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Kathiresan, Thayabaran. "Automatic Melody Generation". Thesis, KTH, Signalbehandling, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175990.
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Chai, Wei 1972. "Melody retrieval on the Web". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/61120.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes bibliographical references (p. 87-90).
The emergence of digital music on the Internet requires new information retrieval methods adapted to specific characteristics and needs. While music retrieval based on the text information, such as title, composers, or subject classification, has been implemented in many existing systems, retrieval of a piece of music based on musical content, especially an incomplete, imperfect recall of a fragment of the music, has not yet been fully explored. This thesis will explore both theoretical and practical issues involved in a web-based melody retrieval system. I built a query-by-humming system, which can find a piece of music in the digital music repository based on a few hummed notes. Since an input query (hummed melody) may have various errors due to uncertainty of the user's memory or the user's singing ability, the system should be able to tolerate errors. Furthermore, extracting melodies to build a melody database is also a complicated task. Therefore, melody representation, query construction, melody matching and melody extraction are critical for an efficient and robust query-by-humming system. Thus, these are the main tasks to be addressed in the thesis. Compared to previous systems, a new and more effective melody representation and corresponding matching methods which combined both pitch and rhythmic information were adopted, a whole set of tools and deliverable software were implemented, and experiments were conducted to evaluate the system performance as well as to explore other melody perception issues. Experimental results demonstrate that our methods incorporating rhythmic information rather than previous pitch-only methods did help improving the effectiveness of a query-by-humming system.
by Wei Chai.
S.M.
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Salamon, Justin J. "Melody extraction from polyphonic music signals". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123777.
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Music was the first mass-market industry to be completely restructured by digital technology, and today we can have access to thousands of tracks stored locally on our smartphone and millions of tracks through cloud-based music services. Given the vast quantity of music at our fingertips, we now require novel ways of describing, indexing, searching and interacting with musical content. In this thesis we focus on a technology that opens the door to a wide range of such applications: automatically estimating the pitch sequence of the melody directly from the audio signal of a polyphonic music recording, also referred to as melody extraction. Whilst identifying the pitch of the melody is something human listeners can do quite well, doing this automatically is highly challenging. We present a novel method for melody extraction based on the tracking and characterisation of the pitch contours that form the melodic line of a piece. We show how different contour characteristics can be exploited in combination with auditory streaming cues to identify the melody out of all the pitch content in a music recording using both heuristic and model-based approaches. The performance of our method is assessed in an international evaluation campaign where it is shown to obtain state-of-the-art results. In fact, it achieves the highest mean overall accuracy obtained by any algorithm that has participated in the campaign to date. We demonstrate the applicability of our method both for research and end-user applications by developing systems that exploit the extracted melody pitch sequence for similarity-based music retrieval (version identification and query-by-humming), genre classification, automatic transcription and computational music analysis. The thesis also provides a comprehensive comparative analysis and review of the current state-of-the-art in melody extraction and a first of its kind analysis of melody extraction evaluation methodology.La industria de la música fue una de las primeras en verse completamente reestructurada por los avances de la tecnología digital, y hoy en día tenemos acceso a miles de canciones almacenadas en nuestros dispositivos móviles y a millones más a través de servicios en la nube. Dada esta inmensa cantidad de música al nuestro alcance, necesitamos nuevas maneras de describir, indexar, buscar e interactuar con el contenido musical. Esta tesis se centra en una tecnología que abre las puertas a nuevas aplicaciones en este área: la extracción automática de la melodía a partir de una grabación musical polifónica. Mientras que identificar la melodía de una pieza es algo que los humanos pueden hacer relativamente bien, hacerlo de forma automática presenta mucha complejidad, ya que requiere combinar conocimiento de procesado de señal, acústica, aprendizaje automático y percepción sonora. Esta tarea se conoce en el ámbito de investigación como “extracción de melodía”, y consiste técnicamente en estimar la secuencia de alturas correspondiente a la melodía predominante de una pieza musical a partir del análisis de la señal de audio. Esta tesis presenta un método innovador para la extracción de la melodía basado en el seguimiento y caracterización de contornos tonales. En la tesis, mostramos cómo se pueden explotar las características de contornos en combinación con reglas basadas en la percepción auditiva, para identificar la melodía a partir de todo el contenido tonal de una grabación, tanto de manera heurística como a través de modelos aprendidos automáticamente. A través de una iniciativa internacional de evaluación comparativa de algoritmos, comprobamos además que el método propuesto obtiene resultados punteros. De hecho, logra la precisión más alta de todos los algoritmos que han participado en la iniciativa hasta la fecha. Además, la tesis demuestra la utilidad de nuestro método en diversas aplicaciones tanto de investigación como para usuarios finales, desarrollando una serie de sistemas que aprovechan la melodía extraída para la búsqueda de música por semejanza (identificación de versiones y búsqueda por tarareo), la clasificación del estilo musical, la transcripción o conversión de audio a partitura, y el análisis musical con métodos computacionales. La tesis también incluye un amplio análisis comparativo del estado de la cuestión en extracción de melodía y el primer análisis crítico existente de la metodología de evaluación de algoritmos de este tipo
La indústria musical va ser una de les primeres a veure's completament reestructurada pels avenços de la tecnologia digital, i avui en dia tenim accés a milers de cançons emmagatzemades als nostres dispositius mòbils i a milions més a través de serveis en xarxa. Al tenir aquesta immensa quantitat de música al nostre abast, necessitem noves maneres de descriure, indexar, buscar i interactuar amb el contingut musical. Aquesta tesi es centra en una tecnologia que obre les portes a noves aplicacions en aquesta àrea: l'extracció automàtica de la melodia a partir d'una gravació musical polifònica. Tot i que identificar la melodia d'una peça és quelcom que els humans podem fer relativament fàcilment, fer-ho de forma automàtica presenta una alta complexitat, ja que requereix combinar coneixement de processament del senyal, acústica, aprenentatge automàtic i percepció sonora. Aquesta tasca es coneix dins de l'àmbit d'investigació com a “extracció de melodia”, i consisteix tècnicament a estimar la seqüència de altures tonals corresponents a la melodia predominant d'una peça musical a partir de l'anàlisi del senyal d'àudio. Aquesta tesi presenta un mètode innovador per a l'extracció de la melodia basat en el seguiment i caracterització de contorns tonals. Per a fer-ho, mostrem com es poden explotar les característiques de contorns combinades amb regles basades en la percepció auditiva per a identificar la melodia a partir de tot el contingut tonal d'una gravació, tant de manera heurística com a través de models apresos automàticament. A més d'això, comprovem a través d'una iniciativa internacional d'avaluació comparativa d'algoritmes que el mètode proposat obté resultats punters. De fet, obté la precisió més alta de tots els algoritmes proposats fins la data d'avui. A demés, la tesi demostra la utilitat del mètode en diverses aplicacions tant d'investigació com per a usuaris finals, desenvolupant una sèrie de sistemes que aprofiten la melodia extreta per a la cerca de música per semblança (identificació de versions i cerca per taral•larà), la classificació de l'estil musical, la transcripció o conversió d'àudio a partitura, i l'anàlisi musical amb mètodes computacionals. La tesi també inclou una àmplia anàlisi comparativa de l'estat de l'art en extracció de melodia i la primera anàlisi crítica existent de la metodologia d'avaluació d'algoritmes d'aquesta mena.
