musical similarity: more perspectives and compound techniques
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Musical Similarity: More perspectives and compound techniques. CS 275B/Music 254. Musical similarity. Similarity studies in general Reductionist approachs Social cognition Timbral confounds Compound search techniques Cognitive distance metrics Affective similarity. - PowerPoint PPT PresentationTRANSCRIPT
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Musical Similarity: More perspectives and compound techniques
CS 275B/Music 254
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Musical similarity Similarity studies in general Reductionist approachs Social cognition Timbral confounds Compound search techniques Cognitive distance metrics Affective similarity
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Timbral confounds
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Reductionist approaches: melodic simplification
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Target: 3452
(Vertical)
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Time-span reduction
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German folksong
Substitution of one pitch for each bar
Work of Helmut Schaffrath and pupils (Essen)
cf. http://www.esac-data.org
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Time-span reduction
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German folksong
Substitution of one pitch for each bar
Work of Helmut Schaffrath and pupils (Essen)
cf. http://www.esac-data.org
Lerdahl-Jackendoff approachmore nuanced
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Social cognition
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Morris tune
Danny Boy
The Folìa
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Social cognition, cont.
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A, B = title-drivenC, D, E = content-driven
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Co-ordinated pitch/duration similarity
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Manfred Leppig (German mathematician)
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Leppig vs Riess Jones
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Mari Riess Jones (OSU)
Manfred Leppig (1987)
1: 1 3 5 8 6 86 5 4 5 3 1 2 1 2: 1 1 5 5 6 6 5 4 4 3 3 223 1 D: 0 2 0 3 0 2 0 0 1 0 -2 0 0
mathematics
psychology
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Pitch-time space: interval reductions
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Suk Won Yi, UCLA, (1992)
Interval 1.00 0.00 0.00 1.00 0.00 0.00 1.00 0.00 8.00 0.00
Duration 0.25 0.25 0.50 0.25 0.25 0.50 0.25 0.25 0.50 1.00
Coefficient of Melodic Activity 2.61 1.91 1.91 2.61 1.91 1.91 2.61 1.91 3.48 0.53
Pitch 9 8 8 9 8 8 9 8 8 16
Duration .25 .25 .5 .25 .25 .5 .25 .25 .5 .5
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Pitch-time space: Lerdahl, Krumhansl (2007)
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Tension attractionValues projectedvs values judged
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Prototypical (elusive) melodies
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Hypothetical melody: Mozart Piano Sonata in G Major
ActualitiesPossible reductions
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Narmour: Theory of Melody (and melodic implication)
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If interval < fourthstepwise departure likely
If interval fourthdirectional change likely
Cf. Themefinder refined contour search
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Transportation distance
Wiering, Typke et al. (2005): Earth Mover’s Distance
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EMD: S. Cohen et al., SU Robotics, 1999
Joint pitch and duration metric
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Affective similarityPerforming medium
Genre contrast
Classical title Other title
Piano Classical-contemporary
Rachmaninov: Moment Musical Op 16, No. 2
Ligeti: Concerto for Piano and Orchestra
Piano Classical-jazz Schumann: Kreisleriana Op 16, No. 5
Gershwin: “I loves you, Porgy” (Porgy and Bess)
Orchestral Classical-jazz Prokofiev: Symphonie Op 100, No. 5, movement 1
Gershwin: Porgy and Bess
Orchestral Classical-pop Beethoven: Romance for Violin and Orchestra Op 50, No. 2
Beatles: “Eleanor Rigby”
Classical-musical
Beethoven: Romance for Violin and Orchestra Op 50, No. 2
Nacio Herb Brown: “Singin‘ in the Rain”
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Table 2. Anomalous listener-defined similaritiesamong works of different genres in the Aucouturier-Pachet research.
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Cognitive distance metric (1)1. Basic Pitch-Accent Structure Range = 0-
4 A.
If meter matches target Max = 1.00 and If subunit (e.g. quarter note) is the same Score =
1.00 or If subunit is different (e.g., 4/8 vs. 2/4) Score =
0.50 Else Score = 0.00 B. Percentage of matched pitches on primary beats* Max = 2.00 If matching number of scale degrees=100% Score = 2.00 or If matching number of scale degrees
=>90%Score = 1.33
or If matched number of notes/unit =>80%Score=0.67
Score = 0.67 Else Score = 0.00 C. Percentage of matched pitches on secondary beats Max = 1.00
If matching number of scale degrees=100% Score = 1.00 or If matching number of scale degrees=>90% Score =
0.67 or If matched number of notes/unit =>80%
Score=0.33Score = 0.33
Else Score = 0.00
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Cognitive distance metric (2)II. Basic Harmonic-Accent Structure Range = 0-
6A. Mode of work (major, minor, other) Max = 1.00 If modes match Score = 1.00 Else Score = 0.00 B. Percentage of matched chords on downbeat** Max = 2.50 If unambiguous matches on primary beats =>90% Score = 2.50 or If unambiguous matches on primary beats
=>80%Score = 2.00
or If unambiguous matches on primary beat =>70%
Score = 1.50
Else Score = 0.00 C. Percentage of matched chords on secondary beats** Max = 2.00 If unambiguous matches =>90% Score = 2.00 o
rIf unambiguous matches =>80% Score = 1.50
or
If unambiguous matches =>70% Score = 1.00
Else Score = 0.00 D. Percentage of matched chords on tertiary beats Max = 0.50 If unambiguous matches =>90% Score = 0.50 Else Score = 0.0
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Cognitive distance metric (3)Example Pitch-Accent score Harmony-Accent score Total score (additive)
Raw Ranked Raw Ranked Raw Ranked
2a 3.67 2 5.5 3 9.17 2
2b 3.67 2 5.0 4 8.67 3
2c 2.67 6 6.0 1 8.67 3
2d 1.17 9 4.5 5 6.67 8
2e 2.67 6 4.0 9 6.67 8
2f 2.33 8 4.5 5 6.83 7
2g 1.00 10 2.0 11 3.00 11
2h 3.50 4 4.5 5 8.00 6
2i 4.00 1 4.5 5 8.50 5
2j 1.00 10 4.0 9 5.00 10
2k 3.33 5 6.0 1 9.33 1
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Evaluating search viability and efficiency Krumhansl, 2000 [theoretical] Sapp, Liu, Selfridge-Field, 2004 [practical]
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Sapp, Liu, Selfridge-Field (ISMIR 2004)
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Data
Search Effectiveness (1)
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Search Effectiveness (2)
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Pitch features
Meter features
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Search Effectivesness (3)
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Sample search
Coupled search
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Results
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