Musical Structure Research Articles

Segmenting and Predicting Musical Phrase Structure Exploits Neural Gain Modulation and Phase Precession.

Music, like spoken language, is often characterized by hierarchically organized structure. Previous experiments have shown neural tracking of notes and beats, but little work touches on the more abstract question: how does the brain establish high-level musical structures in real time? We presented Bach chorales to participants (20 females and 9 males) undergoing electroencephalogram (EEG) recording to investigate how the brain tracks musical phrases. We removed the main temporal cues to phrasal structures, so that listeners could only rely on harmonic information to parse a continuous musical stream. Phrasal structures were disrupted by locally or globally reversing the harmonic progression, so that our observations on the original music could be controlled and compared. We first replicated the findings on neural tracking of musical notes and beats, substantiating the positive correlation between musical training and neural tracking. Critically, we discovered a neural signature in the frequency range ∼0.1 Hz (modulations of EEG power) that reliably tracks musical phrasal structure. Next, we developed an approach to quantify the phrasal phase precession of the EEG power, revealing that phrase tracking is indeed an operation of active segmentation involving predictive processes. We demonstrate that the brain establishes complex musical structures online over long timescales (>5 s) and actively segments continuous music streams in a manner comparable to language processing. These two neural signatures, phrase tracking and phrasal phase precession, provide new conceptual and technical tools to study the processes underpinning high-level structure building using noninvasive recording techniques.

Aesthetic Analysis and Historical Context of Shandong Folk Songs: Focus on 'Embroidering a Purse' from Cangshan, Shandong, China

This study presents an in-depth aesthetic analysis and historical contextualization of the Shandong folk song "Embroidering a Purse" from Cangshan, Shandong, China. Shandong folk songs are a vital component of the province's cultural heritage, reflecting the region's history, values, and daily life. "Embroidering a Purse," a lyrical folk song, narrates the story of a young woman embroidering a purse for her lover, symbolizing love and craftsmanship. This research explores the song's lyrical content, musical structure, performance practices, and cultural significance. By analyzing its lyrics, melody, and performance style, the study highlights how "Embroidering a Purse" encapsulates the cultural and emotional landscape of Cangshan. Additionally, the study traces the historical development of Shandong folk songs through different dynastic and socio-political periods, offering insights into their evolution and enduring significance.

The inductive effect of musical mode types on emotions and physiological responses: Chinese pentatonic scales versus Western major/minor modes.

The value of music lies in its ability to evoke emotions. People can gain emotional experiences in music and can also regulate their own emotions through music. Music has its own structural rules, and exploring the relationship between musical structure and emotions is an important approach to understanding the mechanism of music-induced emotions. Musical mode refers to the arrangement of intervals around the tonic, presenting different musical modes based on the central tone and the arrangement of intervals, including Chinese pentatonic modes and Western major and minor modes. Musical morphology indicates significant differences in the construction intensity of traditional Chinese pentatonic modes and major and minor modes, affecting their mode forms and thus determining their adaptability to external influences. Exploring the modalities of music and the effects of individual music training experiences on emotion induction; validating whether musical modes exhibit cross-cultural universality in the process of emotion induction. This study recruited 65 university students as participants (34 with music training experience, 31 without music training experience). Through a passive listening paradigm using the GEMS and combined with a biofeedback equipment, it explored the differences in behavioral and physiological indicators (skin conductance, temperature, heart rate) of emotional experiences (basic and aesthetic emotions) influenced by the modal forms of Chinese traditional pentatonic modes and Western major and minor modes. Firstly, the arousal level of music emotion is a primary factor influencing individuals' aesthetic emotional experiences in music, which is related to the intensity of modal construction in music; Secondly, the emotional pleasure and skin temperature change induced by pentatonic music are greater than those induced by major and minor modes; Thirdly, the arousal level, electrodermal change, and heart rate variability of major and minor modes are greater than those of pentatonic music; Finally, music training experience enhances college students' familiarity and preference for pentatonic music, thereby strengthening the electrodermal physiological indicators of emotional experiences. The different modal forms of music express different levels of emotional arousal, leading to differences in individuals' emotional dimensions and physiological indicators in music. Additionally, individuals' music training experiences and cultural backgrounds also influence their experience of music emotions.