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Pritchard, Matthew. "Analysis amd melody in late Beethoven". Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538320.
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Tang, Fung Michael, e 鄧峰. "Sequence classification and melody tracks selection". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29742973.
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Robertson, James (James Stewart) 1977. "Melody : a distributed music-sharing system". Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29691.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.Includes bibliographical references (p. 47-49).
Text search has been an important feature of file sharing applications since Napster. This thesis explores a directory hierarchy for categorizing and retrieving content in peer-to-peer systems as an alternative to keyword search. This thesis discusses Melody, a music sharing system that implements a directory hierarchy. Melody is built on Chord, a distributed lookup algorithm, and DHash, a distributed hash table. We evaluate the performance consequences and usability of Melody. In addition, this thesis presents two support applications: Autocat, to support automatic categorization, and Paynet, to encourage users to pay for the songs they listen to.
by James Robertson.
M.Eng.
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Tang, Fung Michael. "Sequence classification and melody tracks selection /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25017470.
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Durey, Adriane Swalm. "Melody spotting using hidden Markov models". Diss., Available online, Georgia Institute of Technology, 2004:, 2003. http://etd.gatech.edu/theses/available/etd-04082004-180126/unrestricted/durey%5Fadriane%5Fs%5F200312%5Fphd.pdf.
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Bäckström, Björn. "Where’s the Melody, Where’s the Harmony?" Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3474.
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This paper is about my process of composing and performing music inspired by The Great American Songbook. Doing this via tools acquired by analyzing the works from composers like Irving Berlin, George Gershwin, Arthur Johnston and other composers from that era. I have analyzed and found common associations with form and harmony, the use of melodic content and often used clichés which I have incorporated in my own composing. It also deals with my progress to arrange and rehearse the music to present it in form of a concert at The Royal College of Music on the 6thof March 2020. I reflect about the process of composing and if I achieved the same level of freedom playing my compositions as I have playing jazz standards. I come to the conclusion that I feel as confident performing these tunes as I do music from The Great American Songbook.Medverkande på konserten: Björn Bäckström (tenorsaxofon), Erik Tengholm (trumpet), Lars Ullberg (trombon), Jonny Ek (piano), Uno Dvärby (kontrabas), Jakob Bylund (trummor). Till uppsatsen bifogas inspelningar och partitur på mina egna kompositioner som är kopplade till arbetet: It's Time, Diminished Results, You can't keep this up, Midnight mood, Oh sweet Olivia och Dortmund Express. Även bifogas inspelning på Don't Get Around Much Anymore, skriven av Duke Ellington, som framförts vid konserttillfället.
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Mongiovi, Angelo Guimarães. "Chord-melody : investigação e arranjos para guitarra". Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11393.
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Mestrado em MúsicaO presente trabalho apresenta uma investigação na área do jazz sobre a performance da guitarra elétrica solo, mais popularmente conhecida como chord-melody. Estão presentes breves dados históricos, uma síntese das principais técnicas musicais utilizadas neste estilo performático e arranjos compostos por nós baseados neste idioma musical, tanto em partituras como em DVD.
This work presents an investigation in jazz area about the solo performance played in electric guitar, more popularly known as chord-melody. Are here brief historical data, a summary of the main musical techniques used in this performative style and arrangements composed by us based on this musical language, both in score as on DVD.
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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 perceived boundaries (identified by segmentation) were perceptually migrated towards the boundary. These results suggest that listeners perceptually differentiate between phrasal groups in melodies (See Sloboda & Gregory, 1980; Stoffer, 1985, for similar results with musicians). Short term memory for rhythmic structure was examined using rhythm recall of computer generated sequences and Gaelic melodies. Computer generated rhythms with small tonal pitch intervals (1 - 4 semitones) were easier to recall than large atonal intervals (predominantly greater than 4 semitones). Recall of Gaelic melodies, containing repetitive rhythmic units, was better than recall of computer sequences. Pitch reversal of Gaelic melodies did not effect recall. Beat-tapping with three Gaelic melodies revealed that the majority of listeners established the underlying beat 1.5 - 3 seconds (5 - 6 notes) after the start of the melodies. Perception of meaning and content in two note melodic intervals and three Gaelic melodies was examined using an adjective pair two-alternative forced choice task. Responses to musical intervals showed evidence of perceptual similarity based mainly on interval size. Perceived information content in the melodies increased significantly by the fourth note. The results suggest that the amounts of Gaelic melody which are: i) required to establish an underlying beat, ii) remembered after one hearing, and iii) perceptually grouped into a meaningful unit, include the unit of melody which is necessary to establish a basic meaning.
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Kim, Jung-Kyong. "Effect of degraded pitch cues on melody recognition". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19681.
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Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches of tones in three different context conditions: (1) single tones, (2) pairs of tones, and (3) familiar melodies. The pitch cues were weakened using bandpass filtered noises of varying bandwidths. With increasing bandwidth, listeners were less able to identify the pitches of the tones. However, they were able to name the melodies despite their inability to identify the individual notes. There was no effect of context; whether or not listeners heard single tones, pairs of tones, or melodies did not influence their pitch identification of the tones. Several possible explanations were discussed regarding types of information that listeners had access to, since they could not have relied on detailed features of the melodies.
