novello, 1988. £4.95 (instrumental parts £13.95). - Follow that Star edited by Peter Gritton. London: Chester, 1989. No price given. - Pick ‘n’ Choose for Christmas by Aubrey Beswick. London: Universal Edition, 1987. £2.30. - Christmas Bells by Colin Brumby (music) and Thomas Shapcott (poetry).

The Novello Junior Book of Carols parts 1 and 2 arranged by William Llewellyn. London: Novello, 1988. £4.95 (instrumental parts £13.95). - Follow that Star edited by Peter Gritton. London: Chester, 1989. No price given. - Pick ‘n’ Choose for Christmas by Aubrey Beswick. London: Universal Edition, 1987. £2.30. - Christmas Bells by Colin Brumby (music) and Thomas Shapcott (poetry).

MELODY: A completely decentralized adaptive file system for handling real-time tasks in unpredictable environments

We describe the major features of the completely decentralized adaptive file system MELODY which was designed for realizing anintegrated system design for a distributed real-time system working in a hazardous and unpredictable environment. MELODY's adaptivity mechanisms are based on novel services rendered by the distributed operating system DRAGON SLAYER. The file system, in order to both meet real-time constraints and provide for high availability, allows for replicating, relocating, or deleting file copies. Such copies may also bepublic orprivate. At every site aLocal Task Scheduler tries to schedule the arriving critical tasks, based on the availability of resources at this site such that deadline failures are minimized. Depending on the deadline failure history, status changes as well as file replication, deletion, or relocation are analyzed and managed by the cooperatingLocal File Assigners. In order to analyze MELODY's real-time performance we report on simulation experiments in which its capability of minimizing deadline failures of time-critical tasks was compared to other file system models: an idealbest-case model, abaseline model with no file replication, a file system allowingonly for replication ofprivate copies, and a model which allows forreplication and relocation of public copies only. While the best-case is unrealistic for a distributed implementation, the other models embody only part of MELODY's mechanisms yet have the benefit of a considerably smaller communication overhead. We report on the distributed simulation results which unambiguously show MELODY's superior performance, in addition to the built-in sensitivity to changes in the environment. A DRAGON SLAYER/MELODY prototype has been completed in our labs in order to serve as a distributed real-time testbed in our future work with MELODY.

The Musical Language of Berlioz

Part I: 1. Background and education (I): 2. Concerning method and style 3. Concerning pitch (I): chord and progression 4. Concerning pitch (2): chromaticism, tonal relations, and modality 5. Education (2): concerning Catel, the guitar, and works of the 1820s Part II: 6. Concerning instrumentation 7. Concerning the bass 8. Concerning counterpoint, pedal, and fugue 9. Concerning rhythm 10. Melody Part III: 11. Vocal forms: Satz and Ursatz 12. Formal schemes in instrumental music 13. The Overture Benvenuto Cellini: an analysis 14. The figure and the background: Faust in La damnation 15. In Conclusion.

Perception of Melodic and Harmonic Intonation of Two-Part Musical Fragments

Short musical fragments consisting of a melody part and a synchronous bass part were mistuned in various ways and in various degrees. Mistuning was applied to the harmonic intervals between simultaneous tones in melody and bass (harmonic mistuning), which caused at the same time a mistuning of the melodic intervals between successive tones in the melody part (melodic mistuning of melody) and/or the bass part (melodic mistuning of bass part). The fragments were presented to musically trained subjects for judgments of the perceived quality of intonation. Results showed that the melodic mistuning of the melody parts had the largest disturbing effects on the perceived quality of intonation, followed closely by the harmonic mistuning. Melodic mistuning of the bass was less influential. It could be reasoned that the deviating interval size was probably of more importance in the perception of harmonic mistuning than the presence of beats.

Perception of melodic and harmonic intonation of two‐part musical fragments

Short musical fragments consisting of a melody part and a bass part were mistuned in various ways and to various degrees. They were presented to a group of subjects for a judgment of the quality of intonation and for an identification of the mistuned part. Mistuning was applied to the melodic frequency intervals of the melody part and/or the bass part (melodic mistuning) as well as to the frequency intervals of simultaneous tones in melody and bass (harmonic mistuning). Results indicate that the melodic mistuning of the melody part has the largest influence on the perception of the intonation, followed by the harmonic mistuning, while the melodic mistuning of the bass is less important. When mistuning is present in both melody and bass part, mostly the melody is considered to be the mistuned part. When the sound‐pressure levels of the two parts are unequal, there is a tendency to consider the louder part as the mistuned part. In the perception of harmonic mistuning, the deviating interval size is probably of more importance than the presence of beats. Small amounts of mistuning go unnoticed or may even cause an increase of the intonation quality.

The Effect of Melodic Context on Students' Aural Perception of Rhythm

To determine whether the accuracy of students' aural perception of rhythmic completeness and incompleteness is influenced by melodic context, 2,207 public school students were administered a 42-item data-collection instrument based on 14 rhythmic units, 7 complete and 7 incomplete. Students heard each unit (1) on one pitch, (2) as part of a melody in which the completeness or incompleteness of the pitch sequence matched that of the rhythm, and (3) as part of a nonmatching melody; indicating, in each case, whether the unit was complete or incomplete. According to the results, accuracy is influenced by melodic context.

The role of symmetry in the good continuation ratings of two-part tonal melodies.

Subjects heard a series of two-part melodies, in which each part was a random sequence of eight pitches (Experiment 1) or five pitches(Experiment 2) from the diatonic scale. The task was to rate each melody on how well the second part followed the first. It was predicted that the presence of symmetry between the two parts would increase the perception of good continuation. In Experiment 1, two symmetrical relat/lons—(itinversion) and (itretrograde)—yielded melodies that were more highly rated than the control melodies, which consisted of nominally (itdifferent) parts. A third symmetry, the (itretrograde inversion), did not enhance good continuation ratings. In Experiment 2, inversions and retrograde inversions were compared with control melodies, using shorter sequences and pitches with equal durations. Again, inversions, but not retrograde inversions, were significantly preferred. The results suggest that the aesthetic judgment of good continuation depends at least partially on a cognitive analysis of the relation between the melody parts. The positive symmetry effects are further discussed in relation to other studies of symmetry transformations in the contexts of both musical sequences and visual arrays.