A model of large-scale thematic structure

IF 1.1 4区计算机科学 Q4 COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS

Journal of New Music Research Pub Date : 2021-05-27 DOI:10.1080/09298215.2021.1930062

Edward T. R. Hall, M. Pearce

引用次数: 1

Abstract

The coherent organisation of thematic material into large-scale structures within a composition is an important concept in both traditional and cognitive theories of music. However, empirical evidence supporting their perception is scarce. Providing a more nuanced approach, this paper introduces a computational model of hypothesised cognitive mechanisms underlying perception of large-scale thematic structure. Repetition detection based on statistical learning forms the model's foundation, hypothesising that predictability arising from repetition creates perceived thematic coherence. Measures are produced that characterise structural properties of a corpus of 623 monophonic compositions. Exploratory analysis reveals the extent to which these measures vary systematically and independently.

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大型主位结构的典范

将主题材料连贯地组织成作品中的大型结构是传统音乐理论和认知音乐理论中的一个重要概念。然而，经验证据支持他们的看法是稀缺的。本文提供了一种更细致入微的方法，介绍了大型主题结构感知的假设认知机制的计算模型。基于统计学习的重复检测构成了模型的基础，假设重复产生的可预测性创造了可感知的主题一致性。测量产生，表征623单音组成的语料库的结构特性。探索性分析揭示了这些措施系统性和独立性变化的程度。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of New Music Research 工程技术-计算机：跨学科应用

CiteScore

3.20

自引率

0.00%

发文量

审稿时长

>12 weeks

期刊介绍： The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon of western classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.