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Uzor, Charles Kelechi. "Melody and the phenomenology of internal time-awareness". Thesis, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421105.
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Whiston, Sandra Kristine. "The development of melodic concepts in elementary school age children using computer-assisted instruction as a supplemental tool /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583622967.
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Silva, Rafael Gueli Tomaz 1984. "Polifonia latente : aspectos estruturais, inter-relação e organização dos elementos /". São Paulo, 2018. http://hdl.handle.net/11449/157180.
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Orientador(a): Marcos Fernandes Pupo NogueiraBanca: Luiz Fiaminghi
Banca: Maurício De Bonis
Resumo: O presente trabalho propõe uma abordagem teórica/analítica do conceito e aspectos estruturais de um procedimento explorado por compositores no período barroco conhecido por polifonia latente. Neste período, diversos compositores buscaram expressar uma textura polifônica em uma linha melódica única. Primeiramente, este trabalho consiste em comparar os aspectos estruturais da melodia e polifonia com os da polifonia latente, e em segundo lugar, expor, qualificar e determinar os métodos e estratégias composicionais empregados nas obras analisadas e, assim explicitar aquilo que está latente pela ocultação da multiplicidade de partes em uma linha melódica única, resultando em uma textura polifônica latente. Para o cumprimento dos objetivos propostos adotamos diferentes estudos teóricos, analíticos e históricos, dos quais destacamos Albert Bregman (1994), Alexander Ringer (2001), Allen Forte e Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth (1991), e Walter Piston (1947), estes autores, entre outros, fundamentaram o desenvolvimento do trabalho e a análise das peças, Presto da Fantasia VII em Mib maior para violino desacompanhado de Telemann, e Allemande da Partita em Lá menor para flauta desacompanhada - BWV 1013 de Bach. Verificamos que a aparente melodia que se apresenta na polifonia latente possui características melódicas e polifônicas diferentes, devido a múltiplas continuidades e unidades que a caracteriza. E que, a organização vertical e horizontal explicita na... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present work proposes a theoretical/analytical approach to the concept and structural aspects of a procedure explored by composers in the baroque period known as latent polyphony. In this period, several composers sought to express a polyphonic texture in a single melodic line. First, this work consists of comparing the structural aspects of melody and polyphony with those of latent polyphony, and secondly, exposing, qualifying and determining the compositional methods and strategies employed in the analyzed works and thus explaining what is hidden by the occultation of the multiplicity of parts in a single melodic line, resulting in a latent polyphonic texture. In order to fulfill the proposed objectives, we adopted different theoretical, analytical and historical studies, such as Albert Bregman (1994), Alexander Ringer (2001), Allen Forte and Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth, and Walter Piston (1947), these authors, among others, founded the development of the work and the analysis of the pieces, Presto of Fantasia VII in Mib major for unaccompanied violin by Telemann, and Allemande of Partita in A minor for unaccompanied flute - BWV 1013 by Bach. We verified that the apparent melody that displays in the latent polyphony has different melodic and polyphonic characteristics, due to the multiple continuities and units that characterizes it. And that, the explicit vertical and horizontal organization in polyphony is condensed into a single... (Complete abstract click electronic access below)
Mestre
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Bosch, Vicente Juan José. "From heuristics-based to data-driven audio melody extraction". Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404678.
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The identification of the melody from a music recording is a relatively easy task for humans, but very
challenging for computational systems. This task is known as "audio melody extraction", more
formally defined as the automatic estimation of the pitch sequence of the melody directly from the
audio signal of a polyphonic music recording. This thesis investigates the benefits of exploiting
knowledge automatically derived from data for audio melody extraction, by combining digital signal
processing and machine learning methods. We extend the scope of melody extraction research by
working with a varied dataset and multiple definitions of melody. We first present an overview of the
state of the art, and perform an evaluation focused on a novel symphonic music dataset. We then
propose melody extraction methods based on a source-filter model and pitch contour characterisation
and evaluate them on a wide range of music genres. Finally, we explore novel timbre, tonal and
spatial features for contour characterisation, and propose a method for estimating multiple melodic
lines. The combination of supervised and unsupervised approaches leads to advancements on
melody extraction and shows a promising path for future research and applications.La identificación de la melodía en una grabación musical es una tarea relativamente fácil para seres humanos, pero muy difícil para sistemas computacionales. Esta tarea se conoce como "extracción de melodía", más formalmente definida como la estimación automática de la secuencia de alturas correspondientes a la melodía de una grabación de música polifónica. Esta tesis investiga los beneficios de utilizar conocimiento derivado automáticamente de datos para extracción de melodía, combinando procesado digital de la señal y métodos de aprendizaje automático. Ampliamos el alcance de la investigación en este campo, al trabajar con un conjunto de datos variado y múltiples definiciones de melodía. En primer lugar presentamos un extenso análisis comparativo del estado de la cuestión y realizamos una evaluación en un contexto de música sinfónica. A continuación, proponemos métodos de extracción de melodía basados en modelos de fuente-filtro y la caracterización de contornos tonales, y los evaluamos en varios géneros musicales. Finalmente, investigamos la caracterización de contornos con información de timbre, tonalidad y posición espacial, y proponemos un método para la estimación de múltiples líneas melódicas. La combinación de enfoques supervisados y no supervisados lleva a mejoras en la extracción de melodía y muestra un camino prometedor para futuras investigaciones y aplicaciones.
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Schutte, Melody. "Veranderlikes wat die leersukses van Vistastudente beïnvloed / Melody Schutte". Thesis, Potchefstroom University for Christian Higher Education, 1994. http://hdl.handle.net/10394/10329.
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The aim of the research was to determine which variables influence the academic achievement,
self-efficacy and self-regulated learning of Vista students. To achieve this aim, a theoretical
study was made of certain cognitive, non-cognitive, motivational and environmental variables
and their influence on the successful learning of tertiary students. The cognitive variables
studied related to intelligence, aptitude, previous achievement, metacognition, learning strategies
and self-regulated learning. Non-cognitive variables included personality variables, sex
and age. Motivational variables related to components such as value, expectations and affect,
while environmental variables included family variables (socio-economic status, birth order,
family size) and school variables.
