Pitch contour - Factbites

Pitch contour - Factbites
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Topic: Pitch contour

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	Week 8
		Monahan, Kendall, and Carterette empirically tested their original model of melody as layers of temporal and pitch contours, and found that when the contour clocks 'line up' it is easier to remember a melody than when temporal and pitch contour clocks are out of alignment.
		On first hearing it is the patterns of pitch changes (pitch contour) that is stored in memory, while the exact pitches are subsequently 'assigned' on this contour.
		Pitch or rhythmic contour inflections become accents after they have occurred, pointing back to our previous discussion on the importance of the syntactical/temporal aspects of musical organization.
	www.ethnomusic.ucla.edu /courses/ESM172a/Files172A/Week8.htm

	Journal of Cognitive Neuroscience - Automatic and Controlled Processing of Melodic Contour and Interval Information Measured by Electrical Brain Activity - The MIT Press
		However, melodic information is thought to be encoded in the brain in two different "relative pitch" forms, a domain-general contour code (up/down pattern of pitch changes) and a music-specific interval code (exact pitch distances between notes).
		Both types of melodic information were encoded automatically in the absence of absolute pitch cues, as indexed by a mismatch negativity wave recorded during the passive conditions.
		Event-related potentials were analyzed in nonmusicians from both passive and active oddball tasks where either the contour or the interval of melody—final notes was occasionally altered.
	mitpress.mit.edu /catalog/item/default.asp?sid=BE97609B-656F-485F-8643-1A524FDDFE0D&ttype=6&tid=8706

	Paper_Madrid.doc
		The basic element of that grammar is the pitch contour pattern ($pcp) that may be either the fall-HMM or the rise-HMM or one of the two sequences of HMMs: the fall HMM and the lowborder-HMMor the rise HMM and the highborder-HMM*.
		Finally, the noise model is intended to cover all pitch contour patterns that do not match any of the categories above.
		If this pitch contour classificator is embeded in a system that implements sentence grammar, the accented syllable is known by the system and the sentence accent pattern can be looked up.
	www.ee.columbia.edu /~jliu/papers/Paper_Madrid.doc (1590 words)

	Musical Development of the Young Child
		When given time to experiment freely with musical instruments, five-year olds played sequential diatonic and chromatic tones on the xylophone, demonstrating an understanding of the concepts of pitch and melodic contour, but four year olds played random tones.
		Ramsey (1983) further investigated the effects of age on preschool children's melodic and found that, once again, age was a significant factor in melodic perception, specifically in the perception of melodic rhythm, melodic contour, and melodic interval.
		They noted that the discrepancy between the two studies may be due, in part, to differences in scoring-the British study included pitch scores that were accurate within a semitone while the American study required the children to be exactly on pitch.
	www.music4kidsonline.com /meyc/musdev.htm (1590 words)

	Error Frequency and Magnitude in Melodic Dictation
		In examining the ordering of mean error size by association with the tonal scale degree of the correct pitch, the relatively high mean error size associated with tonic may be the result of a lack of recognition of the modulation occurring at the end of the duet's second phrase.
		When mean error sizes are ordered by their association with the tonal scale degree functions of the correct pitch, we see that supertonic, leading tone, mediant and tonic pitches all fall toward the lower end of the mean values (see Figure 4).
		Previous research has shown that musically trained and experienced subjects can accurately notate the pitch structure of a W.A. mozart duet for violin and viola (Figure 1) after hearing it performed three times, and that patterns of correct responses yield insight into the strategies employed by the subjects (Baczewski and Killam, 1989).
	pcb2.acs.unt.edu /poster (1590 words)

	MidiToolbox: combcontour
		This matrix is a representation of melodic contour, preserving relative rather than specific pitch height information.
		A one is inserted in the i,j-th entry if the pitch of note i is higher than the pitch of note j.
		Input arguments: NMAT = notematrix Output: C = matrix of ones and zeros representing melodic contour.
	www.jyu.fi /musica/miditoolbox/combcontour.htm (1590 words)

	Tone contour -- Facts, Info, and Encyclopedia article
		Tone contours are numbers that represent the way ((baseball) the throwing of a baseball by a pitcher to a batter) pitch varies over a (A unit of spoken language larger than a phoneme) syllable.
		The (additional info and facts about Standard Mandarin) Standard Mandarin third tone has a tone contour /214/, showing a pitch that dips and then rises.
		Examples of level tone contours are /11/, /22/, /33/, /44/ and /55/.
	www.absoluteastronomy.com /encyclopedia/t/to/tone_contour.htm (140 words)

