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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 (Experiments 2-4), ratings were higher for melodies with simple emergent-level structure, and the advantage was generally greater in the presence of simple surface-level structure. Results indicate that emergent-level structure as defined by the model can influence melodic processing difficulty.
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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 Fourier analysis quantifications of rhythmically complex (Experiment 1) and rhythmically simple (Experiment 2) melodies, as well as for derived similarity measures based on melodic complexity judgments (Experiment 3). These findings indicate that Fourier analysis is an effective model of melodic contour, and that it can predict perceived melodic similarity.
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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 musical note comprehension in the forms of Western staff and Thai notation, and (2) describe the procedures for translating from musical note to rhyme structure. To generate a rhyme structure, we apply a Thai poetic and linguistic approach as the method establishment. Rhyme structure is composed of melodic structures, the pillar tones Look-Tok, and melodic rhyming outline.
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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 attempts. Similarity was measured with different algorithmic measures reflecting various structural (e.g., tonality, intervallic) aspects of melodies and overall similarity. However, previous melodic recall research mentioned, but did not model, that the length of the sung recalls tends to increase across attempts, alongside overall performance. Consequently, we modeled how the attempt length changes alongside similarity to meet this omission in the literature. In a mediation analysis, we find that a target melody’s length, but not other melodic features, is the main predictor of similarity via the attempt length. We conclude that sheer length constraints appear to be the main factor when learning melodies long enough to require several attempts to recall. Analytical features of melodic structure may be more important for shorter melodies, or with stimulus sets that are structurally more diverse than those found in the sample of pop songs used in this study.
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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-fill," "registral direction," and "registral return" (L. Meyer, 1956, 1973; E. Narmour, 1990) are mere side effects of constraints on melodic tessitura.
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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 of major-mode melodies. The results are consistent with the view that Western melodic organization and the major-minor polarity are co-adapted, and that the structure of the minor mode contributes to the evoking, expressing or representation of sadness for listeners enculturated to the major scale.
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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 different organisations of melodic descriptors. This discussion provides a rationale for a methodology thatcan be applied to recorded music rather than notation. It describes MusicTracker — a toolthat extracts measures of change in pitch, dynamics and timbre fromrecordings of monophonic melodies. The use of this tool is illustrated with short fragments of musicfrom Japan, Burundi and Gabon.
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Zabiran, Raisa Vladimirovna, and Svetlana Vladimirovna Bobrova. "The role of speech melody in shaping the semantics of Boris Pasternak's poem "Like Them"." Philology. Theory & Practice 18, no. 1 (2025): 135–41. https://doi.org/10.30853/phil20250020.
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The purpose of the study is to determine the role of intonation characteristics of B. L. Pasternak's lyrical works in constructing the meaning of the text. The article describes the functions of the melodics of speech in B. L. Pasternak's poem "Like Them", examines the main role of the melodics of a lyrical work, influencing the content of the entire text, helping to create the image of a lyrical hero and revealing the author's intention. The scientific novelty of the research consists in the analysis of the lyrical composition of B. L. Pasternak's poem "Like Them" and in identifying the influence of the melody of the lyrical text on its semantic content. The article describes the techniques of constructing a poetic text, with the help of which the melodic structure of a poem is created, which is directly related to the meaning, semantic and syntactic aspects of the content of a lyrical work. The melody of a particular text is considered as an expressive sign that reveals the state of the hero, the author's position, and the intent of the entire lyrical work. The results of the study of the features of the melodic-forming system of lyrics, phonological and rhythmic-rhymological intersections in the melodic pattern of a poetic text are to identify ways to construct the semantic space of the text and determine the influence of the melodic poetic speech of B. L. Pasternak on the meaning of the work.
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Büdenbender, Niklas, and Gunter Kreutz. "Long-term representations of melodies in Western listeners: Influences of familiarity, musical expertise, tempo and structure." Psychology of Music 45, no. 5 (2016): 665–81. http://dx.doi.org/10.1177/0305735616671408.
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We investigated the effects of familiarity, level of musical expertise, musical tempo, and structural boundaries on the identification of familiar and unfamiliar tunes. Healthy Western listeners ( N = 62; age range 14–64 years) judged their level of familiarity with a preselected set of melodies when the number of tones of a given melody was increased from trial to trial according to the so-called gating paradigm. The number of tones served as one dependent measure. The second dependent measure was the physical duration of the stimulus presentation until listeners identified a melody as familiar or unfamiliar. Results corroborate previous work, suggesting that listeners need less information to recognize familiar as compared to unfamiliar melodies. Both decreasing and increasing the original tempo by a factor of two delayed the identification of familiar melodies. Furthermore, listeners had more difficulty identifying unfamiliar melodies when tempo was increased. Finally, musical expertise significantly influenced identification of either melodic category, i.e., reducing the required number of tones. Taken together, the findings support theories which suggest that tempo information is coded in melody representation, and that musical expertise is associated with especially efficient strategies for accessing long-term representations of melodic materials.
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Balthazar, Scott L. "Rossini and the Development of the Mid-Century Lyric Form." Journal of the American Musicological Society 41, no. 1 (1988): 102–25. http://dx.doi.org/10.2307/831752.