From the literature study, it could be deduced that there is a tendency for the same variables,
which influence other study populations, also to influence the successful learning of black
students, although the relative influence of the different variables differs according to different
target groups. Furthermore, the literature study also conveyed a lack of availability of research
results concerning the influence of variables such as metacognition, learning strategies, self-efficacy
and self-regulated learning on the academic achievement of South African students in
general and Vista students in particular.
In the empirical research, the study population comprised first and second year students in
History from Vista Sebokeng and Soweto Campuses. The data was compiled by means of five
questionnaires, the Test for University Admission (TAU), Learning and Study Strategies
Inventory (LASSI), Self-regulated Learning (SRL), Motivated Strategies for Learning (MSLQ)
and a Biographical Questionnaire. Correlational, factor and multiple regression analyses were
performed on the data of the questionnaires. The most important results indicated the
following:
* On investigating the relationship between certain variables and academic achievement,
it was found that motivational and verbal factors made the largest educationally
significant contribution to the academic achievement of Vista students, although the
educational significance of all factors was very small. The high academic achievers were
better motivated than the low academic achievers, because they were motivated by a
higher intrinsic interest in learning tasks. They also attached more importance to their
learning tasks and they possessed higher levels of self-efficacy.
* On investigating the relationship between certain variables and the self-efficacy level of
Vista students, it was found that factors such as test strategies, self-regulated learning,
motivation, age and academic achievement influenced learning success. The results
indicated that motivation made the largest contribution to the R2 value. When comparing
the high self-efficacy to the low self-efficacy group, it was concluded that students with
higher levels of self-efficacy were more capable of applying resource management as
well as cognitive strategies; planning and regulating learning strategies; using study aids
and achieving higher marks than students with lower levels of self-efficacy.
Furthermore, the high self-efficacy group also suffers from less test anxiety.
* On investigating the relationship between certain variables and the self-regulation level
of Vista students, it was found that the factor, self-testing, which included the variable
motivation, made the largest contribution to R2 , inclining towards an average educational
significance. On comparing the high to the low self-regulated group, it could be
concluded that the high self-regulated group made more use of performance goals;
experienced higher levels of self-efficacy; had higher success expectations and made
more use of learning strategies. Thus the high self-regulating students were better
motivated and more capable of regulating their learning strategies than the low self-regulated
group.
On the basis of this empirical research, it can generally be concluded, that motivation is one
of the most important variables, influencing the academic achievement, self-efficacy and self-regulating
levels of Vista students. In addition, it can also be concluded that cognitive
strategies, metacognitive strategies and resource management strategies contribute in a
significant way to high levels of self-efficacy and self-regulation of Vista students.
It is recommended that lecturers get involved by means of a meta-curriculum, in teaching
students the necessary learning strategies, in order to improve motivation and the. successful learning of tertiary students.Proefskrif (PhD)--PU vir CHO, 1994
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Lindsay, Adam Taro. "Using contour as a mid-level representation of melody". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61826.
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Ralston, Jacqueline Thomes. "The effects of manipulating contour information upon melody recognition". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300295978.
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Bonse, Billee Ann. ""El son de n'alamanda": another melody by a Trobairitz?" The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399557970.
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Chau, Ching Christy. "The recognition of isolated and interleaved melodies by children". Click to view the E-thesis via HKU Scholors Hub, 2005. http://lookup.lib.hku.hk/lookup/bib/B3827906X.
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Thesis (B.Sc)--University of Hong Kong, 2005."A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2005." Also available in print.
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Cherla, S. "Neural probabilistic models for melody prediction, sequence labelling and classification". Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/17444/.
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Data-driven sequence models have long played a role in the analysis and generation of musical information. Such models are of interest in computational musicology, computer-aided music composition, and tools for music education among other applications. This dissertation beginswith an experiment tomodel sequences of musical pitch in melodies with a class of purely data-driven predictive models collectively known as Connectionist models. It was demonstrated that a set of six such models could performon par with, or better than state-of-the-art n-gram models previously evaluated in an identical setting. A new model known as the Recurrent Temporal Discriminative Restricted Boltzmann Machine (RTDRBM), was introduced in the process and found to outperform the rest of the models. A generalisation of this modelling task was also explored, and involved extending the set of musical features used as input by the models while still predicting pitch as before. The improvement in predictive performance which resulted from adding these new input features is encouraging for future work in this direction. Based on the above success of the RTDRBM, its application was extended to a non-musical sequence labelling task, namely Optical Character Recognition. This extension involved a modification to the model’s original prediction algorithm as a result of relaxing an assumption specific to the melody modelling task. The generalised model was evaluated on a benchmark dataset and compared against a set of 8 baseline models where it faired better than all of them. Furthermore, a theoretical extension to an existingmodel which was also employed in the above pitch prediction task - the Discriminative Restricted Boltzmann Machine (DRBM) - was proposed. This led to three new variants of the DRBM (which originally contained Logistic Sigmoid hidden layer activations), withHyperbolic Tangent, Binomial and Rectified Linear hidden layer activations respectively. The first two of these have been evaluated here on the benchmark MNIST dataset and shown to perform on par with the original DRBM.
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Bolcato, Pietro. "Concurrent generation of melody and lyrics by recurrent neural networks". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-284499.
