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Journal articles on the topic 'Harmonic analysis (Music)'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Nataraja, Dionysius Arya. "Encounter with The Other: The Serialists and The Spectralists." Jurnal Kajian Seni 7, no. 1 (January 18, 2021): 20. http://dx.doi.org/10.22146/jksks.57953.

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Musik kontemporer di Paris pada tahun 1970an didominasi oleh musik serial, dan spektralisme hadir memberi alternatif. Di tulisan ini, saya berargumen bahwa fenomena naiknya musik spektral ini bukan hanya sekedar masalah domestik musik kontemporer Eropa, tetapi fenomena ini berkaitan erat dengan masalah hubungan dengan yang “Liyan”, termasuk dengan budaya musik non-Barat. Dalam analisis saya, saya menemukan tendensi pada komposer musik serial untuk menjadi eksklusif melalui apa yang saya sebut mekanisme Othering, yang muncul pada tulisan-tulisan Schoenberg dan Boulez. Sebaliknya, komposer spektral menunjukkan sikap yang lebih inklusif terhadap musik di luar musik kontemporer Eropa. Musik spektral menawarkan terobosan dalam cara pandang terhadap musik, baik dalam ranah teknis mau pun kultural. Sebagai contoh, menggunakan spektrum inharmonik untuk basis komposisi daripada spektrum harmonik—spektrum harmonik sering digunakan sebagai landasan teori untuk membingkai musik non-Barat sebagai “alami” dan “belum tersentuh”. Contoh lain adalah memblurkan perbedaan antara warnanada dan harmoni, di mana konsep ini memperluas konsep harmoni, hingga tidak terbatas pada definisi harmoni klasik Eropa. Musik spektral membuka jalan baru untuk menghadapi pertanyaan-pertanyaan tentang inklusivitas. The Parisian contemporary music scene was dominated by serial music in the 1970s, and spectral music came to provide a musical alternative. In this essay, I argue that the rise of spectral music is not merely a domestic phenomenon within the European contemporary music scene, but that it is deeply tied with the issues of Othering, including the relationship with non-Western musical cultures. My analysis points out the tendency of exclusivity of the serialists via what I call mechanisms of Othering, as appears in the writings of Schoenberg and Boulez. On the contrary, the view and approach of the spectral composers tend to be more inclusive towards various musical system. Spectral music proposes viewpoints that are groundbreaking on the technical and cultural level. For example, putting the focus on the inharmonic spectra as a compositional basis, which negates the obsession towards the harmonic spectra, as it is often used as a theoretical justification to frame non-Western music as being “natural” and “untouched”. Another example, blurring the distinction between timbre
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Sun, Xiangwen, and Ligong Sun. "Harmonic Frequency Estimation Based on Modified-MUSIC Algorithm in Power System." Open Electrical & Electronic Engineering Journal 9, no. 1 (February 19, 2015): 38–42. http://dx.doi.org/10.2174/1874129001509010038.

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This paper presents a new harmonics frequency estimation method. Unlike the conventional harmonic frequency estimation method (fast Fourier transform), the new algorithm is based on spectrum analysis techniques often used to estimate the direction of angle; the most popular is the multiple signal classification (MUSIC) algorithm. The drawbacks of MUSIC algorithm are concluded. Improved-MUSIC approximation algorithm is introduced and compared with FFT based on algorithm for harmonic frequency estimation. Theoretical analysis and simulations show this algorithm is a super- resolution algorithm with small data length.
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Temperley, David. "An Algorithm for Harmonic Analysis." Music Perception 15, no. 1 (1997): 31–68. http://dx.doi.org/10.2307/40285738.

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An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths"; this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed.
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Ewert, Sebastian, Meinard Muller, Verena Konz, Daniel Mullensiefen, and Geraint A. Wiggins. "Towards Cross-Version Harmonic Analysis of Music." IEEE Transactions on Multimedia 14, no. 3 (June 2012): 770–82. http://dx.doi.org/10.1109/tmm.2012.2190047.

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5

Whittall, Arnold. "Review: Harmonic Rhythm: Analysis and Interpretation." Music and Letters 85, no. 1 (February 1, 2004): 140–41. http://dx.doi.org/10.1093/ml/85.1.140.

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6

Kaestri, Veronica Yoni, and Tri Wahyu Widodo. "Konstruksi Aransemen Bagimu Negeri Melalui Penerapan Ilmu Harmoni dan Kontrapung Dasar." PROMUSIKA 9, no. 1 (September 7, 2021): 27–38. http://dx.doi.org/10.24821/promusika.v1i1.5776.