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Rossini's conservative, florid treatment of the expressive surface of melody has encouraged recent scholars to differentiate his approach to melodic structure from that of his followers. In particular, the freedom and complexity of his melodic designs have been contrasted with the conventionality and simplicity of the mid-century lyric form A A′ B A′ adopted by Bellini and others. However, Rossini's conception of melodic form embraced a broader range of options than we have previously acknowledged. Many of his melodies in fact prefigure later lyric conventions exactly, while others incorporate numerous aspects of later practice. Rossini's role in the development of the mid-century lyric form suggests that we should regard Bellini not as the originator of the design that would for many years dominate Italian melody, but rather as the composer who solidified and popularized an approach that Rossini had already tested and made successful.
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Fujioka, Takako, Laurel J. Trainor, Bernhard Ross, Ryusuke Kakigi, and Christo Pantev. "Musical Training Enhances Automatic Encoding of Melodic Contour and Interval Structure." Journal of Cognitive Neuroscience 16, no. 6 (2004): 1010–21. http://dx.doi.org/10.1162/0898929041502706.
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In music, melodic information is thought to be encoded in two forms, a contour code (up/down pattern of pitch changes) and an interval code (pitch distances between successive notes). A recent study recording the mismatch negativity (MMN) evoked by pitch contour and interval deviations in simple melodies demonstrated that people with no formal music education process both contour and interval information in the auditory cortex automatically. However, it is still unclear whether musical experience enhances both strategies of melodic encoding. We designed stimuli to examine contour and interval information separately. In the contour condition there were eight different standard melodies (presented on 80% of trials), each consisting of five notes all ascending in pitch, and the corresponding deviant melodies (20%) were altered to descending on their final note. The interval condition used one five-note standard melody transposed to eight keys from trial to trial, and on deviant trials the last note was raised by one whole tone without changing the pitch contour. There was also a control condition, in which a standard tone (990.7 Hz) and a deviant tone (1111.0 Hz) were presented. The magnetic counterpart of the MMN (MMNm) from musicians and nonmusicians was obtained as the difference between the dipole moment in response to the standard and deviant trials recorded by magnetoencephalography. Significantly larger MMNm was present in musicians in both contour and interval conditions than in nonmusicians, whereas MMNm in the control condition was similar for both groups. The interval MMNm was larger than the contour MMNm in musicians. No hemispheric difference was found in either group. The results suggest that musical training enhances the ability to automatically register abstract changes in the relative pitch structure of melodies.
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Alwan, Raeda, and Islam Al-Adamat. "Melodic Construction in Children's Songs "Toyor Al-Janna Channel as a Model"." Arts and Social Sciences Series 2, no. 4 (2024): 399–435. http://dx.doi.org/10.59759/art.v2i4.411.
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This study aims to identify the melodic construction of a child's song from a specialist standpoint, as well as the characteristics of the melodic style used in these songs. The research population consists of a selection of songs from Toyor Al-Janna channel، which included (22) songs selected randomly.The researchers relied on the descriptive analytical method to prepare this study, and attempted to scientifically analyze songs in an attempt to discover the melodic building there in. The study concluded a set of results: the structure of the melodic sentences of children's songs is formulated with a mechanism that tends to rely on familiar musical scales and a simple music distribution, with melodic styles familiar to the child, which begin with a musical introduction with modern electronic instruments, and with active and simple rhythms. Most of the passages tune is concentrated in an up-and-down tonal sequence and in simple melodic jumps، repeating the tune within the child's sound space. It was clear that melodies of this age category missed the harmonic tunes for not fitting into the age category of children. The study concluded with a number of recommendations the most important of which are: the necessity of diversification of the rhythms and genres accompanying children's songs to avoid monotony and repetition, and to focus on variations in melody in the song while maintaining simplicity so that the child can perform it.
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Palmer, Caroline. "On the Assignment of Structure in Music Performance." Music Perception 14, no. 1 (1996): 23–56. http://dx.doi.org/10.2307/40285708.
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Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a computermonitored acoustic piano were compared with each performer's notated interpretations of melody. Small timing changes (20-50 ms) marked performers' melodic intentions; events interpreted as melody (the most important voice) preceded other events in chords (melody lead). The emergence of melody leads was investigated in successive performances of unfamiliar music: melody leads were larger in experts' than in students' performances, but students showed more increase with practice. In additional experiments, performances of the same music with different melodic interpretations displayed the melody lead in different amounts, which subsequently affected listeners' perceptions of melodic intentions. Subtle expressive cues in music performance arise from individual interpretations and can aid listeners in determining musical structure.
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Thrasher, Alan R. "The Melodic Structure of Jiangnan Sizhu." Ethnomusicology 29, no. 2 (1985): 237. http://dx.doi.org/10.2307/852140.
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Nasukawa, Kuniya. "Features and Recursive Structure." Nordlyd 41, no. 1 (2015): 1. http://dx.doi.org/10.7557/12.3244.
