Pub Date : 2020-06-26DOI: 10.1080/09298215.2020.1784956
L. Warrenburg
Many researchers have noted inconsistencies between descriptions and effects of nominally sad music. The current study addresses whether traditional music-related sadness can be broken down into more than one category. Melancholic and grieving musical passages were collected in three stages. Participants with superior aural skills rated 18 structural parameters of these musical passages on 7-point unipolar scales. The results are consistent with the idea that musical parameters differ in melancholic and grieving states and that what has been previously defined as sad music may, in fact, be conflating more than one emotional state.
{"title":"Redefining sad music: Music’s structure suggests at least two sad states","authors":"L. Warrenburg","doi":"10.1080/09298215.2020.1784956","DOIUrl":"https://doi.org/10.1080/09298215.2020.1784956","url":null,"abstract":"Many researchers have noted inconsistencies between descriptions and effects of nominally sad music. The current study addresses whether traditional music-related sadness can be broken down into more than one category. Melancholic and grieving musical passages were collected in three stages. Participants with superior aural skills rated 18 structural parameters of these musical passages on 7-point unipolar scales. The results are consistent with the idea that musical parameters differ in melancholic and grieving states and that what has been previously defined as sad music may, in fact, be conflating more than one emotional state.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"373 - 386"},"PeriodicalIF":1.1,"publicationDate":"2020-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1784956","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46512575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-16DOI: 10.1080/09298215.2020.1778041
Steffen Lepa, Martin Herzog, J. Steffens, Andreas Schoenrock, Hauke Egermann
We describe the development of a computational model predicting listener-perceived expressions of music in branding contexts. Representative ground truth from multi-national online listening experiments was combined with machine learning of music branding expert knowledge, and audio signal analysis toolbox outputs. A mixture of random forest and traditional regression models is able to predict average ratings of perceived brand image on four dimensions. Resulting cross-validated prediction accuracy (R²) was Arousal: 61%, Valence: 44%, Authenticity: 55%, and Timeliness: 74%. Audio descriptors for rhythm, instrumentation, and musical style contributed most. Adaptive sub-models for different marketing target groups further increase prediction accuracy.
{"title":"A computational model for predicting perceived musical expression in branding scenarios","authors":"Steffen Lepa, Martin Herzog, J. Steffens, Andreas Schoenrock, Hauke Egermann","doi":"10.1080/09298215.2020.1778041","DOIUrl":"https://doi.org/10.1080/09298215.2020.1778041","url":null,"abstract":"We describe the development of a computational model predicting listener-perceived expressions of music in branding contexts. Representative ground truth from multi-national online listening experiments was combined with machine learning of music branding expert knowledge, and audio signal analysis toolbox outputs. A mixture of random forest and traditional regression models is able to predict average ratings of perceived brand image on four dimensions. Resulting cross-validated prediction accuracy (R²) was Arousal: 61%, Valence: 44%, Authenticity: 55%, and Timeliness: 74%. Audio descriptors for rhythm, instrumentation, and musical style contributed most. Adaptive sub-models for different marketing target groups further increase prediction accuracy.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"387 - 402"},"PeriodicalIF":1.1,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1778041","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44537978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-25DOI: 10.1080/09298215.2020.1767655
Mari Romarheim Haugen, A. Danielsen
Previous studies have revealed uneven duration patterns at the sixteenth note level of samba. In the present study, we investigated the influence of tempo on such sixteenth-note patterns in a performed samba groove.The results revealed an uneven duration pattern in all tempi. Interestingly, the shortest note becomes relatively shorter and the longest relatively longer as the tempo increases. We suggest that the differences in relative durations between tempi reflect the need to maintain the samba sixteenth note ‘template’ in all tempi: producing the samba ‘feel’ requires that relative durations have to be adjusted to tempo.