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Artikel ini mengungkapkan proses aktivitas belajar mahasiswa dalam memahami ilmu harmoni dan kontrapung dasar dalam membentuk sebuah aransemen musik. Ilmu harmoni dan kontrapung merupakan ilmu dasar dalam memperlajari penyusunan nada. Dalam proses penyusunan nada terdapat pengetahuan akur, yang terbagi dalam empat suara yaitu sopran, alto, tenor dan bass tersusun secara horisontal. Unsur empat suara memiliki aturan-aturan yang berlaku dalam ilmu harmoni, sedangkan kontrapung dalam proses pembelajaran mempelajari kontrapung instrumental dengan tanganada diatonik dan termasuk dalam musik gaya polifonik. Artikel ini merupakan hasil penelitian proses aplikasi ilmu harmoni dan kontrapung dengan cara mempraktikan membuat aransemen lagu Bagimu Negeri. Tujuan dari penelitian adalah mengajak mahasiswa dan memahami dalam mengaplikasikan ilmu harmoni dan kontrapung. Melalui cara eksperimen merupakan kegiatan dari proses membuat aransemen lagu Bagimu Negeri dengan pendekatan musikologi. Konstruksi aransemen musik melalui penerapan ilmu harmoni dan kontrapung dengan pendekatan musikologi bermanfaat untuk memberikan pengetahuan pada mahasiswa bagaimana mengaransemen lagu. Hasil akhir penelitian yaitu bagaimana mahasiswa praktik mengaransemen lagu menggunakan ilmu harmoni dan kontrapung yang mengkolaborasi antara ilmu harmoni dan kontrapung. Keterbatasan dalam penelitian ini belum mengungkap kontur dan tekstur harmoni dalam aplikasi aransemen musik. Oleh karena itu memerlukan studi yang lebih jauh kembali dalam memahami aplikasi harmoni dan kontrapung dalam proses aransemen.AbstractThe construction of the music arrangement Bagimu Negeri for the application of harmony and basic counterpunch. This article reveals the learning activity process of students of the S-1 Music Study Program of the Faculty of Performing Arts, Yogyakarta Indonesian Institute of Arts, in understanding the science of harmony and contra punt in forming a musical arrangement. The science of harmony and contra punt is a basic science in learning the preparation of tone. There is knowledge of getting along in composing the tone, divided into four sounds: soprano, alto, tenor, and bass arranged horizontally. Element four sounds have rules that apply in the science of harmony. At the same time, contra punt in the learning process learns instrumental contra punt with diatonic hands and in polyphonic style music. This article results from research in the application process of harmonic and counter punt science by making arrangements for songs for the country. The study aims to invite students and understand in applying the science of harmony and contra punt. The way of experimentation is to make arrangements of songs for the country with a musical approach. Construction of music arrangements through the application of harmonic science and contra punt with a musicology approach is helpful for students to arrange songs. The final result of the study is how students practice arranging songs using the science of harmony and contra punt that collaborate between the science of harmony and contra punt. Limitations in this study have not revealed the contours and textures of harmony in musical arrangement applications. It, therefore, requires a further analysis back in understanding the application of harmony and contra punt in the arrangement process.Keywords: the science of harmony and contra punt; musical arrangements; Bagimu Negeri; Harmonic texture
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Hadiprayitno, Kasidi. "Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta." Dance and Theatre Review 4, no. 1 (June 13, 2021): 21–35. http://dx.doi.org/10.24821/dtr.v4i1.4923.

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ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis, sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan. Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.
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8

De Haas, W. Bas, José Pedro Magalhães, Frans Wiering, and Remco C. Veltkamp. "Automatic Functional Harmonic Analysis." Computer Music Journal 37, no. 4 (December 2013): 37–53. http://dx.doi.org/10.1162/comj_a_00209.

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Music scholars have been studying tonal harmony intensively for centuries, yielding numerous theories and models. Unfortunately, a large number of these theories are formulated in a rather informal fashion and lack mathematical precision. In this article we present HarmTrace, a functional model of Western tonal harmony that builds on well-known theories of tonal harmony. In contrast to other approaches that remain purely theoretical, we present an implemented system that is evaluated empirically. Given a sequence of symbolic chord labels, HarmTrace automatically derives the harmonic relations between chords. For this, we use advanced functional programming techniques that are uniquely available in the Haskell programming language. We show that our system is fast, easy to modify and maintain, robust against noisy data, and that its harmonic analyses comply with Western tonal harmony theory.
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Ligong, Sun Ligong, Sun Xiangwen, and Xiang Fei. "Harmonic Estimation Algorithm for Power System Based on Improved MUISC and Linear Neural Networks." Open Electrical & Electronic Engineering Journal 9, no. 1 (September 30, 2015): 445–51. http://dx.doi.org/10.2174/1874129001509010445.

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The paper proposes harmonic estimation algorithm for power system based on Multiple Signal Classification (MUSIC) and linear neural network because of the insufficiency of harmonic frequency estimation algorithm. The conventional MUSIC algorithm has the advantage of higher estimation accuracy, while the disadvantage is that the computational complexity is high and it cannot estimate the harmonic phase and amplitude. In the paper, a new harmonic estimation algorithm for power system is constructed with combining the MUSIC algorithm, the multistage Wiener filter (MSWF) and linear neural network. Theoretic analysis and simulation experiments show that the requirement to data is relatively low, and has good harmonic estimation accuracy and reliability.
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Zhe, Cao, Sun Xiangwen, and Niu Xinwen. "Harmonic Frequency Estimation Algorithm Based on MSWF in Power System." Open Electrical & Electronic Engineering Journal 9, no. 1 (October 28, 2015): 524–29. http://dx.doi.org/10.2174/1874129001509010524.

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This paper pointed out the disadvantage of harmonic frequency estimation algorithm in current power system, presented the MUSIC (multiple signal classification)-based harmonic frequency estimation algorithm in power system, and analyzed the computational complexity of the MUSIC algorithm. In order to reduce the computational complexity of conventional MUSIC algorithm and to increase the real-time characteristic of harmonic frequency estimation algorithm, we combined the multi-stage wiener filter (MSWF) recursive algorithm and MUSIC algorithm so as to avoid the subspace decomposition process of the conventional MUSIC algorithm, thus realizing the purpose of significantly reducing the computational complexity of the MUSIC algorithm. Through theoretical analysis and simulation experiments, we find that the algorithm proposed in this paper is of excellent resolution characteristic, and less dependent on data volume.
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11

Rosner, Burton S., and Eugene Narmour. "Harmonic Closure: Music Theory and Perception." Music Perception 9, no. 4 (1992): 383–411. http://dx.doi.org/10.2307/40285561.