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Based on the cross-linguistic tendency that weak vowels are realized with a central quality such as <em>ə</em>, <em>ɨ</em>, or <em>ɯ</em>, this paper attempts to account for this choice by proposing that the nucleus itself is one of the three monovalent vowel elements |A|, |I| and |U| which function as the building blocks of melodic structure. I claim that individual languages make a parametric choice to determine which of the three elements functions as the head of a nuclear expression. In addition, I show that elements can be freely concatenated to create melodic compounds. The resulting phonetic value of an element compound is determined by the specific elements it contains and by the head-dependency relations between those elements. This concatenation-based recursive mechanism of melodic structure can also be extended to levels above the segment, thus ultimately eliminating the need for syllabic constituents. This approach reinterprets the notion of minimalism in phonology by opposing the string-based flat structure.
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Schmuckler, Mark A. "Testing Models of Melodic Contour Similarity." Music Perception 16, no. 3 (1999): 295–326. http://dx.doi.org/10.2307/40285795.
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In two experiments, descriptions of melodic contour structure and predictions of perceived similarity relations between pairs of contours produced by a number of different models are examined. Two of these models, based on the music- theoretic approaches of Friedmann (1985) and Marvin and Laprade (1987), characterize contours in terms of interval content or contour subset information. The remaining two approaches quantify the global shape of the contours, through the presence of cyclical information (assessed via Fourier analysis) and the amount of oscillation (e. g., reversals in direction, pitch deviations) in the contours. Theoretical predictions for contour similarity generated by these models were examined for 20th century, nontonal melodies (Experiment 1) and simplistic, tonal patterns (Experiment 2). These experiments demonstrated that similarity based on Fourier analysis procedures and oscillation measures predicted a derived measure of perceived similarity, with both variables contributing relatively independently; the music- theoretic models were inconsistent in their predictive power. These results suggest that listeners are sensitive to the presence of global shape information in melodic contour, with such information underlying the perception of contour structure and contour similarity.
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Guan, Xin, Zhilin Dong, Hui Liu, and Qiang Li. "Improving Phrase Segmentation in Symbolic Folk Music: A Hybrid Model with Local Context and Global Structure Awareness." Entropy 27, no. 5 (2025): 460. https://doi.org/10.3390/e27050460.
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The segmentation of symbolic music phrases is crucial for music information retrieval and structural analysis. However, existing BiLSTM-CRF methods mainly rely on local semantics, making it difficult to capture long-range dependencies, leading to inaccurate phrase boundary recognition across measures or themes. Traditional Transformer models use static embeddings, limiting their adaptability to different musical styles, structures, and melodic evolutions. Moreover, multi-head self-attention struggles with local context modeling, causing the loss of short-term information (e.g., pitch variation, melodic integrity, and rhythm stability), which may result in over-segmentation or merging errors. To address these issues, we propose a segmentation method integrating local context enhancement and global structure awareness. This method overcomes traditional models’ limitations in long-range dependency modeling, improves phrase boundary recognition, and adapts to diverse musical styles and melodies. Specifically, dynamic note embeddings enhance contextual awareness across segments, while an improved attention mechanism strengthens both global semantics and local context modeling. Combining these strategies ensures reasonable phrase boundaries and prevents unnecessary segmentation or merging. The experimental results show that our method outperforms the state-of-the-art methods for symbolic music phrase segmentation, with phrase boundaries better aligned to musical structures.
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Martin, Philippe. "Génération automatique de la structure prosodique en français." Journal of Speech Sciences 7, no. 2 (2019): 79–91. http://dx.doi.org/10.20396/joss.v7i2.15002.
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An automated process for building a prosodic structure form transcribed speech recordings in French is presented, based on the incremental prosodic model [1, 2, 3]. In this model, the prosodic structure is defined incrementally by dependency relations instantiated by melodic contours located on the last syllable of the last word of stress groups, subject to a rhythmic constrain limiting the gap between successive stressed syllable to a 250-1250 ms range. Although they frequently contain lexical words (noun, verb, adverb, adjective), stress groups in French can also include only grammatical words (pronoun, conjunction, preposition). Melodic contours are phonologically defined from their melodic rise or fall and their glissando value ensuring their function as dependency markers between stress groups. The algorithm proceeds from an orthographic transcription as follows: 1. Automatic segmentation of the orthographic text into IPA and word tiers 2. Automatic annotation of stressed vowels in three classes (followed by 250 ms silence, above the glissando threshold and lexical category based) 3. Assignment of melodic contours from fundamental frequency values at stressed vowels boundaries. Comparisons with automatic and manual stressed syllable annotation on existing corpora are given, showing the validity of the phonological rules implemented in the algorithm.
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Panggabean, Ance Juliet, Emmi Simangunsong, and Junita Batubara. "Gayutan Rondo Alla Turca Karya WA. Mozart sebagai Iringan dalam Film Amadeus." Resital:Jurnal Seni Pertunjukan 24, no. 1 (2023): 58–68. http://dx.doi.org/10.24821/resital.v24i1.7865.