Analysis the approaches and applications for jazz music composing based on machine learning

As a matter of fact, computer composing is a hot topic for study in recent years. To be specific, Jazz, one of the essential music genres, has a complex and irregular musical structure. Current researchers are focusing on how to use models to generate expressive and innovative jazz. This study first summarizes in detail the characteristics of the musical structure of jazz and the unique structures of jazz music that are the difficulties of model training. At the same time, it then analyzes the feasibility and application of several popular machine learning models in jazz music composition. Finally, this study combines the current development of the field of computer composition with the challenges faced by the field of computer-generated jazz, as well as the direction of the next step in the development of continued efforts to explore in-depth, in the hope that this will provide researchers with new research perspectives, and to promote the development of new forms of jazz music can flourish in the age of intelligent machines.

Composing jazz music pieces using LSTM neural networks approach

The domain of artificial intelligence has increasingly extended into the creative arts, aiming to emulate and augment human creativity with automated processes. This is particularly evident in the field of music, where AI's ability to learn and produce intricate compositions has attracted significant attention. This study explores the challenge of generating jazz music using artificial intelligence, specifically focusing on the application of Long Short-Term Memory (LSTM) neural networks for jazz composition. By optimizing the model to address the genre's complexity, the research demonstrates the LSTM's capacity to capture and reproduce jazz's essential harmonic progressions and rhythmic nuances. Quantitative analyses show high accuracy and a deep understanding of musical structures, whereas qualitative feedback confirms the model's efficacy in producing compositions that embody jazz's spontaneity. Despite its achievements, the model's tendency to generate repetitive sequences suggests areas for improvement. This paper advances the field of AI in music, illustrating the potential of LSTM networks to mimic complex musical genres and emphasizing the necessity of ongoing model refinement to foster creativity. It highlights the evolving role of machine learning in music generation, proposing a foundation for future work aimed at diminishing the gap between AI capabilities and artistic expression.

Six-Hand Piano: Its Effectiveness as A Development for Piano Learning in Music Colleges

This research was conducted as an effort to address an issue regarding the decline in motivation for learning and practicing piano in intermediate-level piano classes at a music college. This has led to a stagnation in students' practical piano skills in specific piano techniques and theoretical abilities. The researcher proposes the development of learning through six-hand piano, with repertoire material created by the researcher entitled 'Explore'. This study applies the Robert K. Yin model of the case study method, conducted in three stages: Design, Execution, and Analysis. Sample selection utilized case-based sampling, involving three students from the class. Data collection included semi-structured interviews, observational analysis, document analysis, and literature review. To ensure the validity of the interview data, this study additionally employed Focus on Group Discussions (FGD). The analysis of the data encompassed within-case analysis, drawing conclusions, and comparison against theory. The findings in this research were identified as follows: Firstly, musical knowledge. Students gained a good understanding that enhanced their skills in several piano techniques, also music structure and form in repertoire. Secondly, several character values were identified based on the formulation of the 18 pillars of national character, which were observed throughout the learning process until its completion. These values were curiosity, responsibility, cooperation, discipline, hardwork, also friendly and communicative. These character values cultivate students' motivation to learn and practice the piano, thereby fostering musical knowledge

Hierarchical syntax model of music predicts theta power during music listening

Linguistic research showed that the depth of syntactic embedding is reflected in brain theta power. Here, we test whether this also extends to non-linguistic stimuli, specifically music. We used a hierarchical model of musical syntax to continuously quantify two types of expert-annotated harmonic dependencies throughout a piece of Western classical music: prolongation and preparation. Prolongations can roughly be understood as a musical analogue to linguistic coordination between constituents that share the same function (e.g., ‘pizza’ and ‘pasta’ in ‘I ate pizza and pasta’). Preparation refers to the dependency between two harmonies whereby the first implies a resolution towards the second (e.g., dominant towards tonic; similar to how the adjective implies the presence of a noun in ‘I like spicy … ’). Source reconstructed MEG data of sixty-five participants listening to the musical piece was then analysed. We used Bayesian Mixed Effects models to predict theta envelope in the brain, using the number of open prolongation and preparation dependencies as predictors whilst controlling for audio envelope. We observed that prolongation and preparation both carry independent and distinguishable predictive value for theta band fluctuation in key linguistic areas such as the Angular, Superior Temporal, and Heschl's Gyri, or their right-lateralised homologues, with preparation showing additional predictive value for areas associated with the reward system and prediction. Musical expertise further mediated these effects in language-related brain areas. Results show that predictions of precisely formalised music-theoretical models are reflected in the brain activity of listeners which furthers our understanding of the perception and cognition of musical structure.

