Relevant bibliographies by topics / Melodic structure

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Melodic structure'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Melodic structure"

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Russo, Frank A., William Forde Thompson, and Lola L. Cuddy. "Effects of Emergent-Level Structure on Melodic Processing Difficulty." Music Perception 33, no. 1 (2015): 96–109. http://dx.doi.org/10.1525/mp.2015.33.1.96.

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Four experiments assessed the influence of emergent-level structure on melodic processing difficulty. Emergent-level structure was manipulated across experiments and defined with reference to the Implication-Realization model of melodic expectancy (Narmour, 1990, 1992, 2000). Two measures of melodic processing difficulty were used to assess the influence of emergent-level structure: serial-reconstruction and cohesion ratings. In the serial-reconstruction experiment (Experiment 1), reconstruction was more efficient for melodies with simple emergent-level structure. In the cohesion experiments (
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Schmuckler, Mark A. "Melodic Contour Similarity Using Folk Melodies." Music Perception 28, no. 2 (2010): 169–94. http://dx.doi.org/10.1525/mp.2010.28.2.169.

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Melodic contour, or the pattern of rises and falls in pitch, is a critical component of melodic structure, and has an important impact on listeners' perceptions of, and memory for, music. Despite its centrality, few formal models of contour structure exist. One recent exception involves characterizing contour by the relative degrees of strength of its cyclic information, quantified via a Fourier analysis of the pitch code of the contour. Three experiments explored the applicability of this approach, demonstrating that listeners' similarity ratings for pairs of melodies were predictable from Fo
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Eambangyung, Sumetus, Gretel Schwörer-Kohl, and Witoon Purahong. "Manual Conversion of Sadhukarn to Thai and Western Music Notations and Their Translation into a Rhyme Structure for Music Analysis." Data 7, no. 11 (2022): 150. http://dx.doi.org/10.3390/data7110150.

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Sadhukarn plays an important role as the most sacred music composition in Thai, Cambodian, and Lao music cultural areas. Due to various versions of unverified Sadhukarn main melodies in three different countries, notating melodies in suitable formats with a systematic method is necessary. This work provides a data descriptor for music transcription related to 25 different versions of the Sadhukarn main melody collected in Thailand, Cambodia, and Laos. Furthermore, we introduce a new procedure of music analysis based on rhyme structure. The aims of the study are to (1) provide Thai/Western musi
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Silas, Sebastian, and Daniel Müllensiefen. "Learning and Recalling Melodies." Music Perception: An Interdisciplinary Journal 41, no. 2 (2023): 77–109. http://dx.doi.org/10.1525/mp.2023.41.2.77.

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Using melodic recall paradigm data, we describe an algorithmic approach to assessing melodic learning across multiple attempts. In a first simulation experiment, we reason for using similarity measures to assess melodic recall performance over previously utilized accuracy-based measures. In Experiment 2, with up to six attempts per melody, 31 participants sang back 28 melodies (length 15–48 notes) presented either as a piano sound or a vocal audio excerpt from real pop songs. Our analysis aimed to predict the similarity between the target melody and participants’ sung recalls across successive
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Von Hippel, Paul, and David Huron. "Why Do Skips Precede Reversals? The Effect of Tessitura on Melodic Structure." Music Perception 18, no. 1 (2000): 59–85. http://dx.doi.org/10.2307/40285901.

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In melodies from a wide variety of cultures, a large pitch interval tends to be followed by a change of direction. Although this tendency is often attributed to listeners' expectations, it might arise more simply from constraints on melodic ranginess or tessitura. Skips tend toward the extremes of a melody's tessitura, and from those extremes a melody has little choice but to retreat by changing direction. Statistical analyses of vocal melodies from four different continents are consistent with this simple explanation. The results suggest that, in the sampled repertoires, patterns such as "gap
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Huron, David, and Matthew Davis. "The Harmonic Minor Scale Provides an Optimum Way of Reducing Average Melodic Interval Size, Consistent with Sad Affect Cues." Empirical Musicology Review 7, no. 3-4 (2013): 103. http://dx.doi.org/10.18061/emr.v7i3-4.3732.