{"title":"Effect of tempo on relative note durations in a performed samba groove","authors":"Mari Romarheim Haugen, A. Danielsen","doi":"10.1080/09298215.2020.1767655","DOIUrl":"https://doi.org/10.1080/09298215.2020.1767655","url":null,"abstract":"Previous studies have revealed uneven duration patterns at the sixteenth note level of samba. In the present study, we investigated the influence of tempo on such sixteenth-note patterns in a performed samba groove.The results revealed an uneven duration pattern in all tempi. Interestingly, the shortest note becomes relatively shorter and the longest relatively longer as the tempo increases. We suggest that the differences in relative durations between tempi reflect the need to maintain the samba sixteenth note ‘template’ in all tempi: producing the samba ‘feel’ requires that relative durations have to be adjusted to tempo.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"349 - 361"},"PeriodicalIF":1.1,"publicationDate":"2020-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1767655","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49439412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-20DOI: 10.1080/09298215.2020.1762666
V. Gusev, I. V. Bakhmutova, L. A. Miroshnichenko, T. N. Titkova
In this article we provide approaches to translating into modern music notation Znamenny Russian Church chants, written in neumatic (“znamenny” or “hook”) notation. Neumes are sequences of notes of varying lengths, that correspond to singing one syllable of old Slavonic verse. Starting in 17th century, neumes were supplemented with pomjeta facilitating mapping into modern music notation. Manuscripts from earlier periods have no pomjeta and are thus not readable today. This paper introduces computer-based approaches to the reconstruction of znamenny notation without pomjeta into modern music notation. These approaches are trained on dvojyeznamenniks but can be applied to manuscripts without pomjeta.
{"title":"Possible approaches to deciphering Russian ancient Znamenny chant","authors":"V. Gusev, I. V. Bakhmutova, L. A. Miroshnichenko, T. N. Titkova","doi":"10.1080/09298215.2020.1762666","DOIUrl":"https://doi.org/10.1080/09298215.2020.1762666","url":null,"abstract":"In this article we provide approaches to translating into modern music notation Znamenny Russian Church chants, written in neumatic (“znamenny” or “hook”) notation. Neumes are sequences of notes of varying lengths, that correspond to singing one syllable of old Slavonic verse. Starting in 17th century, neumes were supplemented with pomjeta facilitating mapping into modern music notation. Manuscripts from earlier periods have no pomjeta and are thus not readable today. This paper introduces computer-based approaches to the reconstruction of znamenny notation without pomjeta into modern music notation. These approaches are trained on dvojyeznamenniks but can be applied to manuscripts without pomjeta.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"298 - 306"},"PeriodicalIF":1.1,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1762666","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46109398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-04DOI: 10.1080/09298215.2020.1761399
Antonio Caparrini, J. Arroyo, Laura Pérez-Molina, J. Sánchez-Hernández
Electronic dance music (EDM) is a genre where thousands of new songs are released every week. The list of EDM subgenres considered is long, but it also evolves according to trends and musical tastes. With this in view, we have retrieved two sets of over 2000 songs separated by more than a year. Songs belong to the top 100 list of an EDM website taxonomy of more than 20 subgenres that changed in the period considered. We test the effectiveness of automatic classification on these sets and delve into the results to determine, for example, which subgenres perform better and worse, how the performance of some subgenres change in the two sets, or how some subgenres are often confused with one another. We illustrate confusion among subgenres by a graph and interpret it as a taxonomic map of EDM. We also assess the deterioration of the performance of the classifier of the first set when used to classify the second one. Finally, we study how the new subgenres that appear in the second set relate to the old ones with the help of the classifier of the first set. As a result, this work illustrates the main challenges that EDM poses to automatic classification and provides insights into where are the limits of this approach.
