Delattre (1966) proposed a classification of French basic melodic contours. He defined in particular ‘major continuatives’ as melodic rises that mark the frontier between higher constituents in a hierarchy of clausal and sentential constituents. Although Delattre’s empirical basis for his classification has been discussed, there is a strong intuition that some sort of melodic rise can be used i...

Delattre (1966) proposed a classification of French basic melodic contours. He defined in particular ‘major continuatives’ as melodic rises that mark the frontier between higher constituents in a hierarchy of clausal and sentential constituents. Although Delattre’s empirical basis for his classification has been discussed, there is a strong intuition that some sort of melodic rise can be used i...

We describe the first stage of a two-stage semialgorithmic approach to music performance rendering. In the first stage, we estimate the perceptual salience of immanent accents (phrasing, metrical, melodic, harmonic) in the musical score. In the second, we manipulate timing, dynamics and other performance parameters in the vicinity of immanent accents (e. g., getting slower and/or louder near an...

As with other widely used notions that are commonly referred to in everyday activities without much hesitation, context is difficult to analyze scientifically and grasp in all its different demeanors. In our routine communicative activities, context is exploited both in production and in comprehension, and is strictly related to another problematic notion, viz. meaning. Thus Bateson (1979: 15):...

In this study, we analyse a sample of 76 utterances drawn from corpus spontaneous speech the north England. The selected statements present declarative structure with different pragmatic functions (yes/no questions, echo tag and rhetorical questions). objective study is to observe describe intonation questions in English England speech. Likewise, pertinent bibliographic review carried out for i...

Listening to music is a complex mental activity that invokes multiple high-level cognitive processes. Listeners quickly form mental representations of metric structure, key, relation of pitches to a tonic, and melodic form. +ese representations naturally induce expectations about how the music will continue. Steve Larson has developed several computer models of these melodic expectations based ...

In this paper two main topics are addressed. Firstly, the Local Boundary Detection Model (LBDM) is described; this computational model enables the detection of local boundaries in a melodic surface and can be used for musical segmentation. The proposed model is tested against the punctuation rule system developed by Friberg et al. (1998) at KTH, Stockholm. Secondly, the expressive timing deviat...

In this paper a formal model will be presented that attempts to organise melodic segments into ‘significant’ musical categories (e.g. motives). Given a segmentation of a melodic surface, the proposed model constructs an appropriate representation for each segment in terms of a number of attributes (these reflect melodic and rhythmic aspects of the segment at the surface and at various abstract ...

MELONET I is a multi-scale neural network system producing baroque-style melodic variations. Given a melody, the system invents a four-part chorale harmonization and a variation of any chorale voice, after being trained on music pieces of composers like J. S. Bach and J . Pachelbel. Unlike earlier approaches to the learning of melodic structure, the system is able to learn and reproduce high-or...

The present experiments assessed the contribution of tone height, melodic contour, and tone chroma to melody recognition. Rather than using highly familiar folk songs as in earlier studies, subjects were taught new melodies. Novel melodies were used to (a) more precisely control potential cues (e.g., rhythm) that are not of present interest, (b) eliminate unison intervals that cannot be transfo...