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Small pitch movement is known to characterize sadness in speech prosody. Small melodic interval sizes have also been observed in nominally sad music––at least in the case of Western music. Starting with melodies in the major mode, a study is reported which examines the effect of different scale modifications on the average interval size. Compared with all other possible scale modifications, lowering the third and sixth scale tones from the major scale is shown to provide an optimum or near optimum way of reducing the average melodic interval size for a large diverse sample
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Breslauer, Peter. "Diminutional Rhythm and Melodic Structure." Journal of Music Theory 32, no. 1 (1988): 1. http://dx.doi.org/10.2307/843383.

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Cenkerová, Zuzana. "Melodic segmentation: structure, cognition, algorithms." Musicologica Brunensia, no. 1 (2017): 53–61. http://dx.doi.org/10.5817/mb2017-1-5.

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Kim, Cheong-mook. "The Melodic Structure of SUJECHON." Yonsei Music Research 2 (May 30, 1992): 47–78. http://dx.doi.org/10.16940/ymr.1992.2.47.

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Ŝerman, A., and Niall J. L. Griffith. "Describing Melodic Structure Using a MusicTracker — Issues in Notation Andsound." Musicae Scientiae 6, no. 2 (2002): 149–84. http://dx.doi.org/10.1177/102986490200600204.

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This paper describes preliminary research towards the development of a system that can be used to investigate the mechanisms and representations underlying segmentation and phrase structure in music. It discusses the use of rules and principles in The Generative Theory of Tonal Music (Lerdahl and Jackendoff, 1983) and Implication Realization Model (Narmour, 1990). It also discusses the limitations of score notation as the basis for analysis and modelling of melodic segmentation, with reference to the problems associated withtranscribing non-Western music that uses different scales and exploits
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Dissertations / Theses on the topic "Melodic structure"

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Ash, Roisin L. "Perception of structure in auditory patterns." Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/26669.

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The present research utilised five tasks to investigate non-musicians' perception of phrase, rhythm, pitch and beat structure in unaccompanied Gaelic melodies and musical sequences. Perception of phrase structure was examined using: i) a segmentation task in which listeners segmented Gaelic melodies into a series of meaningful units and ii) a novel click localisation task whereby listeners indicated where they perceived a superimposed click in the melody had occurred. Listeners consistently segmented the melodies into units of 2.4 - 5.4 seconds. Clicks which were positioned before and after pe
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Neary, Fay Damaris. "Symbolic structure in the music of Gubaidulina." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120157817.

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Lindström, Erik. "A Dynamic View of Melodic Organization and Performance : Perception of Structure and Emotional Expression in Music." Doctoral thesis, Uppsala University, Department of Psychology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.

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<p>Psychology of music has shown renewed interest in how music expresses emotion to listeners. However, there is an obvious lack of research on how interactions between musical factors such as harmony, rhythm, melodic contour, loudness, and articulation may affect perceived emotion. From previous literature on music analysis and music cognition there is evidence that tonality may be activated and affected by rhythm and melody. These ideas generated hypotheses regarding melodic organization and performance, for instance, (a) certain notes in a melodic structure have expressive potentials due to
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Pearce, Marcus Thomas. "The construction and evaluation of statistical models of melodic structure in music perception and composition." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8459/.

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The prevalent approach to developing cognitive models of music perception and composition is to construct systems of symbolic rules and constraints on the basis of extensive music-theoretic and music-analytic knowledge. The thesis proposed in this dissertation is that statistical models which acquire knowledge through the induction of regularities in corpora of existing music can, if examined with appropriate methodologies, provide significant insights into the cognitive processing involved in music perception and composition. This claim is examined in three stages. First, a number of statisti
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Lindström, Erik. "A dynamic view of melodic organization and performance : perception of structure and emotional expression in music /." Uppsala : Acta Universitatis Upsaliensis, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.