From Unfamiliarity to Mastery -- A Deep Dive into Preparing “From Forgotten Melodies, Sonata Reminisce in A Minor Op. 38 No. 1” For Performance

This paper provides a comprehensive study and performance guide for pianists aspiring to independently learn Nikolai Medtner's "From Forgotten Melodies, Sonata Reminiscenza in A Minor Op. 38 No. 1." It explores the historical context of Medtner's work, analyzes the musical structure, and offers practical suggestions for performance, including considerations for tempo, articulation, and pedaling. The paper also examines Medtner's unique musical language and compares interpretations from five reference recordings by renowned pianists. By delving into the depths of this exceptional composition, pianists can gain insights to enhance their understanding and performance of this challenging solo piano piece. The study aims to serve as a valuable resource for pianists embarking on this exploratory musical voyage.

“The Third Notebook of Travels” by Liudmyla Fedorova-Kohanska as an example of a bandurist’s concert repertoire

Statement of the problem. One of the central problems faced by the modern bandurа performer is the insufficient amount of current repertoire that would correspond to modern musical trends and, at the same time, the audience’s preferences. In order to solve the problem of updating the repertoire of a modern bandura player, it is important to attract in the performance practice the works by modern Ukrainian composers. The article examines the instrumental cycle for solo bandura titled “The Third Notebook of Travels” by Ukrainian composer Liudmyla Fedorova-Kohanska. The focus is on identifying important artistic and technical principles that play a significant role in the professional development of modern academic bandura players. The recent research and publications show that there is limited literature analyzing contemporary compositions for the bandura, particularly those by Liudmyla Fedorova-Kohanska. Prior research has primarily focused on traditional repertoires and techniques, leaving a gap in understanding the contribution of modern works to the evolution of bandura performance. Objectives, methods, and novelty of the study. The study aims to determine the artistic and pedagogical significance of “The Third Notebook of Travels” within the context of the repertoire needs of bandura players. By analyzing this cycle, the research seeks to highlight its impact on enhancing performance skills and its importance in the academic training of bandura musicians. The first scientific understanding of the cycle and its introduction into the musicological and, importantly, performance circulation determines the relevance and the novelty of the research topic. The study offers a novel perspective on the work`s role in developing comprehensive musicianship of a bandure player, including technical proficiency and interpretative abilities. The study employs a detailed analytical approach, examining the musical structure, thematic development, and technical requirements of the cycle. Results and conclusion. The analysis reveals that performing “The Third Notebook of Travels” as an entire cycle is crucial for developing bandura players’ artistry. It enhances their technical skills, endurance, and large-scale musical thinking. The cycle’s diverse technical demands and expressive range make it an essential component of the modern bandura repertoire, fostering a deeper understanding of contemporary Ukrainian music. “The Third Notebook of Travels” by Liudmyla Fedorova-Kohanska significantly contributes to the professional growth of bandura players. Its inclusion in academic programs can enhance the pedagogical framework, providing students with challenging and enriching repertoire. This cycle not only advances technical skills but also cultivates interpretative depth and musical versatility

Cantacumine.ro - An E-Learning Tool that Supports Composition Approach. An Illustrative Application Within a Collaboration Between Two Music-Specialized Schools / cantacumine.ro - Resursă tehnologică suport în abordarea aspectelor creative. Exemple de bune practici din cadrul unui parteneriat dintre două licee vocaționale cu profil muzică din țară

This article showcases a successful cooperation that addresses a novel addition introduced in the 2017 Music Theory school curricula, with a particular emphasis on creative elements. The exemplified scenario is a product of a partnership between two Music-Specialised High Schools. The students, who played a pivotal and valued role in this activity, were guided by coordinating teachers and supported by the section dedicated to creative aspects of the platform https://www.cantacumine.ro/. They had the opportunity to develop their creative talent in rhythmical-melodic and harmonic contexts, creating new musical structures in one, two or three parts. The students used notation programs to create their compositions, demonstrating their eagerness to acquire digital music notation skills through dedicated practice, largely carried out after school hours.

