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Musical Analysis - Science topic
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Questions related to Musical Analysis
The work of George and Shamir describes a method to use spectrogram as an image for classifying audio records. The method described is interesting, but the results seemed to me a little adjusted to the chronology and not to the spectrogram properties at itself. The spectrogram gives a limited information about the audio signal, but it is enough to do a classification method?
When I look around I see the number of people listening to sad music is much higher than those who listening to cheerful music. I know it varies from one culture to another.
I can imagine the previous experiences of a listener plays a great role in habit of listening but to what extend the sad music relates to past incidents and events of listeners?
Has anyone done an experiment using a dichotic listening test? I am looking at conducting a dichotic listening test using music - it would be great if someone could share their experience with me on their methodology. I am looking at presenting simultaneously a tone, chord, rhythm and melody.
I need to analyse the music structure of a haevy metal song, is there any "protocol" to follow, for best and more objective analysis? I am a biologist and in my PhD course I want to study the impact of rock in cell metabolism.
Thanks for helping me.
Danielle - Brasil
Since music has different dimensions such as notes with melody, amplitude modulation, rhythm accompaniment, timbre etc. finding similar musical pattern is a challenging task. For polyphonic music it is more challenging and difficult task.
Any work done for matching melodic pattern and finding similarity associated?
We like to think that music is mathematical but according to Wikipedia there is no axiomatic basis for music. How are musical sets constructed using basic set theoretic tools of union, intersection, and complimentation?
I propose using sequences in tablature music for guitar to study how polyphonic objects are constructed by adding point-wise limits to the continuous function of pitch. Tablature music is a rich algebraic language that has substantial archival, educational, cultural, and economic significance but no mathematic theory of tablature exists.
I have mastered reading and writing tablature. Anyone familiar with my study of multiple parathyroid tumors in the Journal of Theoretic Biology back in 1985 can see I have substantial training in mathematics.
I need a mathematician who knows model theory or algebraic topology to review my work. Please see the attached manuscript if you are interested in making a modern mathematic model for music theory.
The basic problem: Are music sets constructible?
It could even be a book or paper that deals with that kind of approach.
I consider that music analysis must be consolidated under new points of view,: the open, live, and music connected sociology, like sociosophy understanding of music history. By other side, the music listening must be more rich and productive, music is history, life of society, so, por this reason it is very important to apply elements of musicosophy. Now I am working in Shostakovich`s music, and I found there we all we have a bigger field. I need this suppor, and found materials about this new perspectives to apply my theories and opinions.
By incorporation, we mean any level of relationship between the traditional manifestation and the compositional process of the author.
We want to find pieces wherein music parameters from both new composition and traditional music would be somehow related.
For instance, the composer could create his pitch logics, sense of time, textures, musical gestures, rhythmic, sound colors, process, performance rituals, among others, based on aspects of the traditional culture's music.
I need to know how music processing can be carried out using Java. Please suggest any references or sites if any.
I'm trying to apply non-functional relations between triads and seventh chords and between traditional scales to the classical guitar using harmonic progressions from the works of romantic and modern classical composers as referents for improvisation.
In my submission "A Brief History of Modulation in Musical Rhetoric and Brahms' Harmonic Ambiguity ", I identify the need for a study to correlate musical devices and mental states. The first step is to develop[ a catalog of such devices. These include among many effects, modulation (shifts in tonicity), silence, unison, changes in rhythmic texture etc.
By using the term "mental states", I choose a broader field than mere "emotion".
With an understanding of composition/improvisation (generative), there are a great many possibilities. Just within modulation, Max Reger has developed an extensive catalog of the devices, alas no mention is made of effect on an audience. Rameau in his treatise on Harmony discusses very briefly an emotional response to chromatic modulation (please see my article for the citation specifics; Reger is not cited in this paper yet. It remains in an unfinished form: more than a few citations TBD.
Gee, how do I put a citation here? - simple footnote:
Max Reger: Modulation (Dover Books on Music) Paperback 2007
ISBN 048645732X
Jean-Philippe Rameau: Treatise on Harmony Dover 1971
ISBN 0-486-22461-9
Hi everybody! I am looking for a (maybe free, open source) tool to visualize musical analyses while showing the score. It should allow to color parts of the score as well as writing notes on it (like roman numerals, functional symbols or just random text). Also nice would be to be able to play the score while highlighing thinks. So far, I have worked with PowerPoint but that is too inflexible for my purposes. The addressees are students of musicology or music theory as well as other scholars at conferences and so on.
So I am keen about your suggestions :)
Given the fact that music historiographies still today deals almost entirely with “dead subjects” (i.e. music of the last centuries which in many cases represents discourses not active anymore), is it possible to draft a non-linear concept of a contemporary history of music that focuses on the “effectiveness” of the past in the present (perhaps in the sense of Warburg´s pathos formula-idea)?
The scale has been developed in 2001 by the Goldsmiths to explore music engagement/abilities in non-musicians.
For instance, any research about how to use the different tuning systems and/or the equal temperament when there is a guitar in the ensemble.
Hi all,
I need some help to use WEKA. The study which I am conducting researches if musical features of a song (such as the tempo or the key) are able to predict if a song will end up high or low in the charts. A logistic regression and discriminant analyses were conducted. In the next part of my study, I wanted to split the file on key (major and minor) and see if the other musical features are able to predict if a song will end high or low in the charts, when the data is split on key. In SPSS split file on key was easy, but how can I also do this in WEKA? So, what I am trying to figure out with this analysis is how songs which have a major key can predict if a song will end up high or low in the chart by using the other musical features and the same for minor key. Thanks for your help!
I am interested in the ontological structure of improvised music and I would appreciate literature recommendations.
I am someone from a different discipline who has been given the task of researching the music of Skrillex. As part of what I am doing, I would like to give a musicologist's interpretation of perhaps just one of his songs, but unfortunately I cannot do this myself and don't know anyone who can. I would just be looking for someone who could tell me simple things about the composition, or any anomalies if there happen to be any, or even someone who could transcribe it into sheet music for me. This would be the song http://www.youtube.com/watch?v=2cXDgFwE13g. I am interested in the part that happens from 1:26 of this video, to 2:08, and similar.
Thank you in advance to anyone who can help me out, or can point me in the direction of someone who can.
Do traditional classroom and instrumental lessons equip students to engage with, understand, analyse and perform contemporary music (contemporary classical rather than popular) as efficiently as western classical music from the Baroque to Romantic period? Considering music post 1950's, with new instruments and sound worlds created through technology, classical applications of time and key signature often not in use (aleatoric or serial music for example), common use of dissonant or unexpected intervals/cadences/harmony, new conceptual focus within pieces and extended techniques often being applied, do these works demand an equally contemporary pedagogical approach (and who or what may they be?) or do traditional methods suffice?