We present an approach for the automatic characterisation of the harmony of song sets making use of relational induction of logical rules. We analyse manually annotated chord data available in RDF and interlinked with web identifiers for chords which themselves give access to the root, bass, component intervals of the chords. We pre-process these data to obtain high-level information such as ch...

We construct a class of cubature formulae for harmonic functions on the unit disk based on line integrals over 2n + 1 distinct chords. These chords are assumed to have constant distance t to the center of the disk, and their angles to be equispaced over the interval [0, 2π]. If t is chosen properly, these formulae integrate exactly all harmonic polynomials of degree up to 4n + 1, which is the h...

The neural bases of imitation learning are virtually unknown. In the present study, we addressed this issue using an event-related fMRI paradigm. Musically naive participants were scanned during four events: (1) observation of guitar chords played by a guitarist, (2) a pause following model observation, (3) execution of the observed chords, and (4) rest. The results showed that the basic circui...

Different pieces of music offer different expressive possibilities. Even a single piece of music offers the possibility to be treated in several expressive ways (see “Repp (1998)”). How much of this variety of possible interpretations is exhibited in actual performances of the music? Do pianists make use of the different parameters of the piece to shape their performance? Do variety in performa...

BACKGROUND Most filarial parasite species contain Wolbachia, obligatory bacterial endosymbionts that are crucial for filarial development and reproduction. They are targets for alternative chemotherapy, but their role in the biology of filarial nematodes is not well understood. Light microscopy provides important information on morphology, localization and potential function of these bacteria. ...

Chords are commonly represented, at a low level, as absolute pitches (or pitch classes) or, at a higher level, as chords types within a given tonal/harmonic context (e.g. roman numeral analysis). The former is too elementary, whereas, the latter, requires sophisticated harmonic analysis. Is it possible to represent chord transitions at an intermediate level that is transposition-invariant and i...

Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in t...

We present Song Prompter, a software system that acts as a performance guide by showing horizontally scrolling lyrics, chords, beats marks and bar marks in a graphical user interface, together with an audio accompaniment consisting of bass and MIDI drums. A song outline displays the song structure, including names and positions of sections for easy overview and navigation. Song Prompter enables...

It was investigated to what extent musical expertise influences the auditory processing of harmonicity by recording event-related potentials. Thirty-four participants (18 musicians and 16 controls) were asked to listen to hundreds of chords, differing in their degree of consonance, their complexity (from two to six composing sounds) and their range (distance of two adjacent pitches, from quarte...

We describe a computer-assisted procedure for composing harmonic progressions that takes into account the perceptual processes underlying roughness (sensory dissonance) and the pitch of complex tones. First, the user specifies the outer voices and specific model parameters, including preferred values of the perceived roughness of each sonority, the pitch commonality of successive sonorities, an...