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Music theorists have often disagreed about the material variables that determine the perception of harmonic closure. To investigate this controversial topic, we presented subjects with pairs of selected two-chord progressions. The subjects judged which member of each pair seemed more closed. Preferences varied across pairs of cadences and generally obeyed transitivity. Quantitative reformulation of theoretical harmonic variables permitted correlational analysis of the results. Three or four variables, including one or two that reflect learned stylistic structures, best explained our findings. Conventional harmonic factors of scale step, soprano position, and root position demonstrated surprisingly little explanatory power.
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12

Fine, Philip A., and Brian C. J. Moore. "Frequency Analysis and Musical Ability." Music Perception 11, no. 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the two groups: the musicians were more efficient. In Experiment 2, the ability to hear out partials in a complex inharmonic tone was measured for the same two groups, using a tone produced by "stretching" the spacing between partials in a harmonic complex tone. Unfortunately, most of the nonmusicians were unable to perform this task. The ability of the musicians to hear out partials was not significantly correlated with the auditory filter bandwidths measured in Experiment 1. The musicians were also tested on the original harmonic complex tone (before "stretching"). For some partials, their performance was better for the inharmonic tone, reflecting the fact that the separation of the partials in frequency was greater for that tone. However, it was also found that those partials that were octaves of the fundamental in the harmonic series were identified better than corresponding partials in the inharmonic tone.
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13

Hawkins, Stan. "Prince: harmonic analysis of ‘Anna Stesia’." Popular Music 11, no. 3 (October 1992): 325–35. http://dx.doi.org/10.1017/s0261143000005171.

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Musically, it (Lovesexy) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989, p. 210)
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Jordan, Jamie Boddington, and Jan-Peter Herbst. "Harmonic structures in twenty-first-century metal music: A harmonic analysis of five major metal genres." Metal Music Studies 9, no. 1 (March 1, 2023): 27–58. http://dx.doi.org/10.1386/mms_00093_1.

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This article investigates whether and how five of the major metal subgenres differ in their harmonic practices in the twenty-first century. One hundred metal tracks – twenty from each of the five subgenres of power metal, black metal, metalcore, melodic death metal and progressive metal – released since 2000 were analysed, capturing their chord progressions and modulation techniques. Tonal analysis indicated that although each subgenre seems to adopt the techniques used by the early heavy metal bands of the 1970s and 1980s, individual signature styles contribute to the desired sonic aesthetic. The study found pronounced harmonic practices in most subgenres, yet the most distinctive in power metal and black metal. While black metal focused on non-diatonic minor chords for a dark atmosphere and dissonant aesthetic, power metal emphasized the brighter Dorian mode and employed baroque and classically influenced secondary dominants and diminished seventh chords to add colour to progressions and brighten the sound.
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Manaris, Bill, David Johnson, and Yiorgos Vassilandonakis. "Harmonic Navigator: A Gesture-Driven, Corpus-Based Approach to Music Analysis, Composition, and Performance." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (June 30, 2021): 67–74. http://dx.doi.org/10.1609/aiide.v9i5.12658.

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We present a novel, real-time system for exploring harmonic spaces of musical styles, to generate music in collaboration with human performers utilizing gesture devices (such as the Kinect) together with MIDI and OSC instruments / controllers. This corpus-based environment incorporates statistical and evolutionary components for exploring potential flows through harmonic spaces, utilizing power-law (Zipf-based) metrics for fitness evaluation. It supports visual exploration and navigation of harmonic transition probabilities through interactive gesture control. These probabilities are computed from musical corpora (in MIDI format). Herein we utilize the Classical Music Archives 14,000+ MIDI corpus, among others. The user interface supports real-time exploration of the balance between predictability and surprise for musical composition and performance, and may be used in a variety of musical contexts and applications.
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Indrawan, Andre. "Meyer’s Approach on Musical Analysis and Its Relevance to Indonesian Analytical Study of Western Music." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 1–14. http://dx.doi.org/10.31091/jomsti.v3i1.959.

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This critical review of Leonard Bunce Meyer's musical analysis theory is aimed at obtaining a basic understanding of an approach that seems uncommon in Indonesian studies of Western music. This study uses a speculative method with descriptive as well as critical approaches, where Meyer's analysis theory is depicted critically by conforming it toward Nicolas Cook's critical review which was based on the Shenkerian concept. The relevance application of this analysis model in the studies of musical form in Indonesia then is discussed. This study concluded that the psychological music analysis of Meyer was carried out by the foreground expectations of the tonal music linear and rhythmical analysis. Compared to the Shenkerian approach which gives greater attention to the harmonic reduction that focused on the harmonic background of tonal music, Meyer’s approach would be less practical in observing at large-scale musical structures. Meyer’s analysis would be valuable to the performers as well as music analysts if they also take into account their musical style concepts which mostly regarded as the area of aesthetic rather than technical analysis. For Indonesia, this method is appropriate for Master and Doctorate studies in Western Music.
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Park, Jieun, and Yoonhan Jeon. "A Study of Bill Evans’ Use of Appoggiatura and Polychords in the Solo Piano Composition “We Will Meet Again”." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 1145–54. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1145.

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This study analyzes the most prominent manifestations of harmonic expansion and tension in Bill Evans’ harmonic techniques, focusing on appoggiatura and polychords. These two techniques represent Evans’ characteristic harmonic progressions that dramatically induce and resolve tension. While Evans employs numerous other idiosyncratic harmonic techniques, these two serve as cornerstones of all Jazz harmonic development, rooted in his assimilation of classical music into Jazz piano. Appoggiatura elucidates Evans’ method of inducing harmonic tension and resolution through the polyphonic use of non-harmonic tones. Polychord is dissected into two categories: one comprising diatonic scales and the other involving altered scales. The study explores how Evans employed diverse Polychords based on harmonic tension and the flow of the musical piece. Through the analysis of Bill Evans’ solo piano composition “We Will Meet Again”, this research examines how harmonic expansion unfolds in compositional music and elucidates how Evans employed these techniques in his performances to actualize and crystallize his unique harmonies.
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Bozkurt, Hasan, and H. Seval Köse. "Harmonic analysis of the ensemble and singing pieces from Erdal Tugcular as an educational music composer." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 519–31. http://dx.doi.org/10.18844/gjhss.v2i1.339.