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ABSTRACTThe Use of WA Mozart's Gayutan Rondo Alla Turca in the Film Amadeus. This study describes the interconnection of Rondo music as an accompaniment in Amadeus film to the melodic structure of scene footage produced by HD Film Tributes and explains the form of Rondo which consists of six parts involving displayed scene expressions. The authors implemented qualitative approach with descriptive method in which the authors conducted literature review as well as observation through musical scores and YouTube channel to attain thorough results of field studies and documentation. Furthermore, the authors also conducted an analysis that began with the description of the film structure of the Rondo Alla Turca musical composition. The analysis was carried out by observing each scene footage of used melodic structure to form feelings and aesthetics in the film. The results of the study reveal that the melodic structure used in each scene creates feelings and aesthetics in Amadeus film since musical accompaniment plays an essential role in conveying the story of the film. In addition, the role of musical accompaniment is inherently employed to highlight the tones in Rondo Alla Turca music and visuals have the ability to provide a deeper and more complex interpretation of emotional content in every scene of Amadeus.ABSTRAKKajian ini mendiskripsikan gayutan atau hubungan musik Rondo sebagai iringan dalam film Amadeus terhadap struktur melodi dengan cuplikan adegan yang diproduksi oleh HD Film Tributes dan bentuk Rondo yang terdiri dari enam bagian dengan ekspresi adegan yang ditampilkan. Adapun metode yang digunakan dalam penelitian adalah deskriptif kualitatif dimana peneliti melakukan telaah pustaka, melakukan observasi melalui skor musik, channel youtube untuk mendapat hasil kajian lapangan yang optimal dan dokumentasi. Selain itu peneliti juga melakukan analisis yang dimulai dengan penjabaran struktur film terhadap komposisi musik Rondo Alla Turca. Analisis dilakukan dengan pengamatan antara setiap cuplikan adegan terhadap struktur melodi yang digunakan untuk membetuk perasaan dan estetika dalam film. Hasil penelitian menunjukkan bahwa struktur melodi yang digunakan dalam setiap cuplikan adegan membentuk perasaan dan estetika dalam film Amadeus, iringan musik memegang peranan penting dalam mengusung cerita film Amadeus, peran iringan musik secara inheren digunakan untuk menyoroti nada-nada dalam musik Rondo Alla Turca dan visual memiliki kemampuan untuk memberikan makna interpretasi konten emosional yang lebih dalam dan kompleks dalam setiap adegan fim Amadeus.
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Cuddy, Lola L. "Melodic patterns and tonal structure: Converging evidence." Psychomusicology: A Journal of Research in Music Cognition 10, no. 2 (1991): 107–26. http://dx.doi.org/10.1037/h0094138.
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Rohrmeier, Martin, Patrick Rebuschat, and Ian Cross. "Incidental and online learning of melodic structure." Consciousness and Cognition 20, no. 2 (2011): 214–22. http://dx.doi.org/10.1016/j.concog.2010.07.004.
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Byrne, Cathy. "The interrelation of rhythm and pitch in Bartók’s first Piano Concerto." Studia Musicologica 53, no. 1-3 (2012): 275–84. http://dx.doi.org/10.1556/smus.53.2012.1-3.19.
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The central hypothesis of this paper is that rhythmic patterns in Bartók’s melodies correlate with intervallic structure. Recognition of a motif or phrase as a distinct musical idea depends on its rhythmic character as well as its ordering of pitches. Rhythmic asymmetry is also significant to the rhythm-pitch interrelation theory. In Bartók’s music, rhythm often varies while the melodic identity is retained. Equally, his use of chromaticism and inversion as forms of melodic variation often occur with the rhythmic identity intact. Many rhythmic patterns form phrases that undergo such extreme changes of pitch that the phrase is defined by rhythm. The analysis of the first movement’s exposition of the Concerto no. 1 for Piano and Orchestra (1926) examines the extent to which rhythm is organised according to melody.
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TEMPERLEY, DAVID. "The melodic-harmonic ‘divorce’ in rock." Popular Music 26, no. 2 (2007): 323–42. http://dx.doi.org/10.1017/s0261143007001249.
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AbstractSeveral authors have observed that rock music sometimes features a kind of independence or ‘divorce’ between melody and harmony. In this article, I examine this phenomenon more systematically than has been done in the past. A good indicator of melodic-harmonic divorce is cases where non-chord-tones in the melody do not resolve by step. I argue that this does occur frequently in rock – often with respect to the local harmony, and sometimes with respect to the underlying tonic harmony as well. This melodic-harmonic ‘divorce’ tends to occur in rather specific circumstances: usually in pentatonically based melodies, and in verses rather than choruses. Such situations could be said to reflect a ‘stratified’ pitch organisation. A particularly common situation is where the verse of a song features stratified organisation, followed by a chorus which shifts to a ‘unified’ organisation in which both melody and accompaniment are regulated by the harmonic structure.
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Pelofi, Claire, and Morwaread M. Farbood. "Asymmetry in scales enhances learning of new musical structures." Proceedings of the National Academy of Sciences 118, no. 31 (2021): e2014725118. http://dx.doi.org/10.1073/pnas.2014725118.
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Despite the remarkable variability music displays across cultures, certain recurrent musical features motivate the hypothesis that fundamental cognitive principles constrain the way music is produced. One such feature concerns the structure of musical scales. The vast majority of musical cultures use scales that are not uniformly symmetric—that is, scales that contain notes spread unevenly across the octave. Here we present evidence that the structure of musical scales has a substantial impact on how listeners learn new musical systems. Three experiments were conducted to test the hypothesis that nonuniformity facilitates the processing of melodies. Novel melodic stimuli were composed based on artificial grammars using scales with different levels of symmetry. Experiment 1 tested the acquisition of tonal hierarchies and melodic regularities on three different 12-tone equal-tempered scales using a finite-state grammar. Experiments 2 and 3 used more flexible Markov-chain grammars and were designed to generalize the effect to 14-tone and 16-tone equal-tempered scales. The results showed that performance was significantly enhanced by scale structures that specified the tonal space by providing unique intervallic relations between notes. These results suggest that the learning of novel musical systems is modulated by the symmetry of scales, which in turn may explain the prevalence of nonuniform scales across musical cultures.