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This work proposes a conditioned recurrent neural network architecture forconcurrent melody and lyrics generation. This is in contrast to methods thatfirst generate music and then lyrics, or vice versa. The system is trained to firstsample a pitch from a distribution, then sample a duration conditioned on thesampled pitch, and finally sample a syllable conditioned on the sampled pitchand duration. The evaluation metrics show the trained system generates musicand text sequences that exhibit some sensible musical and linguistic properties,and as further evaluation, it was applied in a human-AI collaboration for thegeneration of a song for the VPRO AI Song Contest. This highlighted thelimitations of the system: it can be a useful tool to augment the creative processof musicians, but it can not replace them. Finally, a shorter version of thisdissertation has been submitted as a paper for the ISMIR 2020 conference,and it is shown in appendix B.I detta arbete presenteras arkitektur för ett s.k. villkorat, återkommande (”conditioned,recurrent”) neuronnät for samtidig melodi och textgenerering. Denhär föreslagna modellen skiljer sig från tidigare modeller som som forst genererarmusik och sedan texter, eller vice versa. Systemet är tränat for att forstsampla en tonhojd fran en statistisk fordelning av tonhöjder i melodier, sedantesta duration utifrån den samplade tonhojden, och slutligen testa en stavelsebetingad av den samplade tonhojden och dess duration. Utvärderingen visar attdet tranade systemet genererar musik- och textsekvenser som uppvisar musikaliskaoch sprakliga egenskaper, och som en ytterligare utvardering anvandesdet i ett människa-maskin integrerat AI-samarbete for att generera en lat forVPRO AI Song Contest. Detta visade systemets begransningar och möjligheter,där systemet har potential att vara ett anvandbart verktyg for att stimuleramusikers kreativa process, men det kan inte ersatta dem. En kortare version avdenna uppsats (se bilaga B) har skickats in till ISMIR konferensen 2020.
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Frey, Jeffrey Daniel. "Finding Song Melody Similarities Using a DNA String Matching Algorithm". Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1208961242.
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Eckert, Oliver. "Entwurf einer Supermarktstrategie für Trader-Kooperationen und Implementierung in MELODY". [S.l.] : Universität Stuttgart , Fakultät Informatik, 1995. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB6783661.
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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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Christiansen, Paul Victor. ""Sounds of the soul" : Leos̆ Janʹac̆ek's conception of speech melody /". Connect to Digital dissertations. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
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Lui, Siu-Hang. "MIDI to SP-MIDI and I-melody transcoding using phrase stealing /". View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?COMP%202005%20LUI.
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Whorley, Raymond Peter. "The construction and evaluation of statistical models of melody and harmony". Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9547/.
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This research is concerned with the development of representational and modelling techniques employed in the creation of statistical models of melody and four-part harmony. Previous work has demonstrated the utility of multiple viewpoint systems, along with techniques such as Prediction by Partial Match, in the construction of cognitive models of melodic perception. Primitive viewpoints represent surface and underlying musical attributes, while linked viewpoints model combinations of such attributes. A viewpoint selection algorithm optimises multiple viewpoint systems by minimising the information theoretic measure cross-entropy. Many more linked viewpoints are used in this research than have previously been available, and the results show that many new viewpoints are incorporated into optimised systems. A significant aspect of this work is the proposal and implementation of a set of novel extensions of the multiple viewpoint framework for four-part harmony. Statistical models are constructed with the aim that given a soprano part, alto, tenor and bass parts are added in a stylistically suitable way. Version 1 is as closely related to the modelling of melody as possible (chord replacing note), and is a baseline for gauging expected improvements as the framework is extended and generalised. Three versions of the framework have been implemented, and their performances compared and contrasted. The results indicate that the baseline version has been improved upon. Time complexity issues are discussed in detail, and selected viewpoints are examined from a music theoretic point of view for insights into why they perform well. Finally, melodies and harmonisations of given melodies are generated using the best performing models. The quality of the music suggests that, in spite of the improvements achieved so far, the models are still unable to fully capture the musical style of a corpus. Another six versions of the framework are described, which are expected to contribute further improvements.
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Rose, Bernard N. (Bernard Norman). "The Effect of Rhythm on Melodic Expectancy". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc332020/.
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The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.
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Siqueira, Ivan Claudio Pereira. "Paulinho da Viola: O Caminho de volta (Um estudo poético-musical da canção popular brasileira)". Universidade de São Paulo, 1999. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12052011-155913/.
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As relações entre melodia e letra são tomadas como ponto de partida para a interpretação das canções de Paulinho da Viola, um dos maiores sambistas de todos os tempos. Sua obra é analisada nos aspectos estético e sociológico, sendo vista como parte da presença histórica da arte negra na canção popular brasileira.The relationships between melody and lyric are interpreted in Paulinho da Viola`s songs, one of the best composers of samba music. His musical work is studied on aesthetic and social aspects as part of black presence in the Brazilian popular song.
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Silva, Rafael Gueli Tomaz [UNESP]. "Polifonia latente: aspectos estruturais, inter-relação e organização dos elementos". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157180.
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O presente trabalho propõe uma abordagem teórica/analítica do conceito e aspectos estruturais de um procedimento explorado por compositores no período barroco conhecido por polifonia latente. Neste período, diversos compositores buscaram expressar uma textura polifônica em uma linha melódica única. Primeiramente, este trabalho consiste em comparar os aspectos estruturais da melodia e polifonia com os da polifonia latente, e em segundo lugar, expor, qualificar e determinar os métodos e estratégias composicionais empregados nas obras analisadas e, assim explicitar aquilo que está latente pela ocultação da multiplicidade de partes em uma linha melódica única, resultando em uma textura polifônica latente. Para o cumprimento dos objetivos propostos adotamos diferentes estudos teóricos, analíticos e históricos, dos quais destacamos Albert Bregman (1994), Alexander Ringer (2001), Allen Forte e Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth (1991), e Walter Piston (1947), estes autores, entre outros, fundamentaram o desenvolvimento do trabalho e a análise das peças, Presto da Fantasia VII em Mib maior para violino desacompanhado de Telemann, e Allemande da Partita em Lá menor para flauta desacompanhada - BWV 1013 de Bach. Verificamos que a aparente melodia que se apresenta na polifonia latente possui características melódicas e polifônicas diferentes, devido a múltiplas continuidades e unidades que a caracteriza. E que, a organização vertical e horizontal explicita na polifonia está condensada em uma linha melódica única na polifonia latente, se tornando então implícita. No fluir da aparente linha melódica única, percebe-se a atuação de várias vozes sem no entanto elas se sobreporem, pois essa técnica é resultado de uma maneira de utilizar os diversos parâmetros musicais onde a alternância entre as notas que se associam umas às outras permite estabelecer uma relação entre elas.
