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Relevant bibliographies by topics / Sequences (Music) Sequences (Music)

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Academic literature on the topic 'Sequences (Music) Sequences (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Sequences (Music) Sequences (Music)"

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Su, Zhi-Yuan, and Tzuyin Wu. "Multifractal analyses of music sequences." Physica D: Nonlinear Phenomena 221, no. 2 (2006): 188–94. http://dx.doi.org/10.1016/j.physd.2006.08.001.

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Purvis, Gail. "Language, music, protein sequences … and then?" III-Vs Review 18, no. 7 (2005): 2. http://dx.doi.org/10.1016/s0961-1290(05)71241-2.

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Hong, Seungyoun. "Music Educational Value and Sequences ofApproaching Multi-parts Music Activities." Korean Society of Music Education Technology, no. 38 (January 16, 2019): 1–16. http://dx.doi.org/10.30832/jmes.2019.38.1.

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KRUCKENBERG, LORI. "Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages." Journal of the American Musicological Society 59, no. 2 (2006): 243–317. http://dx.doi.org/10.1525/jams.2006.59.2.243.

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Abstract In his liturgical commentary Rationale divinorum officiorum, the thirteenthcentury writer Guillaume Durand describes a special, “antique” way of singing sequences called “neumatizing” (“neumatizare”). According to Durand, a sequence could be neumatized either by singing certain phrases melismatically or by vocalizing the entire sequence without words. The chief focus of this investigation is the identification of which sequences were still being neumatized after the decline of that practice around 1100, where and at which feasts they were sung, and why. The evidence suggests that neum

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Drake, Carolyn, and Caroline Palmer. "Accent Structures in Music Performance." Music Perception 10, no. 3 (1993): 343–78. http://dx.doi.org/10.2307/40285574.

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Perceptual studies suggest that the segmentation of a musical sequence is influenced by three accent structures: rhythmic grouping, melodic, and metric accent structures. We investigate whether performers emphasize these types of accents with systematic performance variations (intensity, interonset timing, and articulation). In three experiments, skilled pianists performed sequences of various musical complexities: simple sequences containing only one accent structure (Experiment 1), more complex sequences containing coinciding or conflicting accent structures (Experiment 2), and a concert pia

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Clarkson, Austin, Stefan Wolpe, Peter Lieberson, Raoul Pleskow, and Matthew Greenbaum. "Form IV: Broken Sequences." American Music 7, no. 1 (1989): 111. http://dx.doi.org/10.2307/3052065.

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Jun, Sanghoon, Seungmin Rho, and Eenjun Hwang. "Music Retrieval and Recommendation Scheme Based on Varying Mood Sequences." International Journal on Semantic Web and Information Systems 6, no. 2 (2010): 1–16. http://dx.doi.org/10.4018/jswis.2010040101.

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A typical music clip consists of one or more segments with different moods and such mood information could be a crucial clue for determining the similarity between music clips. One representative mood has been selected for music clip for retrieval, recommendation or classification purposes, which often gives unsatisfactory result. In this paper, the authors propose a new music retrieval and recommendation scheme based on the mood sequence of music clips. The authors first divide each music clip into segments through beat structure analysis, then, apply the k-medoids clustering algorithm for gr

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Siedenburg, Kai, and Stephen McAdams. "Short-term Recognition of Timbre Sequences." Music Perception 36, no. 1 (2018): 24–39. http://dx.doi.org/10.1525/mp.2018.36.1.24.

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The goal of the current study was to explore outstanding questions in the field of timbre perception and cognition—specifically, whether memory for timbre is better in trained musicians or in nonmusicians, whether short-term timbre recognition is invariant to pitch differences, and whether timbre dissimilarity influences timbre recognition performance. Four experiments examined short-term recognition of musical timbre using a serial recognition task in which listeners indicated whether the orders of the timbres of two subsequently presented sound sequences were identical or not. Experiment 1 r

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Palmer, Caroline. "Sequence Memory in Music Performance." Current Directions in Psychological Science 14, no. 5 (2005): 247–50. http://dx.doi.org/10.1111/j.0963-7214.2005.00374.x.

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How do people remember and produce complex sequences like music or speech? Music provides an example of excellent sequence memory under fast performance conditions; novices as well as skilled musicians can perform memorized music rapidly, without making mistakes. In addition, musical pitches repeat often within a melodic sequence in different orders, yet people do not confuse the sequential ordering; temporal properties of musical pitches aid sequence memory. I describe a contextual model of sequence memory that is sensitive to the rate at which musical sequences are produced and to individual

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Starkes, Janet L., Janice M. Deakin, Susan Lindley, and Freda Crisp. "Motor versus Verbal Recall of Ballet Sequences by Young Expert Dancers." Journal of Sport Psychology 9, no. 3 (1987): 222–30. http://dx.doi.org/10.1123/jsp.9.3.222.