	The Melodic Arch in Western Folksongs
		That is, the high pitches that tend to terminate an ascending phrase contour ought to be followed by contours that tend to return the melody to the central pitch region.
		Many music theorists have noted that melodic passages tend to exhibit an `arch' shape where the overall pitch contour rises and then falls over the course of a phrase or an entire melody.
		If arch-shaped phrase contours tend to be nested in arch-shaped melodic contours, then we would predict a significant positive correlation between the whole-melody convexity and the proportion of phrases that are convex.
	www.music-cog.ohio-state.edu /Huron/Publications/huron.arch.text.html (140 words)

	Programming tool makes bugs sing TRN 080702
		They then set up software that mapped pitch and melodic contour information to structural elements in the programming language Pascal.
		The researchers first tested the ability of the average non-musician to distinguish differences like pitch using sounds similar to those musical instruments make.
		In writing the motifs, the researchers used the common diatonic, seven-note scale, which is easy to memorize and recognize, and they made use of several sound variables that are easy to follow.
	www.trnmag.com /Stories/2002/080702/Programming_tool_makes_bugs_sing_080702.html (140 words)

	Receptive amusia: evidence for cross-hemispheric neural networks underlying music processing strategies -- Schuppert et al. 123 (3): 546 -- Brain
		Mean numbers of correct responses obtained for the discrimination of pitch, interval, contour, rhythm and metre.
		Zatorre RJ, Evans AC, Meyer E. Neural mechanisms underlying melodic perception and memory for pitch.
		Melodic and harmonic discrimination following unilateral cerebral excision.
	brain.oxfordjournals.org /cgi/content/full/123/3/546 (140 words)

	Pitch and Timbre: Definition, Meaning and Use
		In speech, a pitch contour is a rather continuous melody-like pattern that is evoked by vowels and voiced consonants, and is directly related to the vibration rate of the vocal cords.
		Although pitch space is a continuum, it is, at least in Western music, treated as a collection of steps, where pitch intervals correspond to certain well-defined frequency ratios.
		The pitch of periodically interrupted noise (Miller and Taylor 1948), the (missing fundamental) pitch of temporally sequential successive harmonics (Hall and Peters 1981), and binaural edge pitch (Klein and Hartmann 1981) were all identified and measured by means of discrimination or matching experiments, where only ordinal properties of the sensation play a role.
	www.zainea.com /pitchtimbre.htm (3283 words)

	ToBI.2.html
		Because it is the L target in the `scooped' accent that is associated to the stressed syllable, and not the H, the high pitch target is specified only as occurring somewhat later than the L, and the timing of the peak f0 relative to the segments is not controlled.
		The leading L tone in L+H* is meant to transcribe a rise from a fundamental frequency value low in the pitch range that cannot be attributed to a L* pitch accent on the preceding syllable or to a L- phrase accent or L% boundary tone at a preceding intermediate-phrase or intonation-phrase boundary.
		Because speakers can vary their pitch ranges seemingly without limit to convey discourse organization or degree of involvement, and because downstep can happen many times within a single phrase, sometimes it is difficult to tell whether a tone is H or L, even when one is sure a tone is there.
	www.ling.ohio-state.edu /research/phonetics/E_ToBI/ToBI/ToBI.2.html (8926 words)

	New Page 1
		Following melodic transcription, preliminary manual analysis, and preparation and inputting of raw data, the full course of computer-assisted comparisons involves two steps, the first of which is a scan of arrays that contain numeric codes for the pitch, duration, and stress factors of specified control and test variants at multiple structural-perceptual levels.
		Concordance tabulations and percentages, melodic contour graphs, and pre-programmed conclusions are compared to both a visual analysis of the melodic transcriptions and an auditory comparison of the sounding musical examples.
		The third premise is that, when one is considering melodies within the oral-aural sphere, both melodic contour, at a multiplicity of levels of structural-perceptual complexity, and short formulaic patterns (called cells in the MelAnaly system) that open and close melodic sections and act as mnemonic anchors are important.
	home.earthlink.net /~llywarch/mly01.html.htm (8926 words)

	Towards Melodic Extension Using Genetic Algorithms
		These features involved pitch, tonality, melodic contour, rhythm and repeated patterns or motifs.
		Contour direction is always close to 0.5 (feature 6), (that is, melodies tend to start and finish close to the same note) and changes in melodic direction occur on average every 1.6 intervals.
		Thus the melodic suggestions produced by the GA should be ‘appropriate’ but do not need to be ideal.
	ifets.ieee.org /periodical/vol_2_2001/towsey.html (8926 words)

	mto.00.6.2.tenzer.art
		Yet despite variance in pitch and tuning, the integrity of musical works is strongly affirmed by the Balinese, and contour theory provides an ideal heuristic for glossing interval discrepancies in the interest of exploring compositional function.
		contour class (CC): ordered, 4-member set of integers showing contour and interval relationships among four consecutive tones in a given stratum; the last of the four must be in a metrically stressed position, and is set to 0 to provide a point of orientation 9.
		They follow the contour of the pokok exactly and are not articulated as an independent stratum, blending instead into the overall texture of the gamelan.
	www.societymusictheory.org /mto/issues/mto.00.6.2/mto.00.6.2.tenzer.art (8926 words)

