ambits of tones (as one of the most important elements of mode structure) in old iranian music have multiple kinds and definitions. middle eastern musicologists have always tried to explain and devise tones ambits, because ambits of tones and structure of mode are irrefrangible. generally purpose of division of ambits to their components is explanation of melodic modules and their combination. ...

Ragas are characterized by their melodic motifs or catch phrases that constitute strong cues to the raga identity for both, the performer and the listener, and therefore are of great interest in music retrieval and automatic transcription. While the characteristic phrases, or pakads, appear in written notation as a sequence of notes, musicological rules for interpretation of the phrase in perfo...

Motive Period antecedent consequent contrasting period double period parallel period Phrase group Refrain Small forms binary rounded binary Melodic procedures augmentation conjunct diminution disjunct extension, phrase extension fragmentation internal expansion inversion, melodic inversion literal repetition motivic transformation octave displacement retrograde rhythmic transformation sequence ...

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...

The goal of this study was to investigate several factors that determine musical stability in unaccompanied tonal melodies. Following M. R. Jones's (1987) theory of dynamic attending, the author assumed that strongly accented tones act as stable melodic reference points. Three main results were observed: (a) tonal structure, rhythm, and melodic factors (i.e., pitch skips or change in melodic co...