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Duan, Ying. "Construction of Vocal Timbre Evaluation System Based on Classification Algorithm." Scientific Programming 2022 (June 6, 2022): 1–10. http://dx.doi.org/10.1155/2022/6893128.

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With the continuous development of communication technology, computer technology, and network technology, a large amount of information such as images, videos, and audios has grown exponentially, and people have started to be exposed to massive multimedia contents, which can easily and quickly access the increasingly rich music resources, so new technologies are urgently needed for their effective management, and automatic classification of audio signals has become the focus of engineering and academic attention. Currently, music retrieval can be achieved by selecting song titles and singer names, but as people’s living standards continue to improve, the spiritual realm is also enriched. People want to be able to select music with different types of emotional expressions with their emotions. It mainly includes the basic principles of audio classification, the analysis and extraction of music emotion features, and the selection of the best classifier. Two classification algorithms, hybrid Gaussian model and AdaBoost, are used to classify music emotions, and the two classifiers are combined. In this paper, we propose the Discrete Harmonic Transform (DHT), a sparse transform based on harmonic frequencies. This paper derives and proves the formula of Discrete Harmonic Transform and further analyzes the harmonic structure of musical tone signal and the accuracy of harmonic structure. Since the timbre of musical instruments depends on the harmonic structure, and similar instruments have similar harmonic structures, the discrete harmonic transform coefficients can be defined as objective indicators corresponding to the timbre of musical instruments, and thus the concept of timbre expression spectrum is proposed, and a specific construction algorithm is given in this paper. In the application of musical instrument recognition, the 53-dimensional combined features of LPCC, MFCC, and timbre expression spectrum are selected, and a nonlinear support vector machine is used as the classifier. The classification recognition rate is improved by reducing the number of feature dimensions.
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Cataldo, Carmine. "Music Algebra: Harmonic Progressions Analysis and CAT (Cataldo Advanced Transformations)." International Journal of Advanced Engineering Research and Science 5, no. 5 (2018): 224–27. http://dx.doi.org/10.22161/ijaers.5.5.29.

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Guo, Yi, and Jiyong Tang. "A Combined Mathematical Treatment for a Special Automatic Music Transcription System." Abstract and Applied Analysis 2012 (2012): 1–13. http://dx.doi.org/10.1155/2012/302958.

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This paper presents a combined mathematical treatment for a special automatic music transcription system. This system is specially made for computer-synthesized music. The combined mathematical treatment includes harmonic selection, matrix analysis, and probability analysis method. The algorithm reduces dimension by PCA and selects candidates first by human auditory model and harmonic structures of notes. It changes the multiple-F0 estimation question into a mathematical problem and solves it in a mathematical way. It can be shown in this paper that the experimental results indicate that this method has very good recognition results.
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Guarna, Vincent. "The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle." Jazz Education in Research and Practice 5, no. 1 (January 2024): 85–107. http://dx.doi.org/10.2979/jazzeducrese.5.1.07.

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Abstract: The goal of my research is to illustrate several shared harmonic devices used by Nikolai Rimsky-Korsakov and John Coltrane. I also seek to offer new analyses of these devices as used by John Coltrane in his compositions between 1958 and 1961. They are analyzed as singular harmonic devices first codified by Rimsky-Korsakov. Jazz pedagogy may benefit from viewing these devices, which are found within the "Coltrane Cycle," in this new light. Extensive research has been done on the music of John Coltrane. However, the music of Rimsky-Korsakov, and the modulatory schemes governing his compositions, have been largely overlooked in the world of jazz. Several harmonic devices that he first codified in his Practical Manual of Harmony have also been overlooked. These devices, originating with Rimsky-Korsakov, appear as identical harmonic schemes in several of Coltrane's groundbreaking compositions. Analysis of excerpts from several works of Rimsky-Korsakov and Coltrane will illustrate areas of overlap of these devices.
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Maçãs, Catarina, Ana Rodrigues, Gilberto Bernardes, and Penousal Machado. "MixMash." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 20–40. http://dx.doi.org/10.4018/ijacdt.2019070102.

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This article presents MixMash, an interactive tool which streamlines the process of music mashup creation by assisting users in the process of finding compatible music from a large collection of audio tracks. It extends the harmonic mixing method by Bernardes, Davies and Guedes with novel degrees of harmonic, rhythmic, spectral, and timbral similarity metrics. Furthermore, it revises and improves some interface design limitations identified in the former model software implementation. A new user interface design based on cross-modal associations between musical content analysis and information visualisation is presented. In this graphic model, all tracks are represented as nodes where distances and edge connections display their harmonic compatibility as a result of a force-directed graph. Besides, a visual language is defined to enhance the tool's usability and foster creative endeavour in the search of meaningful music mashups.
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Seipelt, Agnes, Paul Gulewycz, and Robert Klugseder. "Digitale Musikanalyse mit den Techniken der Music Encoding Initiative (MEI) am Beispiel von Kompositionsstudien Anton Bruckners." Die Musikforschung 71, no. 4 (September 22, 2021): 366–78. http://dx.doi.org/10.52412/mf.2018.h4.295.