The present work proposes a theoretical/analytical approach to the concept and structural aspects of a procedure explored by composers in the baroque period known as latent polyphony. In this period, several composers sought to express a polyphonic texture in a single melodic line. First, this work consists of comparing the structural aspects of melody and polyphony with those of latent polyphony, and secondly, exposing, qualifying and determining the compositional methods and strategies employed in the analyzed works and thus explaining what is hidden by the occultation of the multiplicity of parts in a single melodic line, resulting in a latent polyphonic texture. In order to fulfill the proposed objectives, we adopted different theoretical, analytical and historical studies, such as Albert Bregman (1994), Alexander Ringer (2001), Allen Forte and Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth , and Walter Piston (1947), these authors, among others, founded the development of the work and the analysis of the pieces, Presto of Fantasia VII in Mib major for unaccompanied violin by Telemann, and Allemande of Partita in A minor for unaccompanied flute - BWV 1013 by Bach. We verified that the apparent melody that displays in the latent polyphony has different melodic and polyphonic characteristics, due to the multiple continuities and units that characterizes it. And that, the explicit vertical and horizontal organization in polyphony is condensed into a single melodic line in latent polyphony, thus becoming implicit. In the flow of the apparent single melodic line, we can see the performance of several voices without however overlapping, since this technique is the result of a way of using the various musical parameters where the alternation between the notes that are associated with each other allows to establish a relationship between them.
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Oliveira, Sidnei de [UNIFESP]. "O Beethoven de Wagner em O Nascimento da Tragédia de Nietzsche". Universidade Federal de São Paulo (UNIFESP), 2013. http://repositorio.unifesp.br/handle/11600/39333.
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Esta Dissertação tem como objetivo mostrar a recepção do Beethoven de Wagner na obra de Nietzsche, mais precisamente em seu livro O Nascimento da Tragédia. Wagner tenta explicar aos alemães as razões de Beethoven figurar no mesmo patamar de Goethe e Schiller, Wagner utiliza-se de uma exposição do homem e do gênio Beethoven para chegar a esta conclusão. A partir de uma breve análise da Nona Sinfonia podemos perceber porque esta obra foi tão importante para Wagner dar sequência em seu drama musical, e justamente nesta junção que houve da palavra com a música na composição de Beethoven é que Nietzsche vê a importância destes dois compositores alemães, utilizando-os para sua primeira obra. Em resumo, mostraremos a apropriação que Nietzsche realiza não apenas do texto Beethoven, mas de Wagner e de Schopenhauer para explicar a questão musical no Nascimento da Tragédia.
This dissertation aims to show the reception of Wagner’s Beethoven in the work of Nietzsche, more precisely in his book The Birth of Tragedy. Wagner tries to explain the reasons for the Germans Beethoven appear at the same level of Goethe and Schiller, Wagner uses an exposure of Beethoven as a man and as a genius to reach this conclusion. From a brief analysis of Beethoven’s Ninth Symphony we can see why this work was so important for Wagner to give sequence to his musical drama, and precisely at this juncture between word and music in Beethoven’s composition Nietzsche sees the importance of these two German composers, using them for his first work. In summary, we will show the appropriation that Nietzsche performs not only of Beethoven, but of Wagner and Schopenhauer to explain the musical issue in The Birth of Tragedy.
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Bosi, Carlo. "The secular works of Du Fay and Binchois : melody, mode, sonority performance". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399405.
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Ferrand, M. "Data-driven, memory-based computational models of human segmentation of musical melody". Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650869.
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This study seeks the development of a system capable of performing melodic segmentation in an unsupervised way, by learning from non-annotated musical data. Probabilistic learning methods have been widely used to acquire regularities in large sets of data, with many successful applications in language and speech processing. Some of these applications have found their counterparts in music research and have been used for music prediction and generation, music retrieval or music analysis, but seldom to model perceptual and cognitive aspects of music listening. We present some preliminary experiments on melodic segmentation, which highlight the importance of memory and the role of learning in music listening. These experiments have motivated the development of a computational model for melodic segmentation based on a probabilistic learning paradigm. This model uses a Mixed-memory Markov Model to estimate sequence probabilities from pitch and time-based parametric descriptions of melodic data. We follow the assumption that listeners’ perception of feature salience in melodies is strongly related to expectation. Moreover, we conjecture that outstanding entropy variations of certain melodic features coincide with segmentation boundaries as indicated by listeners. Model segmentation predictions are compared with results of a listening study on melodic segmentation carried out with real listeners. Overall results show that changes in prediction entropy along the pieces exhibit significant correlation with the listeners’ segmentation boundaries. Although the model relies only on information theoretic principles to make predictions on the location of segmentation boundaries, it was found that most predicted segments could be matched with boundaries of groupings usually attributed to Gestalt rules. These results question previous research supporting a separation between learning-based and innate bottom-up processes of melodic grouping, and suggesting that some of these latter processes can emerge from acquired regularities in melodic data.
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Burchman, Eon Kriya. "A dialogue on improvisation, space and melody| Larry Koonse's approach to improvisation". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591592.
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This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn.
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Ho, Wing-see Vincie, e 何詠詩. "A phonological study of the tone-melody correspondence in Cantonese pop music". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B50899752.
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This PhD research aims at revealing the underlying complexity of the grammar of tone-melody mapping in Cantonese pop music. While linguists have shown a growing interest and invested painstaking effort in finding out whether lexical tones and musical melody interact in vocal music, the attention of these scholars mainly focuses on whether a lexical item remains intelligible to speakers of the given language when the tonal integrity is not preserved in the song. Others are interested in quantifying the degree of tone-melody correspondence and in carrying out cross-linguistic comparisons. The majority of such research studies fail to unravel the details of how tone and melody interact. This research challenges the methodologies and assumptions made in some previous studies that fail to account for the discrepancy between structural and perceptual ‘correspondence’ or ‘mismatch’. The notions of ‘correspondence’ and ‘mismatch’ are revisited and redefined from a perceptual perspective – a ‘perfect match’ refers to the mapping between a melodic transition and a tonal target transition that is satisfactorily accepted by native speakers of the language, whereas a ‘mismatch’ refers to a tone-melody pairing that sounds awkward to the native ear, whether or not the string of syllables are comprehensible, ambiguous or unintelligible when set to the song.