	Experiment on Melodic Similarity
		Dowling, W. & Fujitani, D. Contour, interval, and pitch recognition in memory for melodies.
		Contour: Melodic contour plays a central role in the recognition of familiar melodies (Dowling, 1971), and has often been used as a criterion for the classification of melodic material in ethnomusicology (Adams 1976).
		In trials to compare the effect of contour change versus interval difference, pairs of trials were designed so that a trial a contained two fragments with zero contour difference and interval difference of a given arbitrary non-zero value x.
	www.chameleongroup.org.uk /research/sim.html (8926 words)

	webstuff\elements
		Pitch contour: the distinct overall path of movement implied by pitches that follow one another in sequence
		PITCH : The quality of sound that allows a listener to relate one sound to another in terms of relative highness and lowness.
		MELODY: A sequence of musical elements in which each member contributes characteristics (pitch, rhythm, dynamics, tone color) that distinguish the continuity of the sequence and the position of its members
	www.msu.edu /course/phl/474/phl474/fall97/peterson_1/elements.html (8926 words)

	Dannenberg, Roger, rbd@cs
		The general trend of the envelope (increasing or decreasing) is affected by the neighboring pitch contour as described in the previous section.
		The purpose of these tests was to determine whether melodic contour had a significant effect on the shape of the envelopes.
		By looking to melodic contour and other simple features that are readily apparent in the score, we can account for a great deal of variation in envelope shape.
	www.cs.cmu.edu /~rbd/papers/tptenv98/tptenv98.htm (8926 words)

	term_I
		Repetition of the melodic contour of one part by another, often at a different pitch.
		The term ‘harmonic interval’ (as opposed to ‘melodic interval’) indicates that they are thought of as being heard simultaneously.
		Intervals are traditionally labelled according to the number of steps they embrace in a diatonic scale, counted inclusively: thus from C up to D or down to B is a 2nd, another step up to E or
	www.artic.edu /webspaces/viscom4570/class2003_spring/haeyoung_han/assignment1/musicterm/termi.htm (8926 words)

	Arts Matters - PD - Strands - Music
		follow visual representations (iconic diagrams) of melodic contour and describe relative pitch movement.
		Physical demonstration, visual representation and aural perception of melodic contour are the major components of this lesson and serve as a foundation for melodic reading.
		Recognising a melody aurally and representing its contour -- both physically and visually -- helps students understand how music moves.
	www.sofweb.vic.edu.au /arts/matters/pdsite/music/mL1a/PTS.asp (8926 words)

	Canadian Journal of Experimental Psychology: Tracking Musical Patterns using Joint Accent Structure
		For example, as a melody rises in pitch some have maintained that listeners expect future events to continue this trajectory (within limits) (Narmour, 1992a; Jones, 1976; 1990); in other cases, expectancies are more complexly linked to higher-order contour patterns as in the gap-fill configuration (Schmuckler, 1989)'.
		In both sets, melodic accents (m) were derived from contour inflections, and temporal accents (t) were derived from silences (rests) in the rhythmic pattern.
		Concordant patterns are ones in which the periodic recurrence of melodic accents form simple ratios with the period of temporal accents (e.g., 1:1, 1:2), whereas Discordant patterns have periods of melodic and temporal accents with a more complex accent period ratio (e.g., 3:2).
	www.findarticles.com /p/articles/mi_qa3690/is_199712/ai_n8776483 (8926 words)

	Query By Humming -- Musical Information Retrieval in an Audio Database
		Our approach hinges upon the observation that melodic contour, defined as the sequence of relative differences in pitch between successive notes, can be used to discriminate between melodies.
		Handel [3] indicates that melodic contour is one of the most important methods that listeners use to determine similarities between melodies.
		The melodic contours of the source songs are currently generated automatically from MIDI data, which is convenient but not optimal.
	www.cs.cornell.edu /Info/Faculty/bsmith/query-by-humming.html (8926 words)