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Studying the harmonic structures of a musical work and exploring its origins is one of the main tasks of traditional musicology. Since the advent of computer technologies, new tools for musical analysis emerged to gain new perspectives on well-known compositions. In the field of digital musical editions, the markup language MEI (Music Encoding Initiative) plays a prominent role for encoding musical notation with a musicological demand. This paper presents the current state of the project "Digital Music Analysis with MEI using the Example of Anton Bruckner's Compositional Studies". Its aim is to encode the "Kitzler Study book" written by Bruckner and to present it in a digital Edition. Also, the project explores the capability of MEI for an automatic or half-automatic harmonic analysis.
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Quan, Ai Juan, Xiao Dong Sun, and Lan Xiang Zhu. "A Signal Detection Method for Harmonic Signal Submerged in Complex Noise Background." Applied Mechanics and Materials 397-400 (September 2013): 2262–65. http://dx.doi.org/10.4028/www.scientific.net/amm.397-400.2262.

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This paper presents a method to detect weak harmonic signal embedded in chaotic noise. Using different correlation characteristic of harmonic and chaotic signal ,we can transform the sample signal to a new data sequence which has new harmonic . The new harmonic frequency is m times of the original harmonic and beyond the center bandwidth of noise. Then use wavelet packet decomposition to analysis the energy distribution of harmonic and chaotic signals and extract the component which the harmonic energy concentrated on, In the end, a multiple signal classification (MUSIC) algorithm is employed to estimate harmonic frequencies . The method suit for the complex background noise (strong chaotic noise and gaussian noise).
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Raphael, Christopher, and Joshua Stoddard. "Functional Harmonic Analysis Using Probabilistic Models." Computer Music Journal 28, no. 3 (September 2004): 45–52. http://dx.doi.org/10.1162/0148926041790676.

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Müllensiefen, Daniel. "Commentary on Shaffer et al.: A cluster analysis of harmony in the McGill Billboard dataset." Empirical Musicology Review 14, no. 3-4 (July 6, 2020): 163. http://dx.doi.org/10.18061/emr.v14i3-4.7657.

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This short commentary on the target paper by "A cluster analysis of harmony in the McGill Billboard" by Shaffer et al. starts with observing that not all harmonic progressions that are theoretically possible are equally common. Instead, some progressions are more popular than others in popular. In fact, certain harmonic progressions are closely associated with specific styles and sub-genres and it is the aim of the target paper to provide a meaningful classification system for harmonic progression. The commentary identifies several strengths of the target paper, including a nice balance between rigorous empirical work and providing a context and interpretations that are musicologically well-informed. In its critique the commentary points to the limitations of only using harmonic bigrams (i.e. the transitions between two chords) as the empirical data and the missing link to related literature on harmonic modelling in the music information retrieval community.
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CANTONE, DOMENICO, SALVATORE CRISTOFARO, and SIMONE FARO. "ON SOME COMBINATORIAL PROBLEMS CONCERNING THE HARMONIC STRUCTURE OF MUSICAL CHORD SEQUENCES." International Journal of Foundations of Computer Science 19, no. 01 (February 2008): 103–24. http://dx.doi.org/10.1142/s0129054108005565.

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We present some combinatorial problems which arise in the fields of music representation and music processing, in particular in the context of analysis of the harmonic structure of chord sequences. We are mainly concerned with problems related to chord sequences which exhibit a certain kind of regular harmonic structure, and provide also algorithms to solve some of them. In particular, we present an [Formula: see text]-time algorithm, based on bit-parallelism, to check whether a given chord progression of length n is regular, where m is the size of the chords in the progression.
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Zavadska, Gaļina. "THE COMPARATIVE ANALYSIS OF HARMONIC HEARING DEVELOPMENT CONCEPTIONS BY DIFFERENT AUTHORS." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 320. http://dx.doi.org/10.17770/sie2013vol1.547.

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Musical-pedagogical theory and practice of higher education have to address complicated issues: the content of musical education changes, new music teacher training forms develop, technical provision of a teaching process improves.Choral singing as a kind of collective music making is an integral component of Latvian culture, an irreplaceable and over centuries tried out factor of spiritual and creative development of a Latvian people. Harmonic hearing is one of the components of musical hearing. The aim of the paper: to present the analysis of works by different authors on issues of the development of harmonic hearing made on the basis of the criteria developed for the analysis of literature. The general pedagogical criteria for the evaluation of teaching aids and the didactic principles of content development from the methodological recommendations “The Development and Evaluation of the Content of Teaching Aids Complying with National Education Standards” (The Department of Pedagogy at the Faculty of Pedagogy and Psychology of the University of Latvia) were taken as a basis for the offered criteria of the analysis of methodological literature.
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Arthur, Claire. "Taking Harmony Into Account." Music Perception 34, no. 4 (April 1, 2017): 405–23. http://dx.doi.org/10.1525/mp.2017.34.4.405.

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Probabilistic models have proved remarkably successful in modeling melodic organization (e.g., Huron, 2006a; Pearce, 2005; Temperley, 2008). However, the majority of these models rely on pitch information taken from melody alone. Given the prevalence of homophonic music in Western culture, however, surprisingly little attention has been directed at exploring the predictive power of harmonic accompaniment in models of melodic organization. The research presented here uses a combination of the three main approaches to empirical musicology—exploratory analysis, modeling, and hypothesis testing—to investigate the influence of harmony on melodic behavior. In this study a comparison is made between models that use only melodic information and models that consider the melodic information along with the underlying harmonic accompaniment to predict melodic continuations. A test of overall performance shows a significant improvement using a melodic-harmonic model. When individual scale degrees are examined, the major diatonic scale degrees are shown to have unique probability distributions for each of their most common harmonic settings. That is, the results suggest a robust effect of harmony on melodic organization. Perceptual implications and directions for future research are discussed.
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Petrović, Milena. "A new concept of teaching and learning ABBA's songs in the university solfeggio classroom." New Sound, no. 59-1 (2022): 25–49. http://dx.doi.org/10.5937/newso22059025p.