Through conducting perception tests, songs are grouped into two main categories for two different purposes – the songs without perceptual mismatch are used for a profound analysis of the well-formed mapping patterns at the abstract level. The most frequently attested correspondence pattern concerns the pairing between tonal target transition and melodic transition progressing in the same direction. The directionality constraint is satisfied in about 80% of the cases. It is also revealed that level tonal target sequences can be mapped to non-level melodies and still remain well-formed. This mapping, however, is strictly conditional and only occurs when licensed.
The other group of songs are those in which native speakers have identified cases of perceptual mismatch. By examining the ill-formed examples, other mapping constraints are uncovered – the interval constraint requires that the pitch distance of a melodic transition be comparable to that of the corresponding tonal target transition. The mapping criterion is therefore more like a ‘vector’, obliging the two transitions to agree not only in direction but also in slope. The Hidden Structure Alignment constraint is the third important mapping constraint discovered that succeeds in providing solutions to account for unusual pairings or mismatches that directionality and interval fail to explain. In order that a tonal target transition match a melodic transition, the hidden or phonetically unexpressed semitones on both tonal and melodic scales should be aligned to or absent from the same edge. This constraint is helpful to account for the extremely restricted mapping patterns at the song-final cadence.
By investigating a large corpus of Cantonese pop songs written by various lyricists, this research proposes a detailed description of the grammar of Cantonese tone-melody mapping in terms of the interaction of the directionality, interval and hidden structure alignment constraints.published_or_final_version
Linguistics
Doctoral
Doctor of Philosophy
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Flores, Munoz Julieta. "A Nahua melody : material rhythms of houses in Mixtla de Altamirano, Mexico". Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427160/.
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This thesis explore the wide and complex definition of the space named as house in an indigenous community, the Nahuas, located in the Zongolica Mountain Range, Mexico. It will draw on ethnographic research to show how Nahuas relate to the corporeal world (objects and environment) and, through processes of struggle and negotiation, use them to produce this physical space, called house. In doing so, it will uncover a different historical narrative. By examining the "house", and the materials used to produce it, as a space that is lived and built (the house) but also perceived, dreamt and remembered (a home), this thesis highlights interconnections between the study of the physical world (materiality) and the study of social processes (social structure and social relations). For, it is through the rhythms of the Nahua's everyday life including material acts of remembrance and spatial practices of memory, that these physical spaces (their houses) can be better understood. Throughout this thesis I will argue that Nahua delimitation and definition of their houses is continuously changing. This because Nahuas modify their space though their traditions (even those spaces that haven't been explored such as caves and other ones, are modified through their tales and beliefs). These living traditions transfer meaning and orientate both the objects and the environment. Therefore, their objects and the environment (Materiality) is built upon cultural patterns and values that are constantly being modified. Regardless of any processes of subordination, dominance or interrelationship between other groups, Nahuas materiality do not disappear, because it is fluid and dynamic, these becomes modified or reinterpreted. Nahuas Materiality permeates through memory, imagination, traditions, as I will explore through this thesis. Therefore, rather than beginning with a define idea of what a house is -size, architecture, social structure-, this thesis addresses them as complex physical spaces that encapsulates history, religion folklore and knowledge, both materially, spatially and through the oral traditions and storytelling of the communities that produce them, and in turn produced through them. This continuous movement that builds these space-places allow us to uncover the fluid rhythms that built these places. Therefore, this thesis will present the houses as complex spaces that are fluid, rather than walls and intimate spaces, houses are presented as built spaces in constant change with a never clear present; rather, there is an experience based on the past and the projection to the future. By presenting the materiality of the houses that connects people with their environment (to which Nahuas had to adapt) an agentic and meaningful space was built, one that includes the memory of adaptation that construct their Nahua-ness when producing their home Tocha (as they name it), and the projection of this Nahua-ness into the future. Houses then remain in the memory of the Elders and become agents in the construction and consolidation of subjectivities through the knowledge and the rhythms of repetition that constitue their everyday life.
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Brown, Jack M. III. "Sing to Me: the Effects of Sung Vocals and Melody on Memory". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1476.
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Have you ever heard a song that hasn’t played in years, and immediately recognize it? What cognitive processes determine this, and why does it seemingly happen to everyone? Using the Expectancy Theory of Music (Meyer, 1965) a working explanation for the possibility of why such strange phenomena exists is proposed. Based on expectancy, words and melody are processed together, and sung words are treated as part of the expected whole. In three experiments, memory was tested using same- different task. Each experiments investigates a different level of memory. Taking into account systematic uncertainty and the violation of expectancy when an unexpected appears, these experiments were able to be analyzed and studied in regards to their effects on memory. College students from the Claremont Colleges are to be randomly selected for this experiment. Findings should show a consistent interaction between melody and vocal sequences throughout each experiment.
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Braun, Jessica Melody [Verfasser]. "Die sozioökonomische Bedeutung der Mangelernährung im G-DRG System / Jessica Melody Braun". Tübingen : Universitätsbibliothek Tübingen, 2021. http://d-nb.info/1238594794/34.
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Vogt, Gerald. "Einbindung des MELODY-Traders in das Agentensystem zur Vermittlung von CORBA-Diensten". [S.l.] : Universität Stuttgart , Fakultät Informatik, 1996. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB6783648.
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Smith, Peter Anthony. "Computer Aided Statistical Analysis of Motive Use and Compositional Idiom". Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9776.
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This thesis discusses the creation of a means of pitch-based data representation which allows automated logging and analysis of melodic motivic material. This system also allows analysis of a number of attributes of a composition which are not readily apparent to human analysis. By using a numerical data format which treats motivically related material as equivalent, groups of tonally equivalent intervals (n-tuples) can be logged and have statistical procedures carried out on them. This thesis looks at four applications of this approach: measuring the most commonly occurring motivic material; creating a transition matrix showing probabilities of movement between intervals; measuring the extent of disjunct or conjunct writing; and measuring concentration of motivic writing (the extent to which motives are reused). Following the discussion of the data representation system, a set of expositions taken from the piano sonatas of Haydn, Mozart, and Clementi are converted to this method of data representation, and results are collected for the above four applications. The implications of the results of this analysis are discussed, and further potential applications of the system are explored.