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Glett, Jiří. "Tvorba a zpracování signálové databáze." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2009. http://www.nusl.cz/ntk/nusl-217802.

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The work become acquainted with history and rise databases globally. Construes philosophy structuralization, sorting and purpose using. Work further deal with concrete databases softwares intended directly to processing audio signals. Further treat of programmes that the make possible generation personal database structures. Work deal about SUSAS database and analysing its content. It is created self database of music signals, which includes several musical groups always similar in certain aspect. Speech database contains records from the SUSAS database and records from television programs, re
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Niemi, Jarkko. "The Nenets songs : a structural analysis of text and melody /." Tampere : Tampereen yliopisto, 1998. http://catalogue.bnf.fr/ark:/12148/cb39035834z.

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Pereira, da Cruz Benetti Lucia. "An Analysis of Pitch Structures in Song Melodies in One Infant’s Music Environment." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590962678868372.

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Cao, Xiang. "Automatic accompaniment of vocal melodies in the context of popular music." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/28136.

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Dirlam, Richard. "Klangfarbenmelodien in Anton Webern's Symphony, Op. 21, First Movement: A Lecture Recital, Together with Three Recitals of Selected Works of O. Messiaen, G.F. Handel. C.M.V. Weber, M. Ravel, F.T. Haydn, W.A. Mozart, and R. Vaughan Williams." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331268/.

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Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included
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Books on the topic "Melodic structure"

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Chakraborty, Mriganka Sekhar. Indian musicology, melodic structure. Firma KLM, 1992.

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Haapamaki, Sampo Elias. Order in Désordre: Rhythmic and Melodic Structure in György Ligeti's Piano Etude No. 1. [publisher not identified], 2012.

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Li︠a︡bakh, Mykola. Tysi︠a︡cha melodiĭ zastyhloï muzyky--arkhitektura Ukraïny u XVI-XXI storichchi︠a︡kh: Thousand melodies of still music--architecture of Ukraine in XVI-XXI centuries. Kyïvsʹkyĭ dim, 2006.

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Schmuckler, Mark A. Components of melodic processing. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0009.

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Melody is the most ubiquitous form of musical structure, with which listeners come into contact on a daily basis. Mirroring the prevalence and importance of melody, research in music cognition has focused extensively on the processes involved in perceiving and remembering melodic structure. Despite these years of study, however, our understanding of pitch structure in melody can be described simply, with respect to the two components of tonality and pitch contour. Although the importance of these two components has been recognized over the years, it is only recently that workable models of the
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Temperley, David. Melody. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0005.

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Like melody in general, rock melody is understood to have a hierarchical “grouping structure,” with sub-phrases combining into phrases and then into larger units. A fundamental issue in rock melody is the alignment of melodic groups with meter; while “beginning-accented” groups are the norm, “end-accented” patterns and more irregular patterns also occur. Patterns of repetition—pitch and rhythmic repetition, as well as rhyme—are also important aspects of rock melody. Rock melody sometimes shows independence from the underlying harmony, a phenomenon known as “melodic-harmonic divorce.” Of partic
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Zhongguo min ge di jie gou yu xuan fa =: The structure and melody of Chinese folk songs. Shanghai yin yue chu ban she, 1988.

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Hoyt, Reed J. The bassline in tonal music: Its relationship to melodic and harmonic structure. 1985.

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Thomas, Oliver. Music in Euripides’ Medea. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0005.