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A new interdisciplinary approach of teaching ABBA's songs in university solfeggio classes involves: graphical representation of melodic contours and harmonic progressions; embodied tension and relaxation caused by the (un)expected harmonic patterns/progressions, form and rhythm; aural and visual music analysis of ostinato and drone, as the elemental characteristics of popular music, and Dorian mode, PEN-tatonic and blue tones, as the main Orff-Schulwerk teaching strategies; emotions, experienced in relation to the gradual addition of voices and the chain of dominants; verbality, respecting the use of rhymes in verse translations, and the prosodic stress, musical meter and melodic contour alignment.
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Yu, Zhenming. "Computer-Visualized Sound Parameter Analysis Method and Its Application in Vocal Music Teaching." Advances in Multimedia 2022 (July 22, 2022): 1–12. http://dx.doi.org/10.1155/2022/8662997.

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In order to improve the quality of vocal music teaching, this paper applies the computer visualization sound parameter analysis method to vocal music teaching and discusses the scheme of parametric coding. Moreover, this paper adopts the transient signal detection mechanism to divide the signal. For frames that have detected a shock signal, frequency-domain parametric differential predictive coding can be used like temporal noise shaping (TNS) techniques. In addition, based on the short-term periodicity and short-term stationarity of speech signals, an analytical synthesis model based on harmonic decomposition is proposed. Through the simulation data analysis, it can be seen that the computer visualization sound parameter analysis method proposed in this paper has a very good application effect in vocal music teaching and can improve the quality of vocal music teaching.
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Bittencourt, Marcus Alessi. "Reimagining a Riemannian symbology for the structural harmonic analysis of 19th-century tonal music." Revista Vórtex 1, no. 2 (December 30, 2013): 30–48. http://dx.doi.org/10.33871/23179937.2013.1.2.428.

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In the context of a preview of central topics taken from a larger research work, this article presents and explains a proposition of a functional analytical symbology which is currently being developed as a tool for the structural harmonic analysis of tonal music. This symbology constitutes a key component for a proposal of an analytical methodology for 19th"‘century extended tonality, which is the core of the aforementioned larger research work. Based on a critical revision of the history of music theory and analysis, this methodology is mainly the result of the recasting and the amplification of thoughts and concepts developed by 19th"‘century theorists such as Hugo Riemann and Arthur von Oettingen. The article introduces the proposed analytical symbology through a comparison to its historical counterparts, and it also highlights the ability of the proposed symbols to graph the harmonic language of 19th"‘century extended tonality by means of a few analytical examples.
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Fung Chiat, Loo, and Loo Fung Ying. "The Musical Language in Messiaen’s Catalogue d’oiseaux." Musicological Annual 55, no. 1 (June 20, 2019): 131–56. http://dx.doi.org/10.4312/mz.55.1.131-156.

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This paper presents an analysis of Olivier Messiaen’s ‘La Chouette hulotte’ from Catalogue d’oiseaux. The significance of this work lies in the representation of fear by the owls and ‘night’ music. Messiaen’s language of mode de valeurs representing the ‘night’ and the harmonic language of the tawny owl’s calls identifies Messiaen’s music.
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Asano, Rie, Vivian Lo, and Steven Brown. "The Neural Basis of Tonal Processing in Music: An ALE Meta-Analysis." Music & Science 5 (January 2022): 205920432211099. http://dx.doi.org/10.1177/20592043221109958.

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Music is used as an important medium for communication in human societies, often times to enhance the emotional meaning of narrative scenarios and ritual events. Music has a number of domain-specific tonal devices for doing this, spanning from scale structure to harmonic progressions and beyond. In order to explore the neural basis of tonal processing in music, we carried out an activation likelihood estimation (ALE) meta-analysis of 20 published functional magnetic resonance imaging studies of tonal cognition, with an emphasis on harmony processing. The most concordant areas of activation across these studies occurred at the junction of the inferior frontal gyrus, anterior insula, and orbitofrontal cortex in Brodmann areas 47 and 13 in the right hemisphere. This region is associated not only with emotion in general, but with the conveyance of affective meanings during communication processes, including speech prosody and music.
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Sung, Kiyoung. "A Comparative Study of the Timbre of Geomungo and Cello Using Virtual Instruments." Korean Society of Gyobang and Culture 4, no. 2 (June 30, 2024): 161–78. http://dx.doi.org/10.58936/gcr.2024.6.4.2.161.

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This study aimed to compare and analyze the timbre of the geomungo and cello, focusing on harmonic analysis to examine the tonal characteristics of both instruments. Using pizzicato, a common playing technique for both instruments, A2, A3, and A4 notes were recorded, and the sound sources were generated using virtual instruments. By comparing the timbre of the two instruments through spectrum, spectrogram, envelope, and sound pressure analysis methods, it was found that the geomungo showed a stronger influence of harmonics than the fundamental frequency, characterized by a very fast attack and rapid release, which are key factors in forming the geomungo’s clear and bright tone. In the case of the cello, the fundamental frequency had a stronger influence than the harmonics, and it was found that the presence of subharmonics and non-harmonic partials, along with a fast attack and slow release, contribute to its deep and rich tone. This study provides an understanding of the tonal characteristics of the geomungo and cello, and it is hoped that this will contribute to the harmonious fusion of traditional Korean and Western music, as well as foster new musical diversity and creativity.
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Choi, Andrew. "Jazz Harmonic Analysis as Optimal Tonality Segmentation." Computer Music Journal 35, no. 2 (June 2011): 49–66. http://dx.doi.org/10.1162/comj_a_00056.

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Murphy, Paul, and Cristóbal García Gallardo. "Jean-Philippe Rameau’s Influence on Harmonic Theory in Spain." Music Theory Spectrum 42, no. 1 (December 16, 2019): 81–104. http://dx.doi.org/10.1093/mts/mtz024.