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Zakharov, Yuri K. "Ivan Shishov, the First Attempts of Melody Analysis in the Soviet Union." Observatory of Culture, no. 3 (June 28, 2014): 90–98. http://dx.doi.org/10.25281/2072-3156-2014-0-3-90-98.
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Describes the life and works of the Russian composer Ivan Shishov (1888-1947) and examines his article “On the Analysis Of Melodic Structure” (1927). The author argues that Shishov’s method was based on the numerical representation of melodic intervals and questing for the numerical and graphical elements of symmetry, which manifests in the interval structure of a melody.
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Lukashenko, Larysa. "Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia." Problems of music ethnology 16 (December 29, 2021): 65–86. http://dx.doi.org/10.31318/2522-4212.2021.16.249649.
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The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
 However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
 Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
 The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
 The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
 A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
 Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
 Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
 Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
 Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
 In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
 The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.
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Dean, Roger Thornton, and Marcus Thomas Pearce. "Algorithmically-generated Corpora that use Serial Compositional Principles Can Contribute to the Modeling of Sequential Pitch Structure in Non-tonal Music." Empirical Musicology Review 11, no. 1 (2016): 27. http://dx.doi.org/10.18061/emr.v11i1.4900.
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We investigate whether pitch sequences in non-tonal music can be modeled by an information-theoretic approach using algorithmically-generated melodic sequences, made according to 12-tone serial principles, as the training corpus. This is potentially useful, because symbolic corpora of non-tonal music are not readily available. A non-tonal corpus of serially-composed melodies was constructed algorithmically using classic principles of 12-tone music, including prime, inversion, retrograde and retrograde inversion transforms. A similar algorithm generated a tonal melodic corpus of tonal transformations, in each case based on a novel tonal melody and expressed in alternating major keys. A cognitive model of auditory expectation (IDyOM) was used first to analyze the sequential pitch structure of the corpora, in some cases with pre-training on established tonal folk-song corpora (Essen, Schaffrath, 1995). The two algorithmic corpora can be distinguished in terms of their information content, and they were quite different from random corpora and from the folk-song corpus. We then demonstrate that the algorithmic serial corpora can assist modeling of canonical non-tonal compositions by Webern and Schoenberg, and also non-tonal segments of improvisations by skilled musicians. Separately, we developed the process of algorithmic melody composition into a software system (the Serial Collaborator) capable of generating multi-stranded serial keyboard music. Corpora of such keyboard compositions based either on the non-tonal or the tonal melodic corpora were generated and assessed for their information-theoretic modeling properties.
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Tyurina, Olga. "Phthorai and Scale modulations in Middle Byzantine chant with the standard abridged version of the Sticherarion of the 13th — 14th centuries as an example." St. Tikhons' University Review. Series V. Christian Art 54 (June 28, 2024): 9–46. http://dx.doi.org/10.15382/sturv202354.9-46.
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The Middle Byzantine diastematic notation knows a number of particular signs – the phthorai – indicating modal changes. Being added to the interval neumes, they convey information that could not be seen from the neumes themselves, namely, about scale structure of Middle Byzantine hymns.Phthorai of archaic type are placed on the intonation of ascending forth g-c in a melodic element of the mode “nana”. Latest phthorai, which had been added to Middle Byzantine singing manuscripts in post-Byzantine period, are of different types. The paper deals with one of them, the phthora of the tritos mode (c). It is found in chants of all eight modes, in different melodic context, placed on c and one fifth downwards, on f. It indicates small interval, i.e. one half-step below the neume on which the phthora occurs. However, in few other cases phthorai “c” are found on another pitch. From these transposed phthorai we can learn about interval structure of melodic formulae and, more specifically, about scale modulations.The paper presents an analysis of two stichera: “To tritto tes eroteseos” to Saint Peter, in tetartos mode, and “Deute makarisomen apantes Iosef” for Holy Saturday, in plagios deuteros mode. The author draws conclusion that their modal structure contains a scale modulation. Some melodic configurations or more large melodic formulae should be transcribed to the modern notation system with accidentals, in these cases, f-sharp. Modulations may serve as an artistic mean to stress the structure of the hymn and to convey its author’s line of thought.
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Tyurina, Olga. "Phthorai and Scale modulations in Middle Byzantine chant with the standard abridged version of the Sticherarion of the 13th — 14th centuries as an example." St. Tikhons' University Review. Series V. Christian Art 54 (June 28, 2024): 9–46. https://doi.org/10.15382/sturv202454.9-46.
