In this paper, we present an environment for labelling and testing of melodic aspects of spoken language. The environment has three modes of application: First, the environment provides labelling facilities for a model-based melodic description for German. Second, it supports a language independent pre-theoretical description of speech melody allowing the development of new melodic categories. ...

This article presents a phonetically de ned annotation system for German speech melody, whose descriptive units cover the perceptive relevant pitch movements. The units for the melodic annotation are based on the model for read German utterances [1]. The implementation of our descriptive melodic units as part of a recently developed labelling and testing environment for melodic aspects of speec...

While many studies have examined melodic fission of familiar and unfamiliar interleaved Western melodies, melodic fission in trance music, an electronic dance music genre, has not yet been studied. Melodic material is relatively constant throughout a trance song, while timbre, texture, and dynamics vary over time. In this study, participants listened to several clips of trance music with two or...

Introduction. Amidst the multiplicity of audio signal processing tasks connected with necessity source separation, problem obtaining its most prominent components occupies special place. One approaches, dedicated to solve such task, is based on melody extraction from musical recording. If generalized, technique can be applied a wider class signals for them so-called fundamental frequencies cont...

Synesthesia-like mappings between visual lightness and auditory pitch and between visual lightness and melodic interval were examined. When subjects rated how visual lightnesses and auditory pitches "fit together," lighter stimuli fit better with higher pitches, and darker stimuli fit better with lower pitches. These patterns were stronger against black than against white visual backgrounds; ho...

The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form “flow lines” that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a mode...

To analyse a musical piece is to some extent a small research project on its own right. Computer aided methods can be very helpful for gathering analytical information about particular description levels of music like melody, harmony, counterpoint, rhythm / meter, form, etc. Whenever mathematical models are proposed for a family of music-theoretical structures or processes, it is interesting, o...

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhyth...

Melodic discrimination tests have been used for many years to assess individual differences in musical abilities. These tests are usually analysed using classical test theory. However, classical test theory is not well-suited for optimising test efficiency or for investigating construct validity. This paper addresses this problem by applying modern item response modelling techniques to three me...