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Abstract It is well known that the music-theoretical ideas of Jean-Philippe Rameau (1683–1764) were disseminated throughout much of Europe in large part by the summary editions issued by the mathematician and philosopher Jean Le Rond d’Alembert (1717–83) and certain German, English, and Italian translations that followed. Little is known, however, about how Rameau’s revolutionary and controversial theories appeared in Spain, and even less about how they were received and interpreted. In response, we offer a contextual analysis of the effects that these ideas had on both forward-looking intellectuals as well as on conservative professional musicians grounded in music of the past.
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Tang, Wen, and Linlin Gu. "Harmonic Classification with Enhancing Music Using Deep Learning Techniques." Complexity 2021 (September 29, 2021): 1–10. http://dx.doi.org/10.1155/2021/5590996.

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Automatic extraction of features from harmonic information of music audio is considered in this paper. Automatically obtaining of relevant information is necessary not just for analysis but also for the commercial issue such as music program of tutoring and generating of lead sheet. Two aspects of harmony are considered, chord and global key, facing the issue of the extraction problem by the algorithm of machine learning. Contribution here is to recognize chords in the music by the feature extraction method (voiced models) that performd better than manually one. The modelling carried out chord sequence, getting from frame-by-frame basis, which is known in recognition of the chord system. Technique of machine learning such the convolutional neural network (CNN) will systematically extract the chord sequence to achieve the superiority context model. Then, traditional classification is used to create the key classifier which is better than others or manually one. Datasets used to evaluate the proposed model show good achievement results compared with existing one.
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40

Chen, Anqi. "Harmony Teaching Research — Implication for Music Education." Art and Society 3, no. 1 (February 2024): 13–44. http://dx.doi.org/10.56397/as.2024.02.02.

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This study aims to find out how students’ executive function skills are impacted by music instruction, especially harmonic instruction. The study adheres to ethical standards, ensuring participant confidentiality and freely given, informed consent. The introduction, which also provides background information on the importance of music education, outlines the goals and objectives of the study. In this review of the literature, we focus on constructivism and sociocultural theory as the theoretical frameworks for our analysis of the studies on music education and its impact on cognitive development. The techniques section describes the tools and how they were used; a questionnaire and open-ended comments were used to collect the data. The findings section includes both quantitative and qualitative results. The quantitative findings show a statistically significant positive association between executive function skill reports and the intensity of harmonic teaching, which may indicate a link between higher harmonic education progress and better executive function ability rises. The qualitative findings provide additional insights into the viewpoints and experiences of the participants, which strengthens the research. The conclusion summarizes the main findings and identifies the study’s limitations. Overall, emphasizes the value of music instruction in developing well-rounded individuals and presents solutions for integrating music instruction into the larger educational system that are supported by research. Because of the study’s rigorous research design, dedication to ethical principles, and use of appropriate statistical procedures and analytic tools, the findings are more believable and legitimate. The study’s findings and recommendations are meant to improve formal music education programs and advance understanding of how music education fosters students’ creativity and cognitive skills.
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Ni, Yizhao, Matt McVicar, Raúl Santos-Rodriguez, and Tijl De Bie. "An End-to-End Machine Learning System for Harmonic Analysis of Music." IEEE Transactions on Audio, Speech, and Language Processing 20, no. 6 (August 2012): 1771–83. http://dx.doi.org/10.1109/tasl.2012.2188516.

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42

Fuentes, Benoit, Roland Badeau, and Gael Richard. "Harmonic Adaptive Latent Component Analysis of Audio and Application to Music Transcription." IEEE Transactions on Audio, Speech, and Language Processing 21, no. 9 (September 2013): 1854–66. http://dx.doi.org/10.1109/tasl.2013.2260741.

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43

Annan, John Francis, Emmanuel Obed Acquah, and Godfred Sackey. "ANALYTICAL QUEST OF FOUR SELECTED HARMONIZED CHORALES OF JOHANN SABASTIAN BACH." International Journal of Education Humanities and Social Science 05, no. 04 (2022): 01–19. http://dx.doi.org/10.54922/ijehss.2022.0409.

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Chorale No 9 (Ermuntre dich mein schwacher Geist), Chorale No 14 (O Herre Gott, dein gottlich Wort), Chorale No 73 (Herr Jesu Christ, du höchstes Gut) and Chorale No 81 (Christus, der uns selig macht), are selected Lutheran chorales harmonized by Johann Sabastian Bach, an iconic composer of the Baroque era. In his harmonic processes, Bach explored various altered chords, harmonic devices, and non-harmonic tones. Focusing on a case study design, purposive sampling technique, and document analysis, the authors attempt to provide a formal analysis of the four selected harmonized chorales, employing parameters such as scale, vocal rages, melodic organization, harmony and tonality, non-chord tones, texture, and form. The analysis unravels his harmonic vocabulary to determine his compositional style. The harmonized chorales of Johann Sabastian Bach are therefore good educational materials of harmony and counterpoint andragogy for music students.
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44

Katz, Jonah. "Harmonic Syntax of the Twelve-Bar Blues Form." Music Perception 35, no. 2 (December 1, 2017): 165–92. http://dx.doi.org/10.1525/mp.2017.35.2.165.

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This paper describes the construction and analysis of a corpus of harmonic progressions from 12-bar blues forms included in the jazz repertoire collection The Real Book. A novel method of coding and analyzing such corpus data is developed, with a notion of “possible harmonic change” derived from the corpus and logit mixed-effects regression models that describe the difference between actually occurring harmonic events and possible but non-occurring ones in terms of various sets of theoretical constructs. Models using different sets of constructs are compared using the Bayesian Information Criterion, which assesses the accuracy and efficiency of each model. The principal results are that: (1) transitional probabilities are better modeled using root-motion and chord-frequency information than they are using pairs of individual chords; (2) transitional probabilities are better described using a mixture model intermediate in complexity between a bigram and full trigram model; and (3) the difference between occurring and non-occurring chords is more efficiently modeled with a hierarchical, recursive context-free grammar than it is as a Markov chain. The results have implications for theories of harmony, composition, and cognition more generally.
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Blahó, Attila. "Zoltán Kodály’s Art in Terms of Jazz. Analysis of Epigram 7." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (June 30, 2023): 29–35. http://dx.doi.org/10.24193/subbmusica.2023.1.02.