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This chapter argues that a tricky passage of Athenaeus, about Euripides’ use of melodic responsion in the play’s odes (453c–454a), is worth taking seriously. The reasons for doubting its information are not overwhelming, and moreover the effects of such responsion tie in excellently with what a number of the characters within the play (especially the chorus in the first and third stasima) have to say about music. In testing the hypothesis that Euripides employed ‘melodic responsion’ in the Medea, the chapter shows that melodic structure could have reinforced the odes’ semantics and themes, but
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Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of f
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Parsons, Laurel, and Brenda Ravenscroft. Hildegard of Bingen, O Ierusalem aurea civitas (ca. 1150–1170). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0002.

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This chapter contextualizes Hildegard of Bingen’s monumental sequence for her monastic community’s patron St. Rupert, O Ierusalem aurea civitas, both within Hildegard’s own output of sequences, and within the sequence repertory at large. Considering her deep sensitivity to the relationship between text and music, including close attention to grammatical structure, word stress, and word and syllable parsing, the essay proposes that Hildegard uses a varied repetition technique, adapting the standard sequence form. Instead of strict repetition, she varies many elements of the melodic surface thro
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Book chapters on the topic "Melodic structure"

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Krumhansl, C. L. "Melodic structure: Theoretical and empirical descriptions." In Music, Language, Speech and Brain. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_25.

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Thoegersen, Peter Alexander. "Charles Ives's Use of Quartertones: Are They Structural or Expressive?" In Maqam Melodies. Jenny Stanford Publishing, 2024. http://dx.doi.org/10.1201/9781003492856-5.

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Skovenborg, Esben, and Jens Arnspang. "Extraction of Structural Patterns in Popular Melodies." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-39900-1_11.

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Karathodoros, Theodore. "Michael Adamis' poly-melodic structures and the creative renegotiation of Byzantine musical heritage." In Perspectives on Greek Musical Modernism. Routledge, 2025. https://doi.org/10.4324/9781315158600-10.

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Narmour, E. "The melodic structures of music and speech: Applications and dimensions of the implication—realization model." In Music, Language, Speech and Brain. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_4.

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Potapova, Rodmonga, Vsevolod Potapov, and Irina Kuryanova. "Forensic Identification of Foreign-Language Speakers by the Method of Structural-Melodic Analysis of Phonograms." In Speech and Computer. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20980-2_48.

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Neuhaus, Christiane. "The Perception of Melodies: Some Thoughts on Listening Style, Relational Thinking, and Musical Structure." In Current Research in Systematic Musicology. Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00107-4_8.

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"The Melodic Structure." In Revisiting Music Theory. Routledge, 2016. http://dx.doi.org/10.4324/9781315689975-25.

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Stein, Deborah, and Robert Spillman. "Melody and Motive." In Poetryinto Song. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195093285.003.0007.

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Abstract This chapter offers some general guidelines and analytical procedures for understanding how melody works within Lieder. The melodic component of a Lied is extremely complex, and we suggest three analytical approaches that demonstrate different aspects of melodic design: First, the Melodic Overview helps identify· the poetic and harmonic context for the melody and determines general characteristics of melodic construction and design; second, Linear Analysis demonstrates important elements of the underlying melodic structure; and third, Motivic Analysis identifies the repetition of smal
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"Recursion in melodic-prosodic structure." In Morpheme-internal Recursion in Phonology. De Gruyter Mouton, 2020. http://dx.doi.org/10.1515/9781501512582-002.

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Conference papers on the topic "Melodic structure"

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Wu, Junlin, Ning Zhang, Cheng Zhong, Boan Chen, Huanxi Liu, and Junchi Yan. "Melody Structure Transfer Network: Generating Music with Separable Self-Attention." In ICASSP 2025 - 2025 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2025. https://doi.org/10.1109/icassp49660.2025.10888635.

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Caelen-Haumont, Geneviève, and Cyril Auran. "The phonology of melodic prominence: the structure of melisms." In Speech Prosody 2004. ISCA, 2004. http://dx.doi.org/10.21437/speechprosody.2004-34.

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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Tsuchiya, Takahiko, and Jason Freeman. "A Study of Exploratory Analysis in Melodic Sonification with Structural and Durational Time Scales." In The 24th International Conference on Auditory Display. The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.031.