Full textAbstract:
The Middle Byzantine diastematic notation knows a number of particular signs – the phthorai – indicating modal changes. Being added to the interval neumes, they convey information that could not be seen from the neumes themselves, namely, about scale structure of Middle Byzantine hymns.Phthorai of archaic type are placed on the intonation of ascending forth g-c in a melodic element of the mode “nana”. Latest phthorai, which had been added to Middle Byzantine singing manuscripts in post-Byzantine period, are of different types. The paper deals with one of them, the phthora of the tritos mode (c). It is found in chants of all eight modes, in different melodic context, placed on c and one fifth downwards, on f. It indicates small interval, i.e. one half-step below the neume on which the phthora occurs. However, in few other cases phthorai “c” are found on another pitch. From these transposed phthorai we can learn about interval structure of melodic formulae and, more specifically, about scale modulations.The paper presents an analysis of two stichera: “To tritto tes eroteseos” to Saint Peter, in tetartos mode, and “Deute makarisomen apantes Iosef” for Holy Saturday, in plagios deuteros mode. The author draws conclusion that their modal structure contains a scale modulation. Some melodic configurations or more large melodic formulae should be transcribed to the modern notation system with accidentals, in these cases, f-sharp. Modulations may serve as an artistic mean to stress the structure of the hymn and to convey its author’s line of thought.
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Smith, Trevor D., Jane Kim, Daniela Perez, and Ananya Sen Gupta. "Exploring and interpreting the spectral structure of the North Indian flute (Bansuri)." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A69. https://doi.org/10.1121/10.0035146.
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Spectrograms are powerful tools in many fields today, whether that be by a musician trying to improve their own ability with an instrument or an engineer developing a way to sense vehicles for an autonomous car. The spectrogram allows for deeper analysis than just what can be heard, giving information on its harmonic series, any frequencies below 20 Hz or above 20 kHz (range of hearing) and beyond. In this talk, we will explore the efficacy of spectral analysis to understand the acoustical structure the Indian flute (Bansuri) and provide interpretation of the melodic sounds generated by this ancient Indian instrument using spectral analysis. Specifically, we examine what harmonic features characterize the fluid melodic movements of the Bansuri and whether non-harmonic structures in the acoustic spectrogram carry pertinent musical information. We also qualitatively examine the accuracy of extracting the melodic features against non-melodic features that sound like dissonant hiss. We will discuss the potential of understanding the air column physics of this flute and relating it spectrally to similar physics of propagation in small cylindrical underwater sonar targets such as unexploded ordinances (UXO). Results based on original flute data (and potentially UXO and similar small-target sonar data) will be presented. [This work has been partially supported by the DoD Navy grant N00174-20-1-0016 and University of Iowa internal funds.]
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Strunk, Steven. "Melodic Structure in Bill Evans's 1959 "Autumn Leaves"." Journal of Jazz Studies 11, no. 1 (2016): 65. http://dx.doi.org/10.14713/jjs.v11i1.110.
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Ahlbäck, Sven. "Melodic similarity as a determinant of melody structure." Musicae Scientiae 11, no. 1_suppl (2007): 235–80. http://dx.doi.org/10.1177/102986490701100110.
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Pfordresher, Peter Q. "The Role of Melodic and Rhythmic Accents in Musical Structure." Music Perception 20, no. 4 (2003): 431–64. http://dx.doi.org/10.1525/mp.2003.20.4.431.
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Two experiments investigated the perception of melodic and rhythmic accents in musical patterns. Musiclike patterns were created in which recurring melodic and/or rhythmic accents marked higher order periods that, when both accents were present, could differ in terms of period and/or phase according to the construct of joint accent structure (M. R. Jones, 1987). Listeners were asked to indicate the location of accents in these patterns by tapping to tone onsets. Each experiment pursued two main questions. First, are accents, as manipulated, salient to listeners? Second, do listeners track higher order time spans formed by melodic and rhythmic accents in a way that shows a sensitivity to interrelationships between melody and rhythm? Results supported affirmative answers to these questions in analyses of tapping locations and time spans between taps, respectively. Furthermore, results suggested that accents function as temporal landmarks that listeners can use when tracking the time structure of musical patterns, and that the complexity of this time structure arises from higher order time spans marked by different types of accents.
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ISAC, Iuliana. "Repetitive Minimalism in the Work of Philip Glass. Composition Techniques." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 141–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.15.
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The music which renders Philip Glass’ vision is based on repetition. Musical figures are structured according to the so-called additive method – undoubtedly the main technique determining the characteristics of his style. It consists of adding new elements to the basic melodic and/or rhythmic structure, resulting in an expanding musical discourse which is augmented or diminished and is applied more and more melodic and rhythmic constraints, depending on the intentions of the compositional project. There is also the loop technique, which becomes manifest by a series of added elements from electro acoustics and which is almost omnipresent as a basic minimalist technique.
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Serman, Maja, and Niall J. L. Griffith. "Investigating Melodic Segmentation through the Temporal Multi-Scaling Framework." Musicae Scientiae 7, no. 1_suppl (2003): 125–55. http://dx.doi.org/10.1177/10298649040070s107.