	Citations: Recognition of inversions melodies and melodic contours - Dowling (SMEALSearch) - Pal,Rangaswamy,Giles,Debnath
		Besides contour, studies on melodic similarity have focused on melodic archetypes, hierarchical structure, themes, motifs, presence of scalar or non scalar tones, transposed melodies, and pitch range.
		Dowling, J. Recognition of inversions melodies and melodic contours", Perception of & contour note interval duration note distribution distribution distribution transition interval transition duration transition distribution distribution distribution feature extraction melody Fig.
		Citations: Recognition of inversions melodies and melodic contours - Dowling (SMEALSearch) - Pal,Rangaswamy,Giles,Debnath
	smealsearch.psu.edu /context/21470/0 (8926 words)

	Dictionary of Meaning www.mauspfeil.net
		'''Melodic motion''' is the quality of movement of a melody, including nearness or farness of succession successive pitch (music) pitches or note (music) notes in a melody.
		This may be described as conjunct or disjunct, stepwise or skipwise, respectively.
		There you find a list of all editors and the possibility to edit the original text of the article Melodic motion.
	www.mauspfeil.net /Melodic_motion.html (8926 words)

	Music and Artificial Intelligence
		The real interest of the rhythm, though, (and the real "point" of the excerpt) is that the dynamic accents and the pitch contour present two different additional rhythms: there is a dynamic accent every three eighth notes and a change of pitch every four eighth notes.
		Supposing that we plan to represent the information as some type of two-dimensional array of pitches and corresponding durations, here are graphic representations of three possible measurements of our excerpt, in order from minimum information to maximum information.
		First, the user of the program specifies a set of probabilities of occurrence for each possible loudness, pitch class, and octave at the beginning of the list to be composed, and another set for the end of the list.
	music.arts.uci.edu /dobrian/CD.music.ai.htm (8926 words)

	2000 Indiana University Graduate Theory Association Biennial Symposium Leo Dowling International Center
		The sketches provoke an inquiry which addresses both pitch and pitch class organization, and takes into account contour, rhythm, text setting, and overall formal layout.
		Cross-type transformations are mappings that transform objects of one type into objects of an entirely different type: for instance, mappings from pitches to pitch classes, or from triads to seventh chords.
		Tonal centricity, extended triadic harmonies (including simultaneities that contain two or three different harmonic functions), verticalities of set-types [025] and [0257], clear metric structures, and melodic phrase structures derived from eighteenth- and nineteenth-century tonal music still prevail in the works preceding Movements.
	theory.music.indiana.edu /gta/2000%20Symposium/symp-abstracts.htm (8926 words)

	Pitch and Timbre: Definition, Meaning and Use
		In speech, a pitch contour is a rather continuous melody-like pattern that is evoked by vowels and voiced consonants, and is directly related to the vibration rate of the vocal cords.
		Although pitch space is a continuum, it is, at least in Western music, treated as a collection of steps, where pitch intervals correspond to certain well-defined frequency ratios.
		The pitch of periodically interrupted noise (Miller and Taylor 1948), the (missing fundamental) pitch of temporally sequential successive harmonics (Hall and Peters 1981), and binaural edge pitch (Klein and Hartmann 1981) were all identified and measured by means of discrimination or matching experiments, where only ordinal properties of the sensation play a role.
	www.zainea.com /pitchtimbre.htm (8926 words)

	The New Zealand Digital Library MELody inDEX
		The dimensions of matching include whether interval or contour is used as the basic pitch metric, whether or not account is taken of rhythm, and whether matching is exact or approximate.
		It is interesting that melodic contour with rhythm is a more powerful discriminator than interval without rhythm; removing rhythmic information increases the number of notes needed for unique identification by about three if interval is used and about six if contour is used.
		Previous experiments on melody recognition suggest that searching should be carried out on the basis of melodic contour and/or musical intervals, and our own experiments suggest that there should be provision for approximate matching of the input, and that the audio transcription module should adapt to the user's musical tuning, which may vary during input.
	www.dlib.org /dlib/may97/meldex/05witten.html (8926 words)

	The Aural Perception of Pitch-Class Set Relations: A Computer-Assisted Investigation
		Statistical tests of subject-response data showed that: subjects with absolute-pitch recognition performed with more accuracy; ordered transformations were more recognizable than reordered transformations; transpositional equivalencies were more discernable than inversional equivalencies; octave displacement disguised set equivalency; and non-equivalent sets with similarity through contour or successive interval invariance were easily confused with equivalent sets.
		The experiment consisted of three phases for participation by subjects: a perception ability test in which subjects were screened for absolute-pitch and interval recognition, an interactive tutorial on the fundamentals of set theory to provide subjects with some criteria for making judgments about set equivalency, and a perception test on recognizing equivalency relationships.
		Five set equivalency relationships were used: ordered transposition, ordered inversion, ordered transposition with octave displacement, reordered transposition and reordered inversion.
	www.music-cog.ohio-state.edu /Gibson/millar.abstract.html (8926 words)

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In the News (Fri 1 Jan 10)