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Two experiments investigated the role of motor performance, and the role of music in the retention and recall of ballet sequences by young expert dancers. Experiment 1 examined 11-year-old expert (N=8) and novice (N=8) dancers, to determine the influence of motor performance in the recall of ballet steps. Subjects were presented with two conditions, either structured choreographed or unstructured sequences. All sequences consisted of eight steps or elements. Subjects recalled both types of sequences motorically by simply performing the steps. Verbal recall was also assessed for structured sequ

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Dissertations / Theses on the topic "Sequences (Music) Sequences (Music)"

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San, Juan Camilo Andrés Méndez. "Texts, numerical sequences and patterns in my recent music." Thesis, Royal College of Music, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.691366.

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Ohlsson, Patrik. "On the Grammars of Fractal Sequences : Music in infinite patterns." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1632.

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Den fraktala geometrin slog igenom i västvärlden under 60-70-talet och inspirerade vetenskapen till nya framsteg inom allt från datorteknologi till antennkonstruktion samt influerade konstens metodik och filosofi. Fraktaler som matematiska modeller hade studerats i väst redan på 1800 talet och ur afrikansk konst samt ur fontida egyptiska skulpturer kan vi skåda en betydligt äldre förståelse för de metoder som genererar dessa komplexa mönster. Inom musiken har fraktaler och självliknelse varit en del av kompositionsteorin sedan medeltiden, Josquin Des Prez och Johannes Ockeghem är två tidiga ex

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Lynn, Debra J. "Learning sequences for the experimental choral psalm settings of Charles Ives." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164925.

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The experimental choral psalm settings of Charles Ives (1874-1954) show rhythmic, melodic, and harmonic innovations that pre-date many of his composing contemporaries such as Schonberg and Stravinsky. Of these works, only Psalm 67 is performed regularly. Regardless of their historical significance, the remaining experimental settings; Psalms 14, 24, 25, 54, 100, 135, and 150 are rarely performed due in part to their level of difficulty.This study presents a series of learning sequences for these psalm settings that can be implemented into typical rehearsal periods for advanced or auditioned ch

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Harris, Philip G., and n/a. "Cortical activity associated with rhythmic grouping of pitch sequences." Swinburne University of Technology, 2007. http://adt.lib.swin.edu.au./public/adt-VSWT20071001.113258.

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Segmentational grouping in music listening refers to the organisation of individual tones into tone groups that tend to be processed and subsequently recalled as perceptual units or chunks. Grouping of tones via this process tends to occur at natural breaks in structure of a tone sequence, so that relatively larger changes in pitch, amplitude or timing are perceived as boundaries which cue the segmentational grouping process. Segmentational grouping processes have been examined using behavioural research techniques; yet neurophysiological processes underlying the grouping process have received

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Sastry, Avinash. "N-gram modeling of tabla sequences using Variable-Length Hidden Markov Models for improvisation and composition." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42792.

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This work presents a novel approach for the design of a predictive model of music that can be used to analyze and generate musical material that is highly context dependent. The system is based on an approach known as n-gram modeling, often used in language processing and speech recognition algorithms, implemented initially upon a framework of Variable-Length Markov Models (VLMMs) and then extended to Variable-Length Hidden Markov Models (VLHMMs). The system brings together various principles like escape probabilities, smoothing schemes and uses multiple representations of the data stream to c

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Harris, Philip Geoffrey. "Cortical activity associated with rhythmic grouping of pitch sequences." Australasian Digital Thesis Program, 2007. http://adt.lib.swin.edu.au/public/adt-VSWT20071001.113258/index.html.

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Thesis (PhD) - Swinburne University of Technology, Brain Sciences Institute, 2007.<br>A thesis for Doctorate of Philosophy, Brain Sciences Institute, Swinburne University of Technology - 2007. Typescript. Bibliography: p. 245-285.

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Fridley, Michael D. "A comparison of the effects of two learning sequences on the acquisition of music reading skills for the guitar: Traditional versus Kodaly-based." Scholarly Commons, 1993. https://scholarlycommons.pacific.edu/uop_etds/2618.