Leadership dynamics in musical groups: Quantifying effects of musical structure on directionality of influence in concert performance videos.

Music ensemble performance provides an ecologically valid context for investigating leadership dynamics in small group interactions. Musical texture, specifically the relative salience of simultaneously sounding ensemble parts, is a feature that can potentially alter leadership dynamics by introducing hierarchical relationships between individual parts. The present study extended previous work on quantifying interpersonal coupling in musical ensembles by examining the relationship between musical texture and leader-follower relations, operationalised as directionality of influence between co-performers' body motion in concert video recordings. It was hypothesised that the directionality of influence, indexed by Granger Causality, would be greater for 'homophonic' textures with a clear distinction between melody and accompaniment parts than for 'polyphonic' textures with less distinction between melody and accompaniment. This hypothesis was tested by using pose estimation algorithms to track instrumentalists' body movements in a string quartet and a clarinet quintet, and then applying Granger Causality analysis to their head motion to estimate directional influence between instrumentalist pairs for sections of the pieces that varied in texture. It was found that Granger Causality values were generally higher (indicating greater directionality of influence) for homophonic than polyphonic textures. Furthermore, considering melody and accompaniment instrument roles revealed more evidence for the melody instrument influencing accompanying instruments than vice versa, plus a high degree of directionality among accompanying instruments, in homophonic textures. These observed patterns of directional information flow in co-performer body motion are consistent with changing leader-follower relations depending on hierarchical relations between ensemble parts in terms of the relative salience of melodic material in the musical texture. The finding that automatic pose estimation can detect modulations of leadership dynamics in standard video recordings under naturalistic performance conditions has implications for investigating interpersonal coordination in large-scale music video datasets representing different cultural traditions, and for exploring nonverbal communication in group activities more generally.

韩国作曲家金恩慧为钢琴、小提琴和大提琴而创作的三重奏分析研究

This text mainly analyzes the musical structure and performance of pianist trio - Elegant, Sensitive, and Creative, composed by Eunhye Kim (born in 1956, chairperson of the Korean Composers Association), one of the most representative female composers in South Korea. The work was commissioned by the Seoul International Music Festival Organizing Committee in 2009 and has been performed multiple times in South Korea, Europe, and North America. These three movements respectively represent the snake, ram, and monkey among the twelve Chinese zodiac animals. The piece employs the classical performance form of the piano trio, fully utilizing the characteristics of the piano, violin, and cello. The work emphasizes the symbolic significance of the number “3”, representing “harmony” and symbolizing the harmony among South Korea, China, and Japan. Additionally, “3” represents heaven, earth, and humanity, symbolizing spatial harmony. The number “3” also exists as an intermediate number between the male and female principles.

ON THE ISSUE OF SOME THEORETICAL ASPECTS OF WORLD AND KAZAKHSTAN FILM MUSIC: GENRE AND FUNCTIONAL FEATURES

The world experience of composing music for films spans over a century, encompassing the creation of scores for films of various genres. Over the course of its existence, film music has solidified its position as an integral part of this form of art. Similar to any specific genre, film music has developed its own set of laws: the power of impact, stylistics, form development, musical language, dramaturgy, instrumentation, principles of functioning, methods of integration with other components of the film, etc.The comprehensive focus on the research subject necessitates the application of a systematic approach, employing multi-disciplinary methods. Historical-art, culturological and analytical methods, which are fundamental in the article, allow to achieve the intended aim. Due to an interdisciplinary approach, the theoretical foundation of the article is based on the works of philosophers, culturologists, art historians, film experts and musicologists, aiming for the most comprehensive exploration of the issue.Film music, serving as a colossal in volume and still insufficiently explored artistic domain, holds particular interest for musicology. It is characterized by a significant array of questions, encompassing both scientific-theoretical and practical issues. The scope of this article includes issues of theoretical principles of film music, including genre and artistic-stylistic features, methods of interaction with visual elements, questions of authorship, instrumentation, the relationship between sound and visual components, problems of form, functioning, etc. Having considered the theoretical aspects of the research subject, it becomes evident that music and sound have become one of the most crucial components of synthetic screen art. The musical structure of a cinematic work presents its multifaceted characteristics, contributing to the fullest realization of the creators’ intentions. The work defines the main terminological categories of the «film music» phenomenon, analyzes the existing systems of foreign researchers regarding the classification of functions, gives a genre description of music in the main types of films and also presents a generalized and expanded classification of the functions according to the criterion of dramatic role.