{"title":"Automatic subgenre classification in an electronic dance music taxonomy","authors":"Antonio Caparrini, J. Arroyo, Laura Pérez-Molina, J. Sánchez-Hernández","doi":"10.1080/09298215.2020.1761399","DOIUrl":"https://doi.org/10.1080/09298215.2020.1761399","url":null,"abstract":"Electronic dance music (EDM) is a genre where thousands of new songs are released every week. The list of EDM subgenres considered is long, but it also evolves according to trends and musical tastes. With this in view, we have retrieved two sets of over 2000 songs separated by more than a year. Songs belong to the top 100 list of an EDM website taxonomy of more than 20 subgenres that changed in the period considered. We test the effectiveness of automatic classification on these sets and delve into the results to determine, for example, which subgenres perform better and worse, how the performance of some subgenres change in the two sets, or how some subgenres are often confused with one another. We illustrate confusion among subgenres by a graph and interpret it as a taxonomic map of EDM. We also assess the deterioration of the performance of the classifier of the first set when used to classify the second one. Finally, we study how the new subgenres that appear in the second set relate to the old ones with the help of the classifier of the first set. As a result, this work illustrates the main challenges that EDM poses to automatic classification and provides insights into where are the limits of this approach.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"269 - 284"},"PeriodicalIF":1.1,"publicationDate":"2020-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1761399","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59858216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-21DOI: 10.1080/09298215.2020.1751209
Katherine Vukovics, D. Shanahan
The normalised pairwise variability index (nPVI), has been frequently used to measure the rhythmic variance between musical onsets. For example, researchers have proposed connections between the nationalities of composers and the nPVI values of their music and native language. One particular issue, however, lies in the notion of intended nationality – composers frequently wrote in national styles other than their own. This study employs the RISM-World dataset to both replicate previous findings relating the rhythmic variance of melodies to the nationalities of composers, and to examine intended nationality in the music of Mozart and Handel, namely their operas and oratorios.
{"title":"Rhythmic variability, language, and style: A replication and extension of nPVI findings with the RISM dataset","authors":"Katherine Vukovics, D. Shanahan","doi":"10.1080/09298215.2020.1751209","DOIUrl":"https://doi.org/10.1080/09298215.2020.1751209","url":null,"abstract":"The normalised pairwise variability index (nPVI), has been frequently used to measure the rhythmic variance between musical onsets. For example, researchers have proposed connections between the nationalities of composers and the nPVI values of their music and native language. One particular issue, however, lies in the notion of intended nationality – composers frequently wrote in national styles other than their own. This study employs the RISM-World dataset to both replicate previous findings relating the rhythmic variance of melodies to the nationalities of composers, and to examine intended nationality in the music of Mozart and Handel, namely their operas and oratorios.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"285 - 297"},"PeriodicalIF":1.1,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1751209","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42940984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-13DOI: 10.1080/09298215.2020.1749672
Alexis Kirke
This paper introduces MIq (Multi-Agent Interactive qgMuse), which builds on the single agent quantum system qgMuse using teleportation. MIq is the first attempt at a real-time interactive quantum computer music algorithm that utilises the quantum advantage. Previous interactive or real-time quantum music algorithms running on quantum computers have been mappings of classical computing algorithms, with no quantum advantage obtained. MIq provides a quadratic speed-up over classical methods. It is a Quantum Hybrid Multi-agent System architecture implemented on 5 and 14 qubit quantum hardware. Classical agents and quantum agents connect via a classical/quantum hybrid agent that enables communication using quantum teleportation.
{"title":"Testing a hybrid hardware quantum multi-agent system architecture that utilizes the quantum speed advantage for interactive computer music","authors":"Alexis Kirke","doi":"10.1080/09298215.2020.1749672","DOIUrl":"https://doi.org/10.1080/09298215.2020.1749672","url":null,"abstract":"This paper introduces MIq (Multi-Agent Interactive qgMuse), which builds on the single agent quantum system qgMuse using teleportation. MIq is the first attempt at a real-time interactive quantum computer music algorithm that utilises the quantum advantage. Previous interactive or real-time quantum music algorithms running on quantum computers have been mappings of classical computing algorithms, with no quantum advantage obtained. MIq provides a quadratic speed-up over classical methods. It is a Quantum Hybrid Multi-agent System architecture implemented on 5 and 14 qubit quantum hardware. Classical agents and quantum agents connect via a classical/quantum hybrid agent that enables communication using quantum teleportation.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"209 - 230"},"PeriodicalIF":1.1,"publicationDate":"2020-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1749672","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47327385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-13DOI: 10.1080/09298215.2020.1749285
J. Brown, Nathan Cornelius
This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.