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"Jazz music and twentieth-century compositional music have interacted since the beginning. In the same way that one cannot talk about modern music today without mentioning Béla Bartók, his colleague and good friend Zoltán Kodály, also plays an important role in twentieth-century music. The compositional techniques that we associate with Bartók's name can also be found in Kodály's art. In this study, I scrutinize Zoltán Kodály's less well-known play, the 7th Epigram. Kodaly's suggestion on the preface sounds like this: The vocal part can be performed on any string or wind instrument, possibly in the upper or lower octave. It works best for those who use it as reading practice by accompanying their singing. As a jazz musician, compositional music has always influenced me, and I was curious to compare the harmonic relationships between the two styles. It affected me as a revelation when I discovered in the works of Johann Sebastian Bach those seventh chords or alterations that can also be found in the language of jazz. Kodály's Epigrams became interesting for me precisely because of this. Keywords: jazz, chords, alterations, upper extensions"
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Bozkurt, Hasan, and H. Seval Köse. "Harmonic analysis of the ensemble and singing pieces from Erdal Tugcular as an educational music composer." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 519–31. http://dx.doi.org/10.18844/prosoc.v2i1.339.

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Considered as one of Turkish new generation composers, Erdal Tugcular is today’s one of the strongest representatives of the folklorism in our Polyphonic Contemporary Turkish Music based on the Turkish Five. Musical pieces of Tugcular which are frequently heard in various national and international concert programs are of value and significance with their educational function at various levels of music education.This study harmonically analyses the pieces composed for Ensembles and Singing by Erdal Tugcular who has produced compositions in various styles and forms. For this purpose, “Osmanım” folk song composed for Singing with piano accompaniment and the polyphonic “Road tunes” piece composed for Ensemble were selected as samples among the compositions of Tugcular for Ensemble and Singing. The musical works selected are studied in terms of harmonic patterns and rules used in polyphonic singing.It is believed that the results of the study will contribute in the vocalization-rendition quality of the pieces analyzed and the realization of their educational functions. Keywords: Erdal Tugcular, ensemble pieces, singing pieces, harmonic analysis.
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Buchler, Michael. "Ornamentation as Gesture in Atonal Music." Music Theory Spectrum 42, no. 1 (December 3, 2019): 24–37. http://dx.doi.org/10.1093/mts/mtz021.

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Abstract Hearing and representing melodic and harmonic elaboration lies at the heart of tonal analysis. We sometimes disagree about what exactly is ornamental or how tones are prolonged, but our widespread collective understanding of passing tones, neighbor tones, suspensions, and the like underscores the important notion that some notes are more structurally important than others. This article proposes ways to read ornamentation in atonal music, recasting ornamental categories gesturally and pragmatically instead of (or in addition to) tonally and metrically.
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goldman, jonathan. "ChartingMémoriale: Paradigmatic Analysis and Harmonic Schemata in Boulez's ... explosante-fixe ... ." Music Analysis 27, no. 2-3 (July 2008): 217–52. http://dx.doi.org/10.1111/j.1468-2249.2009.00274.x.

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ITZKOVITZ, SHALEV, RON MILO, NADAV KASHTAN, REUVEN LEVITT, AMIR LAHAV, and URI ALON. "RECURRING HARMONIC WALKS AND NETWORK MOTIFS IN WESTERN MUSIC." Advances in Complex Systems 09, no. 01n02 (March 2006): 121–32. http://dx.doi.org/10.1142/s021952590600063x.

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Western harmony is comprised of sequences of chords, which obey grammatical rules. It is of interest to develop a compact representation of the harmonic movement of chord sequences. Here, we apply an approach from analysis of complex networks, known as "network motifs" to define repeating dynamical patterns in musical harmony. We describe each piece as a graph, where the nodes are chords and the directed edges connect chords which occur consecutively in the piece. We detect several patterns, each of which is a walk on this graph, which recur in diverse musical pieces from the Baroque to modern-day popular music. These patterns include cycles of three or four nodes, with up to two mutual edges (edges that point in both directions). Cliques and patterns with more than two mutual edges are rare. Some of these universal patterns of harmony are well known and correspond to basic principles of music theory such as hierarchy and directionality. This approach can be extended to search for recurring patterns in other musical components and to study other dynamical systems that can be represented as walks on graphs.
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Ma, Xundong. "Music Genre Classification Based on Machine Learning Methods." Highlights in Science, Engineering and Technology 34 (February 28, 2023): 168–75. http://dx.doi.org/10.54097/hset.v34i.5443.

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A large portion of the population globally are actively downloading and streaming music from online platforms in recent years. In many parts of the world, music has become a lifestyle instead of a luxury. As a result of music’s growing popularity, the number of sounds and music released each day and also increased tremendously as the demand growth of music. Music genre is defined as a label that is descriptive of the music category which is used to categorize music based on several characteristics including: harmonic contents, pitch, instrumentation, and rhythmic structure. A classification model used to complete this task of classifying music genres is a machine learning system designed to classify using audio signals from song tracks into different musical genres. This paper aims to investigate the different approaches, including k-nearest neighbours algorithm, random forest, artificial neural network, and convolutional neural network, to classify music genres. Model performance analysis and confusion matrix analysis are applied to compare the advantages of the different algorithms applied on music genre classification problem.
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