Iterative learning experiments can help elucidate music's origins.

Anglada-Tort et al. Current Biology, 33, 1472-1486.e12, (2023) conducted a large-scale iterative learning study with cross-cultural human participants to understand how musical structure emerges. Together with archaeological, developmental, historical cross-cultural music data, and cross-species studies we can begin to elucidate the origins of music.

Recognizing structure in novel tunes: differences between human and rats

A central feature in music is the hierarchical organization of its components. Musical pieces are not a simple concatenation of chords, but are characterized by rhythmic and harmonic structures. Here, we explore if sensitivity to music structure might emerge in the absence of any experience with musical stimuli. For this, we tested if rats detect the difference between structured and unstructured musical excerpts and compared their performance with that of humans. Structured melodies were excerpts of Mozart's sonatas. Unstructured melodies were created by the recombination of fragments of different sonatas. We trained listeners (both human participants and Long-Evans rats) with a set of structured and unstructured excerpts, and tested them with completely novel excerpts they had not heard before. After hundreds of training trials, rats were able to tell apart novel structured from unstructured melodies. Human listeners required only a few trials to reach better performance than rats. Interestingly, such performance was increased in humans when tonality changes were included, while it decreased to chance in rats. Our results suggest that, with enough training, rats might learn to discriminate acoustic differences differentiating hierarchical music structures from unstructured excerpts. More importantly, the results point toward species-specific adaptations on how tonality is processed.

The Embodiment of Postmodernism in Ryuichi Sakamoto's Rap Track Undercooled

Since the postmodernism has spread around the world and the advent of electronic music, more and more composers based on traditional music concepts are fusing modern technology to explore sound and acoustics, using the combination of acoustic instruments and electronic music. Ryuichi Sakamoto is one of the most representative composers of contemporary electronic music influenced by postmodernism. This article will take Ryuichi Sakamoto 's work Undercooled, composed in 2004 from album Chasm, as an example to analyze The musical structure, melody design, lyrics will be the focus of the analysis. Secondly, through the analysis of the postmodernism concept displayed in this piece, the author tries to clarify the postmodernism concept is reflected in the music piece.

Investigating a Vocal Improvisatory Genre (Mawwāl) in Arab Music: a Case Study of a Mawwāl Performance by Wadī‘ al‐Ṣāfī

ABSTRACTAlthough recent decades have witnessed a significant growth and expansion of studies dealing with the performing practice of Arab music improvisation, most such studies are focused on instrumental, not vocal, performing practices. As a result, Arab vocal performing practice, especially that of vocal improvisatory genres, still lacks a comprehensive theoretical approach. In this article I examine the maqām (Arab modal framework) phenomenon by analysing a piece in its pre‐eminent improvisatory genre (mawwāl) composed and performed by an eminent musician: mawwāl ‘Ṭal al‐Ṣabāḥ’ by Wadī‘ al‐Ṣāfī. Most vocal improvisation is presented in Arab music literature without a defined or definite melodic (or rhythmic) structure. I posit that the mawwāl genre has defined and quasi‐defined structures on the macro and micro levels of the piece, since a major part of those structures is manifested as recurring, defined compositional devices and interrelationships throughout the piece within the improvisational frame of the mawwāl genre, a reflection of its structural intricacy. This article thus contributes to the existing literature on classical Arab vocal performance by implementing the theory of natural schemata as an analytical framework along with a structural analysis based on a detailed descriptive transcription of the piece, and thus characterising the largest and smallest strata of musical structures in the mawwāl genre.