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In this paper we approach the subject of modelling and understanding segmentation processes in melodic perception using a temporal multi-scale representation framework. We start with the hypothesis that segmentation depends on the ability of the perceptual system to detect changes in the sensory signal. In particular, we are interested in a model of change detection in music perception that would help us to investigate functional aspects of low-level perceptual processes in music and their universality in terms of the general properties of the auditory system. To investigate this hypothesis, we have developed a temporal multi-scale model that mimics the ability of the listener to detect changes in pitch, loudness and timbre when listening to performed melodies. The model is set within the linear scale-space theoretical framework, as developed for image structure analysis but in this case applied to the temporal processing domain. It is structured in such a way as to enable us to verify the assumption that segmentation is influenced by both the dynamics of signal propagation through a neural map and learning and attention factors. Consequently, the model is examined from two perspectives: 1) the computational architecture which models signal propagation is examined for achieving the effects of the universal, inborn aspects of segmentation 2) the model structure capable of influencing choices of segmentation outcomes is explained and some of its effects are examined in view of the known segmentation results. The results of the presented case studies demonstrate that the model accounts for some effects of perceptual organization of the sensory signal and provides a sound basis for analysing different types of changes and coordination across the melodic descriptors in segmentation decisions.
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Ferri, Stefania, Cristina Meini, Giorgio Guiot, Daniela Tagliafico, Gabriella Gilli, and Cinzia Di Dio. "The Effect of Simple Melodic Lines on Aesthetic Experience: Brain Response to Structural Manipulations." Advances in Neuroscience 2014 (December 30, 2014): 1–9. http://dx.doi.org/10.1155/2014/482126.
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This fMRI study investigates the effect of melody on aesthetic experience in listeners naïve to formal musical knowledge. Using simple melodic lines, whose syntactic structure was manipulated, we created systematic acoustic dissonance. Two stimulus categories were created: canonical (syntactically “correct,” in the Western culture) and modified (made of an altered version of the canonical melodies). The stimuli were presented under two tasks: listening and aesthetic judgment. Data were analyzed as a function of stimulus structure (canonical and modified) and stimulus aesthetics, as appraised by each participant during scanning. The critical contrast modified versus canonical stimuli produced enhanced activation of deep temporal regions, including the parahippocampus, suggesting that melody manipulation induced feelings of unpleasantness in the listeners. This was supported by our behavioral data indicating decreased aesthetic preference for the modified melodies. Medial temporal activation could also have been evoked by stimulus structural novelty determining increased memory load for the modified stimuli. The analysis of melodies judged as beautiful revealed that aesthetic judgment of simple melodies relied on a fine-structural analysis of the stimuli subserved by a left frontal activation and, possibly, on meaning attribution at the charge of right superior temporal sulcus for increasingly pleasurable stimuli.
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Zeng, Te, and Francis C. M. Lau. "Automatic Melody Harmonization via Reinforcement Learning by Exploring Structured Representations for Melody Sequences." Electronics 10, no. 20 (2021): 2469. http://dx.doi.org/10.3390/electronics10202469.
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We present a novel reinforcement learning architecture that learns a structured representation for use in symbolic melody harmonization. Probabilistic models are predominant in melody harmonization tasks, most of which only treat melody notes as independent observations and do not take note of substructures in the melodic sequence. To fill this gap, we add substructure discovery as a crucial step in automatic chord generation. The proposed method consists of a structured representation module that generates hierarchical structures for the symbolic melodies, a policy module that learns to break a melody into segments (whose boundaries concur with chord changes) and phrases (the subunits in segments) and a harmonization module that generates chord sequences for each segment. We formulate the structure discovery process as a sequential decision problem with a policy gradient RL method selecting the boundary of each segment or phrase to obtain an optimized structure. We conduct experiments on our preprocessed HookTheory Lead Sheet Dataset, which has 17,979 melody/chord pairs. The results demonstrate that our proposed method can learn task-specific representations and, thus, yield competitive results compared with state-of-the-art baselines.
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Banisudha, Bilambita. "Bandīś-s in khayāl of Indian classical music: a study of selected song-texts with special reference to the bandīś-s of sadāraṇg in Hindustani music". International Journal of Visual and Performing Arts 4, № 1 (2022): 61–76. http://dx.doi.org/10.31763/viperarts.v4i1.633.
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Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. The results of this study indicate that compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component)
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Vos, Piet G., and Jim M. Troost. "Ascending and Descending Melodic Intervals: Statistical Findings and Their Perceptual Relevance." Music Perception 6, no. 4 (1989): 383–96. http://dx.doi.org/10.2307/40285439.
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Evidence is reported for the existence and the perceptual relevance of a hitherto rather unattended regularity of melodic patterns in Western music. An inquiry into the occurrence of within-octave melodic intervals in a large variety of examples of Western music showed small intervals to be predominantly descenders and large ones to be ascenders. The perceptual relevance of the distributional regularity in question was tested. Subjects were required to discriminate between computer-generated melodic patterns that were endowed either with the discovered regularity of shape distribution over intervals or with the reversed structure. The results were convincingly positive. Music-theoretical intuitions of Meyer (1956, 1973) are used to account for the data and to claim their generalizability to non-Western melodic patterns. Finally, the outcome of this study is discussed with respect to its relevance to various musicological and music-psychological issues.
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NASUKAWA, KUNIYA, PHILLIP BACKLEY, YOSHIHO YASUGI, and MASATOSHI KOIZUMI. "Challenging cross-linguistic typology: Right-edge consonantal prominence in Kaqchikel." Journal of Linguistics 55, no. 3 (2018): 611–41. http://dx.doi.org/10.1017/s0022226718000488.
