Scale Structure and Similarity of Melodies Author(S): James C
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I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Subdividing the Beat: Auditory and Motor Contributions to Synchronization
Music2605_03 5/8/09 6:29 PM Page 415 Auditory and Motor Contributions to Synchronization 415 SUBDIVIDING THE BEAT: AUDITORY AND MOTOR CONTRIBUTIONS TO SYNCHRONIZATION JANEEN D. LOEHR AND CAROLINE PALMER that are subdivided by those of other performers, and McGill University, Montreal, Canada vice versa. Those subdivisions give rise to additional auditory and motor information, which could influ- THE CURRENT STUDY EXAMINED HOW AUDITORY AND ence performers’ ability to synchronize. The current kinematic information influenced pianists’ ability to study addressed the role of sensory information from synchronize musical sequences with a metronome. subdivisions in synchronized music performance. Does Pianists performed melodies in which quarter-note hearing tones or producing movements between syn- beats were subdivided by intervening eighth notes that chronized tones influence pianists’ ability to synchro- resulted from auditory information (heard tones), nize melodies with a metronome? motor production (produced tones), both, or neither. When nonmusicians tap along with an isochronous Temporal accuracy of performance was compared with auditory pacing sequence, their taps precede the pacing finger trajectories recorded with motion capture. tones by 20 to 80 ms on average (Aschersleben, 2002). Asynchronies were larger when motor or auditory sen- The tendency for taps to precede the pacing tones has sory information occurred between beats; auditory been termed the mean negative asynchrony (MNA) information yielded the largest asynchronies. Pianists and is smaller in musicians than nonmusicians were sensitive to the timing of the sensory information; (Aschersleben, 2002). The presence of additional tones information that occurred earlier relative to the mid- between tones of the pacing sequence reduces the MNA, point between metronome beats was associated with whether these tones evenly subdivide the pacing inter- larger asynchronies on the following beat. -
Indo-Caribbean "Local Classical Music"
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/335 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL. 44, NO. 1 ETHNOMUSICOLOGY WINTER 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" PETER MANUEL / John Jay College and City University of New York Graduate Center You take a capsule from India leave it here for a hundred years, and this is what you get. Mangal Patasar n recent years the study of diaspora cultures, and of the role of music therein, has acquired a fresh salience, in accordance with the contem- porary intensification of mass migration and globalization in general. While current scholarship reflects a greater interest in hybridity and syncretism than in retentions, the study of neo-traditional arts in diasporic societies may still provide significant insights into the dynamics of cultural change. In this article I explore such dynamics as operant in a unique and sophisticated music genre of East Indians in the Caribbean.1 This genre, called "tan-sing- ing," has largely resisted syncretism and creolization, while at the same time coming to differ dramatically from its musical ancestors in India. Although idiosyncratically shaped by the specific circumstances of the Indo-Caribbean diaspora, tan-singing has evolved as an endogenous product of a particu- lar configuration of Indian cultural sources and influences. -
Mode Classification and Natural Units in Plainchant
MODE CLASSIFICATION AND NATURAL UNITS IN PLAINCHANT Bas Cornelissen Willem Zuidema John Ashley Burgoyne Institute for Logic, Language and Computation, University of Amsterdam [email protected], [email protected], [email protected] ABSTRACT as practical guides for composition and improvisation [1]. Characterising modes computationally is therefore an im- Many musics across the world are structured around mul- portant problem for computational ethnomusicology. tiple modes, which hold a middle ground between scales Several MIR studies have investigated automatic mode and melodies. We study whether we can classify mode in classification in Indian raga [2, 3], Turkish makam [4, 5] a corpus of 20,865 medieval plainchant melodies from the and Persian dastgah [6, 7]. These studies can roughly be Cantus database. We revisit the traditional ‘textbook’ classi- divided in two groups. First, studies emphasising the scalar fication approach (using the final, the range and initial note) aspect of mode usually look at pitch distributions [2,5,7], as well as the only prior computational study we are