기악곡의 감상 교육에서 서사의 활용 - 베토벤의 “운명” 교향곡을 중심으로 -

Instrumental music is not easy to deal with the appreciation education because the musical content is highly abstract. Moreover, since the phrase "appreciate music" is often used in schools, there is a tendency to immediately encounter difficult instrumental music as objects of appreciation rather than objects of listening. This study highlights the terminological relation between appreciation and listening and suggests that teachers make use of narrative materials which enable to show the musical structure of the piece. As exemplified in Beethoven's "Fate" Symphony, the value of the work can be appreciated by examining the entire flow of the piece. In order to lead listeners to musical imagnation, there are already some narrative materials in visual forms for this piece, but pictures tend to hinder students from chasing musical expression. Therefore, the researcher instantiates how to develop narrative materials in wording. This approach enhances cohesiveness of listening to music and contributes to conducting comprehensive appreciation of understanding, enjoying, and evaluating.

ANALYSIS ON THE STRUCTURE OF TRADITIONAL DANCE MAENGKET

This research aims to explore the musical structure of Maengket Art, a performing arts tradition in Kaweng village, Kakas sub-district, Minahasa district. Maengket art is typically performed in harvest ceremonies as a form of expression of gratitude and joy towards God for the harvest obtained by the local community. Maengket art performances generally involve many dancers and involve both male and female dancers dancing in pairs. Maengket art is divided into three main parts, namely Maowey Kamberu, Marambak, and Lalayaan. The choice of the title of this research was based on the researcher's interest in the musical structure of Maengket Art songs, especially those that take place in Kaweng village, Kakas sub-district. The research method used is descriptive qualitative with data collection techniques through observation, interviews and documentation. The validity of the data is checked carefully, then the data is analyzed through reduction, presentation and verification processes. The results of the research show that in Kaweng village, Kakas subdistrict, Minahasa district, there is a Maengket Art group which has been established since 1968. This Maengket Art adopts Toulour literature as an integral part of their performances. Chapters of Maengket Art in Kaweng village, such as Maowey Kamberu, Marambak, and Lalayaan, depict various aspects of local community life. Maowey Kamberu expressed his gratitude for the abundant harvest, Marambak highlighted the spirit of mutual cooperation in the housewarming ceremony, while Lalayaan described the interactions between Minahasan youth in looking for a soul mate or social relationships in the past.

Using music and music‐based analysis to model and to classify terrain in geomorphology

AbstractMusic has long served as a bridge between science and nature, allowing for the artistic expression of natural and human‐made phenomena. While music has been used in geomorphology as an engaging teaching strategy, its application in specific scientific inquiries within geomorphology remains relatively unexplored. Drawing on the morphological similarities between music and terrain relief, this work introduced a novel music‐based method for modelling and expressing terrain relief based on the drainage basin profile (DBP). It converts terrain relief into pitches and time values according to mapping rules and then describes terrain relief in an audible form. Based on 5 sample areas and 360 drainage basins on the Loess Plateau, we developed the application of the proposed method on four core geomorphic tasks, including landform interpretation, analysis, recognition and classification. Experimental results show that (1) terrain music can interpret the terrain relief and landform evolution processes through its musical structure and rhythmic variations; (2) music derivatives are related to different terrain features, such as terrain relief, terrain variation intensity, landform evolution degree and terrain complexity, and have a well‐functioning relationship with a series of conventional terrain derivatives; (3) leveraging machine learning techniques, the terrain music method is effective for landform recognition, achieving an overall accuracy of 88.85% and a mean accuracy of 88.85%; and (4) via a case study in Northern Shaanxi, music modelling successfully divided it into 12 distinct landform regions and 8 landform types. Different landform regions exhibit clear regional boundaries and gradual transition zones, while specific landform regions share prominent terrain, spatial clustering and landform processes. Our delineation provides reasonable and effective landform differentiation but captures additional bed‐rock mountain features compared with a traditional method. This study highlights that music is not only an artistic expression but also a valuable research paradigm for a wide range of geomorphic tasks, offering fresh perspectives and enhancing our understanding of loess landforms. The results show a promising effort to integrate music theory into practical geomorphic tasks, demonstrating the potential of using music as a medium for conveying and analysing spatial information in geomorphology.