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It is known that consonants can act as boundary markers when they are located at the left edge of a prosodic domain, helping listeners to parse incoming speech. To achieve maximum efficiency in marking out boundaries, those markers should be acoustically salient. In Element Theory, domain markers are represented by the elements |H| and |ʔ|. Being inherently voiceless, these elements stand apart from the other elements, which are spontaneously voiced. Most languages show a preference for incorporating |H| or |ʔ| into segmental structures which stand at the left edge of domains. This paper challenges the universality of this view by analysing data from Kaqchikel, a K’iche’an language with a bias for marking the right edge of domains rather than the left. The marker in question is intense/prolonged noise which, in Element Theory is represented by |H|. The |H| element is present in fortis fricatives and aspirates, and in Kaqchikel it regularly appears in segments at the right edge of prosodic domains where it serves as a domain boundary marker. Boundary marking in Kaqchikel is analysed here using a Precedence-free Phonology approach to melodic structure (Nasukawa 2016) in which the linear ordering of segments is determined by the hierarchical organization of melodic units (elements) within a unified melodic–prosodic structure.
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Sarv, Vaike. "Historical changes in the melodic structure of Setu laments." Etnomusikologian vuosikirja 10 (December 1, 1998): 138–51. http://dx.doi.org/10.23985/evk.101087.
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Rohrmeier, Martin, and Richard Widdess. "Incidental Learning of Melodic Structure of North Indian Music." Cognitive Science 41, no. 5 (2016): 1299–327. http://dx.doi.org/10.1111/cogs.12404.
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Oram, Nicholas, and Lola L. Cuddy. "Perception of pitch structure in pure‐tone melodic sequences." Journal of the Acoustical Society of America 85, S1 (1989): S37. http://dx.doi.org/10.1121/1.2026938.
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Hamrick, Phillip, Daniel Byrnes, and Christopher A. Was. "Implicit learning of melodic structure: A role for pitch?" Psychomusicology: Music, Mind, and Brain 33, no. 1-4 (2023): 92–98. http://dx.doi.org/10.1037/pmu0000303.
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Hastuti, Khafiizh, and Khabib Mustafa. "A method for automatic gamelan music composition." International Journal of Advances in Intelligent Informatics 2, no. 1 (2016): 26. http://dx.doi.org/10.26555/ijain.v2i1.57.
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Aim of this study is designing a method for automatic gamelan music composition using rule-base expert system approach. The program is designed for non-expert user in order to help them composing gamelan music or analyzing their composition to achieve explanation and recommendation of ideal composition. There are 2 essential components in this method, which are knowledge and inference. Knowledge is represented into basic knowledge and melodic knowledge. Basic knowledge contains rules that control the structure of gamelan song, and melodic knowledge supports system in composing or analyzing notations sequence that fit the characteristics of melody in gamelan music. Basic knowledge represents basic rules of gamelan music that have quantitative value, so deterministic approach is used for basic knowledge acquisition. Melodic knowledge consists of dynamic data, so stochastic approach is used to create the melodic knowledge base. The rules of composing and analyzing a composition are defined based on basic knowledge and melodic knowledge. The inference engine is designed to compose and analyze a composition. Automatic composition for gamelan music is proposed using Generate and Test method (GAT) with random technique, and composition analysis is proposed using backward chaining method
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Merkley, Paul. "Tonaries and melodic families of antiphons." Journal of the Plainsong and Mediaeval Music Society 11 (January 1988): 13–24. http://dx.doi.org/10.1017/s0143491800001136.
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One theory of the origin, development and structure of the chant repertoire is that the thousands of individual pieces in it arose from the adaptation of new texts to a small number of melodies, or melodic ‘themes’. First put forward by Gevaert, this theory, which will be referred to here as the thematic theory, has, in different forms, been the basis of studies of the transmission of antiphons, and is now being applied to the repertories of Old-Roman and Ambrosian chant. The main demonstration of the validity of the theory must take place, of course, in studies of the repertoire itself; we shall be convinced if musical and liturgical evidence supports the idea of adaptation and suggests a chronological development. It is nevertheless important to examine music-historical witnesses ancillary to the chant repertoire, for it is often the case that related documents reveal something unexpected about the main repertoire, or serve as a means of confirming points for which evidence is lacking.
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BAIN, JENNIFER. "Tonal structure and the melodic role of chromatic inflections in the music of Machaut." Plainsong and Medieval Music 14, no. 1 (2005): 59–88. http://dx.doi.org/10.1017/s0961137104000117.
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The interpretation of chromatic content in fourteenth-century music has been widely debated. While most studies have focused on contrapuntal necessity, this study advocates an approach that begins from the perspective of melody. Using the ballades, virelais and rondeaux of Guillaume de Machaut as a central repertory, it proposes that not only are chromatic inflections in Machaut's monophonic songs derived melodically, but that many chromatic inflections in Machaut's polyphonic songs also arise from melodic rather than contrapuntal requirements. Because of their implied semitone motion – arguably crucial to tonal organization – they can have an impact on the definition of tonal structure by privileging the individual pitches they decorate, particularly but not exclusively in cadential melodic formulas or progressions.