{"title":"Hearing tetrachords in an atonal context","authors":"J. Brown, Nathan Cornelius","doi":"10.1080/09298215.2020.1749285","DOIUrl":"https://doi.org/10.1080/09298215.2020.1749285","url":null,"abstract":"This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"252 - 268"},"PeriodicalIF":1.1,"publicationDate":"2020-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1749285","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46826958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-13DOI: 10.1080/09298215.2020.1749673
Jason Noble, S. McAdams
The term ‘post-tonal’ embodies a broad distinction between musical explorations of new combinations of tones (‘post-tonality’) and explorations of sonic resources other than tones (‘post-tone’). A significant turning-point in post-tone thinking occurred when some composers replaced notes with masses of notes, or sound masses, as musical units. Existing definitions of sound mass are reviewed and a new definition drawing on empirical evidence is offered. The perceptual principles that are involved in the perception of polyphonic music are demonstrated to also ground sound mass perception, with opposite aesthetic goals achieved through radically different musical organisation.
{"title":"Sound mass, auditory perception, and ‘post-tone’ music","authors":"Jason Noble, S. McAdams","doi":"10.1080/09298215.2020.1749673","DOIUrl":"https://doi.org/10.1080/09298215.2020.1749673","url":null,"abstract":"The term ‘post-tonal’ embodies a broad distinction between musical explorations of new combinations of tones (‘post-tonality’) and explorations of sonic resources other than tones (‘post-tone’). A significant turning-point in post-tone thinking occurred when some composers replaced notes with masses of notes, or sound masses, as musical units. Existing definitions of sound mass are reviewed and a new definition drawing on empirical evidence is offered. The perceptual principles that are involved in the perception of polyphonic music are demonstrated to also ground sound mass perception, with opposite aesthetic goals achieved through radically different musical organisation.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 1","pages":"231 - 251"},"PeriodicalIF":1.1,"publicationDate":"2020-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1749673","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43456508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-09eCollection Date: 2020-01-01DOI: 10.1080/09298215.2020.1722181
Oliver Hödl, Christoph Bartmann, Fares Kayali, Christian Löw, Peter Purgathofer
We present a study and reflection about the role and use of smartphone technology for a large-scale musical performance involving audience participation. We evaluated a full design and development process from initial ideation to a final performance concept. We found that the smartphone became the design tool, the technical device and the musical instrument at the same time. As a technical device that uses ultrasound communication as interaction technique, the smartphone became inspirational for the artist's creative work. In aiming to support the artist, we observed pervasive importance of retaining artistic control to realise artistic intent. This concerns the co-design process and the resulting concept of audience participation and supports recommendations for such participatory work.
{"title":"Large-scale audience participation in live music using smartphones.","authors":"Oliver Hödl, Christoph Bartmann, Fares Kayali, Christian Löw, Peter Purgathofer","doi":"10.1080/09298215.2020.1722181","DOIUrl":"https://doi.org/10.1080/09298215.2020.1722181","url":null,"abstract":"<p><p>We present a study and reflection about the role and use of smartphone technology for a large-scale musical performance involving audience participation. We evaluated a full design and development process from initial ideation to a final performance concept. We found that the smartphone became the design tool, the technical device and the musical instrument at the same time. As a technical device that uses ultrasound communication as interaction technique, the smartphone became inspirational for the artist's creative work. In aiming to support the artist, we observed pervasive importance of retaining artistic control to realise artistic intent. This concerns the co-design process and the resulting concept of audience participation and supports recommendations for such participatory work.</p>","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"49 2","pages":"192-207"},"PeriodicalIF":1.1,"publicationDate":"2020-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1722181","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"37807892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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