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Alípio, Alisson Cardoso Monteiro. "O processo de digitação para violão da Ciaccona BWV 1004 de Johann Sebastin Bach". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28065.
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Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões.This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.
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Sutton, Mathew D. "The Beat of Time and the Melody: The Soundscape of The Golden Apples". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7832.
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Mikko, Evelina. "Bolts of Melody : The Poetic Meter and Form in Poetry of Emily Dickinson". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36462.
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This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.
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Ko, Pei-Chih, e 柯佩芝. "Melody Style Classification And Automatic Accompaniment Using Melody And Chord Features". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/47710876418756848041.
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碩士大同大學
資訊經營學系(所)
97
With the development of music software, composition is no more the proprietary work to musicians. However, it is difficult for people without knowledge of music theory to make accompaniment. Besides, many music websites provide the music style indexes for users to quickly retrieval and query. But it is also costly and inefficiently to classify music manually. The goal of this research is modeling music styles that can do the melody style classification and then make the most appropriate accompaniment automatically. Different from the past researches, our study extracts chord features in the ways that consider the performance of chords and weight the possible chords to avoid the disturbance of non-chord noise and then to establish the Hidden Markov Models (HMMs). After user input melody, the system can find the most suitable sequence of the chord accompaniment by Viterbi search on HMMs and can also be used to classify those accompanied music by HMMs.
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Chen, Ya-Chun, e 陳亞群. "A Study on Melody". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/yx82w8.
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Kelly, MATTHEW. "Evaluation of Melody Similarity Measures". Thesis, 2012. http://hdl.handle.net/1974/7442.
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Similarity in music is a concept with significant impact on ethnomusicology studies, music recommendation systems, and music information retrieval systems such as Shazam and SoundHound. Various computer-based melody similarity measures have been proposed, but comparison and evaluation of similarity measures is inherently difficult due to the subjective and application-dependent nature of similarity in music. In this thesis, we address the diversity of the problem by defining a set of music transformations that provide the criteria for comparing and evaluating melody similarity measures. This approach provides a flexible and extensible method for characterizing selected facets of melody similarity, because the set of music transformations can be tailored to the user and to the application.
We demonstrate this approach using three music transformations (transposition, tempo rescaling, and selected forms of ornamentation) to compare and evaluate several existing similarity measures, including String Edit Distance measures, Geometric measures, and N-Gram based measures. We also evaluate a newly implemented distance measure, the Beat and Direction Distance Measure, which is designed to have greater awareness of the beat hierarchy and better responsiveness to ornamentation. Training and test data is drawn from music incipits from the RISM A/II collection, and ground truth is taken from the MIREX 2005 Symbolic Melodic Similarity task. Our test results show that similarity measures that are responsive to music transformations generally have better agreement with human generated ground truth.Thesis (Master, Computing) -- Queen's University, 2012-08-31 11:03:01.167
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Yashin, Vladimir Borisovich, e 亞聖. "An Automatic Melody Generation Algorithm". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/73437904719178973690.
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碩士國立臺灣大學
資訊網路與多媒體研究所
97
This thesis presents a compositional algorithm for short monophonic tonal melody. It uses music theory knowledge of consonance and tonal center implemented in fitness function for genetic algorithm. The system was implemented in a user friendly intuitive graphic user interface. The generated melodies are tested by the novel statistical method. The system gives interesting results, which can be used by professional composer for musical composition inspiration or by average user for fun and entertainment. The test results and summary can be also useful for musicology and auditory roughness. This thesis shows the role of pitch in melody “pleasantness” and gives many hints for future studies.
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Paiva, Rui Pedro Pinto de Carvalho e. "Melody detection in polyphonic audio". Doctoral thesis, 2007. http://hdl.handle.net/10316/10159.
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Tese de doutoramento em Engenharia Informática apresentada à Fac. de Ciências e Tecnologia de CoimbraNo presente trabalho de investigação, abordamos o problema da detecção de melodia em áudio polifónico. O nosso sistema engloba três módulos principais, onde são propostos um conjunto de procedimentos baseados em regras, de forma a atingirem-se os objectivos específicos de cada unidade: i) detecção de tom; ii) determinação de notas musicais (com tons e limites temporais precisos); e iii) identificação de notas melódicas. É seguida uma aborda-gem multi-etapa, inspirada em princípios da teoria perceptual, bem como de práticas musicais comuns. O nosso método incorpora modelos fisiológicos e princípios perceptuais de organização de som, replicando de algum modo o comportamento do sistema auditivo humano. Adicionalmente, são aplicados princípios musicológicos, de forma a apoiar a identificação das notas musicais que comunicam a linha melódica principal. Os resultados experimentais conduzidos demonstram que o nosso método apresenta um desempenho satisfatório sob as condições especificadas. No entanto, foram encontradas dificuldades adicionais em excertos onde a intensidade da melodia em comparação com a do acompanhamento circundante não era tão favorável. Concluindo, apesar da sua vasta gama de aplicação, a maior parte dos problemas de investigação envolvidos na detecção de melodia são complexos e estão ainda em aberto. Muito provavelmente, algoritmos suficientemente robustos, genéricos e eficientes só estarão disponíveis depois de vários anos de investigação intensiva.
In this research work, we address the problem of melody detection in polyphonic audio. Our system comprises three main modules, where a number of rule-based procedures are proposed to attain the specific goals of each unit: i) pitch detection; ii) determination of musical notes (with precise temporal boundaries and pitches); and iii) identification of melodic notes. We follow a multi-stage approach, inspired on principles from perceptual theory and musical practice. Physiological models and perceptual cues of sound organization are incorporated into our method, mimicking the behavior of the human auditory system to some extent. Moreover, musicological principles are applied, in order to support the identification of the musical notes that convey the main melodic line. Experimental results were conducted, showing that our method performs satisfactorily under the specified assumptions. However, additional difficulties are encountered in song excerpts where the intensity of the melody in comparison to the surrounding accompaniment is not so favorable. To conclude, despite its broad range of applicability, most of the research problems involved in melody detection are complex and still open. Most likely, sufficiently robust, general, accurate and efficient algorithms will only become available after several years of intensive research.