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The purpose of the study was to compare two methods for teaching guitar to fifth- and sixth-grade students: one based on the tonal learning sequence of the Kodaly method, the other on the traditional note learning sequence found in standard guitar method books. The null hypothesis was that there would be no significant differences on difference scores or attitude ratings by group, sex, grade, or years of experience. Lessons were designed to teach music reading for guitar to fifth- and sixth-grade students. Note sequences were traditional for the control group, Kodaly-based for the treatment gr

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Anglade, Amélie. "Logic-based modelling of musical harmony for automatic characterisation and classification." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/7852.

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Harmony is the aspect of music concerned with the structure, progression, and relation of chords. In Western tonal music each period had different rules and practices of harmony. Similarly some composers and musicians are recognised for their characteristic harmonic patterns which differ from the chord sequences used by other musicians of the same period or genre. This thesis is concerned with the automatic induction of the harmony rules and patterns underlying a genre, a composer, or more generally a 'style'. Many of the existing approaches for music classification or pattern extraction make

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Mitchell, Debby. "The relationship between rhythmic competency and academic performance in first grade children." Full text available online (restricted access), 1994. http://images.lib.monash.edu.au/ts/theses/mitchell.pdf.

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Matthews, Trevor W. "In Sequence." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332165226.

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Books on the topic "Sequences (Music) Sequences (Music)"

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Learning sequences in music: A contemporary music learning theory. 2nd ed. GIA, 2007.

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Learning sequences in music: Skill, content, and patterns. G.I.A. Publications, 1988.

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Learning sequences in music: Skill, content, and patterns : a music learning theory. GIA Publications, 1993.

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Gordon, Edwin. Learning sequences in music: Skill, content, and patterns : a music learning theory. GIA, 1997.

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Chamber music: Elizabethan sonnet-sequences and the pleasure of criticism. University of Toronto Press, 1998.

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1927-, Gordon Edwin, ed. Learning sequences in music: Skill, content, and patterns : a music learning theory : study guide. GIA, 1997.

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Gothic song: Victorine sequences and Augustinian reform in twelfth-century Paris. 2nd ed. University of Notre Dame Press, 2011.

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Gothic song: Victorine sequences and Augustinian reform in twelfth-century Paris. Cambridge University Press, 1993.

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Studies in medieval music theory and the early sequence. Variorum, 1997.

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Hildegard. Two chants for Saint Eucharius of Trier. Hildegard Pub. Co., 1995.

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Book chapters on the topic "Sequences (Music) Sequences (Music)"

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Marchini, Marco, and Hendrik Purwins. "Unsupervised Analysis and Generation of Audio Percussion Sequences." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_14.

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de Haas, W. B., Matthias Robine, Pierre Hanna, Remco C. Veltkamp, and Frans Wiering. "Comparing Approaches to the Similarity of Musical Chord Sequences." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_16.

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Radicioni, Daniele P., and Marco Botta. "A Methodological Contribution to Music Sequences Analysis." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11875604_47.

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Lattner, Stefan, Maarten Grachten, Kat Agres, and Carlos Eduardo Cancino Chacón. "Probabilistic Segmentation of Musical Sequences Using Restricted Boltzmann Machines." In Mathematics and Computation in Music. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_33.

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Lanthier, Paul, Corentin Guichaoua, and Moreno Andreatta. "Reinterpreting and Extending Anatol Vieru’s Periodic Sequences Through the Cellular Automata Formalisms." In Mathematics and Computation in Music. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_21.

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Carey, Norman. "On a Class of Locally Symmetric Sequences: The Right Infinite Word Λ θ." In Mathematics and Computation in Music. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_4.

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Hein, Tobias, and Oliver Kramer. "Recognition and Visualization of Music Sequences Using Self-organizing Feature Maps." In KI 2010: Advances in Artificial Intelligence. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16111-7_18.

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Melvin, Adam. "Renegotiating the Overture: The Use of Sound and Music in the Opening Sequences of A Single Man and Shame." In The Palgrave Handbook of Sound Design and Music in Screen Media. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_28.

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Ceja-Cárdenas, Emilio Erándu. "Group Theory for Pitch Sequence Representation: From the Obvious to the Emergent Complexity." In Computational Music Science. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_7.

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Li, Sichao, and Charles Patrick Martin. "Comparing Three Data Representations for Music with a Sequence-to-Sequence Model." In AI 2020: Advances in Artificial Intelligence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-64984-5_2.