aware similar to key detection in Western music. Second, stud- of, which uses pitch profiles. Both approaches work well, ies emphasising the melodic aspect often use sequential but largely reduce modes to scales and ignore their melodic models or melodic motifs [3, 4]. For example, [4] trains character. Our main contribution is a model that reaches =-gram models for 13 Turkish makams, and then classifies 93–95% 1 score on mode classification, compared to 86– melodies by their perplexity under these models. Going 90% using traditional pitch-based musicological methods. beyond =-grams, [3] uses motifs, characteristic phrases, ex- Importantly, it reaches 81–83% even when we discard all tracted from raga recordings to represent every recording as absolute pitch information and reduce a melody to its con- a vector of motif-frequencies. -
Luther's Hymn Melodies
Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society. -
The Learning Trajectory of Musical Memory: from Schematic Processing of Novel Melodies to Robust Musical Memory Representations
THE LEARNING TRAJECTORY OF MUSICAL MEMORY: FROM SCHEMATIC PROCESSING OF NOVEL MELODIES TO ROBUST MUSICAL MEMORY REPRESENTATIONS A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Kathleen Rose Agres January 2013 © 2013 Kathleen Rose Agres ALL RIGHTS RESERVED THE LEARNING TRAJECTORY OF MUSICAL MEMORY: FROM SCHEMATIC PROCESSING OF NOVEL MELODIES TO ROBUST MUSICAL MEMORY REPRESENTATIONS Kathleen Rose Agres, Ph.D. Cornell University 2013 This dissertation utilizes a multi-method approach to investigate the processes underlying musical learning and memory. Particular emphasis is placed on schematic processing, musical structure, temporal aspects of learning, statistics-based predictive models, efficiency, and the role of musical expertise. We employed a set of behavioral change detection studies with musician and non- musician participants to test what is encoded into gist memory upon hearing unfamiliar melodies varying in musical structure. These studies demonstrate that listeners abstract a schematic representation of the melody that includes tonally and metrically salient tones. In well-structured music, change detection performance improves when a musical event does not conform to the listener’s schematic expectations. Musical expertise is also shown to benefit change detection, especially when the melodies conform to the conventions of Western tonal music. In a study examining learning over a period of increasing musical exposure, we used an information theoretic approach to capture how the statistical properties of music influence listeners’ musical memory. This work highlights how patterns and predictability can facilitate musical learning over time. In further investigation of what underlies this learning process, a series of neural network studies revealed that a compressed representation arose in the internal structure of a computational network as tonal and stylistic information were learned over time. -
Developing Musical Understanding and Responsiveness in the Elementary Music Program Through the Playing of Classroom Instruments
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1964 Developing Musical Understanding and Responsiveness in the Elementary Music Program Through the Playing of Classroom Instruments Joy M. Phillips Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Phillips, Joy M., "Developing Musical Understanding and Responsiveness in the Elementary Music Program Through the Playing of Classroom Instruments" (1964). Plan B Papers. 300. https://thekeep.eiu.edu/plan_b/300 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. DEVELOPING MUSICAL UNDERSTANDING AND THROUGH THE PLAYING OF CLASSROOM INSTRUMENTS (TITLE) BY Joy x. Phillips PLAN B PAPER ; SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE JlUSIC 560 IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1964 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. e._JltrEl . H·~nt1 TABLE OF CONTENTS INTRODUCTION ••••••••••••••••••••••••••••••••••••••••••••••• 1. INSTRU}IENTS IN THE LOWER GRADES•••••••••••••••••••••••••••• 2. Rhythm Instruments ••••••••••••••••••••••••••••••••••••• 3. Objectives for using rhythm instruments •••••••••••• 3. Classification of rhythm instruments ••••••••••••••• 4. Values of using rhythm instruments ••••••••••••••••• 6. Basic rhythm instruments ••••••••••••••••••••••••••• 10. Instruments of Definite Pitch••••••••••••••••••••••••• 22. Objectives for using instruments of definite pitch 22. Classifications of instruments of definite pitch •• 23. Explanation of instruments of definite pitch •••••• 24. Instruments of the Accompaniment Type ••••••••••••••••• 31. -
Melodic Contour Typology Author(S): Charles R