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Melodic sonification is one of the most common methods of sonification: data modulates the pitch of an audio synthesizer over time. This simple sonification, however, still raises questions about how we listen to a melody and perceive the motions and patterns characterized by the underlying data. We argue that analytical listening to such melodies may focus on different ranges of the melody at different times and discover the pitch (and data) relationships gradually over time and after repeated listening. To examine such behaviors in real-time listening to a melodic sonification, we conducted
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Knyazev, Sergey, and Maria Evstigneeva. "“Word-by-word” melodic contour in Russian dialects: quantitative approach." In Dialogue. RSUH, 2022. http://dx.doi.org/10.28995/2075-7182-2022-21-284-294.

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The paper presents results of quantitative analysis of phrasal tonal structure in two Northern Russian dialects with different types of “word-by-word” melodic contour. These dialects differ from Modern Standard Russian by the quantity of pitch accents since their 60% of words bear pitch accent, thus the prosodic unit in them is not a (phonological) word, but an accent group. In addition, the dialects differ from Standard Russian by regular presence of even tone on the accented vowel (in Arkhangelsk dialect 86% of all accents have it; in Vologda dialect it is less frequent: 33%) and higher freq
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Škojo, Tihana, and Zdravko Drenjančević. "THE ROLE OF POPULAR SONGS IN CONFIRMING CROATIAN NATIONAL IDENTITY." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/xzuf4839.

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The experiential, emotional reception of a piece of music depends on a number of factors. Considering this complex phenomenon from a subjective aspect, the individual experience of a particular piece of music is influenced by the time and place of listening, as well as by physical and social factors, structural elements of the music, and other qualitative elements. Popular music, due to its distinctive features, which are manifested through a simpler melodic and rhythmic structure, elicits an intense emotional response from the listener even at the first listening. The textual element plays a
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RUSU, Mihaela. "Technical and Semantic Aspects in Viorel Munteanu’s Symphony No. 2." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0009.

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Symphony No. 2, a recent creation of composer Viorel Munteanu (first performance in 2021), is a fascinating, modern and provocative work. It is part of the “Shadows and Genesis” cycle, accumulating the effort of over thirty years of experience: “My shadows and genesis are quasi-permanent sources of inspiration; they are themes always born and reborn from my own evolution”1 . Symphony No. 2 stands out through the massiveness of its structure, the originality of the orchestration and its character deeply anchored in Romanian folklore motifs. The sources of inspiration, “shadows and genesis”, can
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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the ca
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Carbonera, Joel L., and João L. T. Silva. "A Markovian Multiagent Musical Composer." In Workshop-Escola de Sistemas de Agentes, seus Ambientes e Aplicações. Sociedade Brasileira de Computação, 2012. https://doi.org/10.5753/wesaac.2012.33140.

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In this paper we propose a computational model for stochastic melodic synthesis based on an approach developed through reactive multiagent systems. In general automatic musical composition approaches, the states transition probabilities are obtained from statistical analysis of musical segments provided by the user, which tends to generate musical results very similar to the initial musical segments. As alternative to these characteristics, we consider a computational model in three layers: the first layer aims to generate transition probabilities matrices (pitches and durations of musical not
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Crasnova-Severin, Ecaterina. "The vocal cycles of Maurice Ravel in the composer's creative heritage." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.04.

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The article analyzes three vocal cycles by Maurice Ravel „Five Greek Folk Melodies”, „Folk Songs” and „Two Jewish Songs”. They were written over the course of 10 years – from 1904 to 1914. Each cycle is individualized, has a unique character, having in common the support on the folklore source. The author characterizes the ideational structure of the cycles, their specific genre and style, and the peculiarities of the piano part. It is concluded that when M. Ravel works with folk sources, he leaves the vocal melody unchanged and performs the piano part as a commenting component of the ensemble
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