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Conference papers on the topic "Sequences (Music) Sequences (Music)"

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Cheng, Zhiyong, Jialie Shen, Lei Zhu, Mohan Kankanhalli, and Liqiang Nie. "Exploiting Music Play Sequence for Music Recommendation." In Twenty-Sixth International Joint Conference on Artificial Intelligence. International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/511.

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Users leave digital footprints when interacting with various music streaming services. Music play sequence, which contains rich information about personal music preference and song similarity, has been largely ignored in previous music recommender systems. In this paper, we explore the effects of music play sequence on developing effective personalized music recommender systems. Towards the goal, we propose to use word embedding techniques in music play sequences to estimate the similarity between songs. The learned similarity is then embedded into matrix factorization to boost the latent feat

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Ramirez, Miguel Arjona. "Nonnegative factorization of sequences of speech and music spectra." In 2014 International Telecommunications Symposium (ITS). IEEE, 2014. http://dx.doi.org/10.1109/its.2014.6948021.

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Hanna, Pierre, and Pascal Ferraro. "Polyphonic Music Retrieval by Local Edition of Quotiented Sequences." In 2007 International Workshop on Content-Based Multimedia Indexing. IEEE, 2007. http://dx.doi.org/10.1109/cbmi.2007.385393.

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Mahajan, Sunita, Alpa Reshamwala, Nisha Sharma, Divya Vineet, Akshay Sharma, and Parshwa Shah. "Prediction of Yahoo! Music Sequences on User’s Musical Taste." In First International Conference on Advances in Information Technology. Research Publishing Services, 2012. http://dx.doi.org/10.3850/978-981-07-2683-6_ait-102.

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Borghuis, Valentijn, Luca Angioloni, Lorenzo Brusci, and Paolo Frasconi. "Pattern-Based Music Generation with Wasserstein Autoencoders and PRC Descriptions." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/751.

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We demonstrate a pattern-based MIDI music generation system with a generation strategy based on Wasserstein autoencoders and a novel variant of pianoroll descriptions of patterns which employs separate channels for note velocities and note durations and can be fed into classic DCGAN-style convolutional architectures. We trained the system on two new datasets (in the acid-jazz and high-pop genres) composed by musicians in our team with music generation in mind. Our demonstration shows that moving smoothly in the latent space allows us to generate meaningful sequences of four-bars patterns.

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Kohlsdorf, Daniel, and Thad Starner. "Mobile Music Touch: The effect of primary tasks on passively learning piano sequences." In 2010 International Symposium on Wearable Computers (ISWC). IEEE, 2010. http://dx.doi.org/10.1109/iswc.2010.5665877.

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Tislar, Kay, Zackery Duford, Brittany Nelson, Madeline Peabody, and Myounghoon Jeon. "Examining the Learnability of Auditory Displays: Music, Earcons, Spearcons, and Lyricons." In The 24th International Conference on Auditory Display. The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.029.

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Auditory displays are a useful platform to convey information to users for a variety of reasons. The present study sought to examine the use of different types of sounds that can be used in auditory displays—music, earcons, spearcons, and lyricons—to determine which sounds have the highest learnability when presented in sequences. Participants were self-trained on sound meanings and then asked to recall meanings after listening to sequences of varying lengths. The relatedness of sounds and their attributed meanings, or the intuitiveness of the sounds, was also examined. The results show that p

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Marques, Lucas. "A chord distance metric based on the Tonal Pitch Space and a key-finding method for chord annotation sequences." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10435.

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Music Information Retrieval (MIR) is a growing field of research concerned about recovering and generating useful information about music in general. One classic problem of MIR is key-finding, which could be described as the activity of finding the most stable tone and mode of a determined musical piece or a fragment of it. This problem, however, is usually modeled for audio as an input, sometimes MIDI, but little attention seems to be given to approaches considering musical notations and musictheory. This paper will present a method of key-finding that has chord annotations as its only input.

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de Oliveira Nunes, Igor, Gabriel Matos Cardoso Leite, and Daniel Ratton Figueiredo. "A Contextual Hierarchical Graph Model for Generating Random Sequences of Objects with Application to Music Playlists." In 2019 8th Brazilian Conference on Intelligent Systems (BRACIS). IEEE, 2019. http://dx.doi.org/10.1109/bracis.2019.00022.

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Biswal, Dibyajyoti, Mohammad Javad Mollakazemi, Sridevi Thyagarajan, Joyce Evans, and Abhijit Patwardhan. "Baroreflex Sensitivity During Listening to Music Computed from Time Domain Sequences and Frequency Domain Transfer Function." In 2018 40th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2018. http://dx.doi.org/10.1109/embc.2018.8512861.

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