Melodic Contour Typology Author(s): Charles R. Adams Source: Ethnomusicology, Vol. 20, No. 2 (May, 1976), pp. 179-215 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/851015 . Accessed: 10/09/2013 11:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. http://www.jstor.org This content downloaded from 164.41.4.26 on Tue, 10 Sep 2013 11:13:40 AM All use subject to JSTOR Terms and Conditions MELODIC CONTOUR TYPOLOGY1 Charles R. Adams INTRODUCTION he concept of melodic contour (shape, configuration,outline) is fre- T quentlyencountered, but its precisemeaning and significancein musical analysisis elusive.The literatureevidences varied concerns with the natureand typology of melodiccontour, from simple descriptive comments, to the use of contourreplication in jazz improvization(Coker 1964:55-56), to the designof programsfor computer assisted descriptionsof melodic contour (Brown 1968). Few definitivestudies of the concept, or its systematicapplication, however,are to be found. Melodic analyses often include some descriptionand discussionof melodic contours (e.g., Densmore 1918; Herzog 1928; McAllester1949; Merriam1967; Roberts 1933), but this practice is not consistent and consensus on proceduresis relatively low. -
A Historic Overview of Oriental Solmisation Systems Followed by an Inquiry Into the Current Use of Solmisation in Aural Training at South African Universities
A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities by Theunis Gabriël Louw (Student number: 13428330) Thesis presented in fulfilment of the requirements for the degree Magister Musicae at Stellenbosch University Department of Music Faculty of Arts and Social Sciences Supervisor: Mr Theo Herbst Co-supervisor: Prof. Hans Roosenschoon Date: December 2010 DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 1 November 2010 Copyright © 2010 Stellenbosch University All rights reserved i ABSTRACT Title: A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities Description: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities. -
Music Theory Contents
Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................ -
Music of a Thousand Years a New History of Persian Musical Traditions
Music of a Thousand A NEW HISTORY OF PERSIAN Years MUSICAL TRADITIONS ANN E. LUCAS Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Joan Palevsky Imprint in Classical Literature. Music of a Thousand Years Music of a Thousand Years A New History of Persian Musical Traditions Ann E. Lucas UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Ann E. Lucas This work is licensed under a Creative Commons CC BY-NC license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Lucas, A. E. Music of a Thousand Years A New History of Persian Musical Traditions. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.78 Library of Congress Cataloging-in-Publication Data Names: Lucas, Ann E., 1978- author. -
The "Arabian Influence" Thesis Revisited
The "Arabian Influence" Thesis Revisited By Shai Burstyn The Eastern influence on medieval European music was a hotly debated topic in the musicological literature from the early 1920s through the 1940s.! Interest in the "Arabian Influence" thesis has reawakened in recent years and appears to be slowly but surely gathering momentum again.2 Firmly convinced that the origins of Western chant were rooted in Eastern sources (Byzantine, Syriac, and ultimately Jewish), chant specialists made efforts to uncover East-West links in the first Christian centuries-efforts ! Some of the landmarks in the debate include Henry G. Farmer, "Clues for the Arabian Influence on European Musical Theory," Journal oJ the Royal Asiatic Society (1925): 61-80 (republished by Harold Reeves [London, 1925]); idem, Historical Facts for the Ara bian Musical Influence (London: Reeves, 1930); Kathleen Schlesinger, "Is Ewopean Musical Theory Indebted to the Arabs?" The Musical Standard 2 (16 May 1925; republished by Harold Reeves [London, 1925]); Julian Ribera, Music in Ancient Arabia and Spain (Stanford: Stanford University Press, 1929); Otto Ursprung, "Urn die Frage nach dem arabischen bzw. maurischen Einfluss auf die abendliindische Musik des Mittelalters," Zeitschrift fur Musikwissenschaft 16 (1934): 129-41; Marius Schneider, "A proposito del influjo arabe," Anuario musical 1 (1946): 31-141; and idem, "Arabischer Einfluss in Spanien?" Gesellschaftfur Musikforschung: Kongress-Bericht, Bamberg 1953 (Kassel: Biirenreiter, 1954), 175-81. For a comprehensive bibliography of the manifold aspects of the question, see Eva Perkuhn, Die Theorien zum arabischen Einfluss auf die europiiische Musik des Mittelalters (Walldorf-Hessen: Verlag fUr Orientkunde, 1976). Throughout this article I use the general, somewhat vague geographical designation "Eastern" for lack of a more precise term.