Melodic Similarity CS 275B/Music 254.

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Presentation transcript:

Melodic Similarity CS 275B/Music 254

"Natural history" of similarity Concept of similarity fundamental to organization of most art music Types of similarity widely variant Roles of similarity widely variant Similarity in art music is intentional 2016 Eleanor Selfridge-Field 4/17/2019

Contour matches (accidental) Target: Chant: “Lucis Creator” Some hits: Bach WTC Bizet: Carmen Saint-Saens: Carnival (via Offenbach) Mozart: Symphony No. 41, IV 2016 Eleanor Selfridge-Field 4/17/2019

Melodic “Invisibility” Factors Elaboration of something simple Compound melodies (monophonic) Psycho-acoustic tricks (polyphonic) Rotating melodies Ambiguous foreground/background Metrical ambiguity 2016 Eleanor Selfridge-Field 4/17/2019

2016 Eleanor Selfridge-Field Elaboration Bach, Art of Fugue (after Wiering et al.) > 2016 Eleanor Selfridge-Field 4/17/2019

Classic features of melody: symbols vs humans Eerola et al, MP (2001): Statistical vs perceptual melodic similarity Material used: Finnish folk songs Frequency distributions (symbols) Tones Intervals Durations Two-tone transitions Frequency distributions (listeners) Tessitura Mean pitch Rhythmic activity Rhythmic variability Melodic predictability 2016 Eleanor Selfridge-Field 4/17/2019

Recency, Latency (Music/Linguistics) Mario Baroni, Carlo Jacoboni, et al. (1984 et al.) Melodic kernel Tessitura Start and end points, by phrase Repertories Legrenzi cantatas 2016 Eleanor Selfridge-Field 4/17/20194/17/2019

Folksong research methods Main technique: scan phrase endings, the compile “footprint” of overall scheme Essen analysis tools (c. 1991) 2016 Eleanor Selfridge-Field 4/17/2019

Muellensiefen: Algorithmic vs Human Judgment Works by Passion Fruit Repertory: popular Data: MIDI Processes include: contour generalization aliasing fuzzification Features: intervals contour rhythm harmony recurrent motifs 2016 Eleanor Selfridge-Field 4/17/20194/17/2019

2016 Eleanor Selfridge-Field Perceptual tricks Compound melody Distributed melody One voice that we hear as two Two voices that we hear as one 2016 Eleanor Selfridge-Field 4/17/2019

2016 Eleanor Selfridge-Field Rotating melodies B, T, B, T; A, S Haydn: “Archduke” String Quartet 2016 Eleanor Selfridge-Field 4/17/2019

Perceptual tricks: Ambiguous foreground/background Schubert 2016 Eleanor Selfridge-Field 4/17/2019

Perceptual tricks: Metrical ambiguity Ratner Brahms 2016 Eleanor Selfridge-Field 4/17/2019

Tune-family studies (social cognition) ESF ISMIR 2006 Morris tune Weelkes (1608) Jones (1802) Londonderry air Verse part: 1704 Chorus part: 1850 2016 Eleanor Selfridge-Field 4/17/2019 Londonderry Verse part (1704)

A similarity study: Ballo di Mantova 2016 Eleanor Selfridge-Field 4/17/2019

2016 Eleanor Selfridge-Field Ballo di Mantova 2016 Eleanor Selfridge-Field 4/17/2019

Same melody, other social contexts Dance of Mantua as Dvorak’s “Moldau” theme As “Hatikva” (Israeli national anthem) 2016 Eleanor Selfridge-Field 4/17/2019

What makes “same” melodies recognizable? Meter (except compound adaptations) Especially rhythmic patterns associated with particular dance steps Residues of motor memory? Mode usually (not always) preserved) Are major > minor equivalent to minor > major? Social convention Properties external to music itself 2016 Eleanor Selfridge-Field 4/17/2019

Websites for literature on similarity www.ismir.net Proceedings for individuals years can be downloaded Psychinfo [lib.stanford.edu databases] RILM [lib.stanford.edu databases] OR searchworks.stanford.edu 2016 Eleanor Selfridge-Field 4/17/2019

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