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Auditory expectation: the information dynamics of music perception and cognition. Topics in cognitive science 4(4),
, 2012
"... Abstract Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of eviden ..."
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Abstract Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.
R.: Cognition-inspired Descriptors for Scalable Cover Song Retrieval
- International Society for Music Information Retrieval Conference (ISMIR
, 2014
"... ABSTRACT Inspired by representations used in music cognition studies and computational musicology, we propose three simple and interpretable descriptors for use in mid-to high-level computational analysis of musical audio and applications in content-based retrieval. We also argue that the task of s ..."
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Cited by 4 (1 self)
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ABSTRACT Inspired by representations used in music cognition studies and computational musicology, we propose three simple and interpretable descriptors for use in mid-to high-level computational analysis of musical audio and applications in content-based retrieval. We also argue that the task of scalable cover song retrieval is very suitable for the development of descriptors that effectively capture musical structures at the song level. The performance of the proposed descriptions in a cover song problem is presented. We further demonstrate that, due to the musically-informed nature of the proposed descriptors, an independently established model of stability and variation in covers songs can be integrated to improve performance.
Evaluating Multiple Viewpoint Models of Tabla Sequences
"... We describe a realtime tabla generation system based on a variablelength n-gram model trained on a large symbolic tabla database. A novel, parametric smoothing algorithm based on a family of exponential curves is introduced to control the relative weight of highand low-order models. This technique i ..."
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We describe a realtime tabla generation system based on a variablelength n-gram model trained on a large symbolic tabla database. A novel, parametric smoothing algorithm based on a family of exponential curves is introduced to control the relative weight of highand low-order models. This technique is shown to lead to improvements over a back-off smoothing for our tabla database. We find that cross-entropy is lowest when the coefficient of the exponential curve is between 1 and 2 and increases for values outside of this optimal range. The basic n-gram model is extended to model dependencies between duration, stroke-type, and meter using crossproducts in a Multiple Viewpoints (MV) framework, leading to improvements in most cases when compared with independent stroke and duration models. Categories and Subject Descriptors
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"... Abstract: Popular music may presage market conditions because people contemplating complex future economic behavior prefer simpler music, and vice versa. In comparing the annual average beat variance of the songs in the US Billboard Top 100 since its inception in 1958 through 2007 to the standard d ..."
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Abstract: Popular music may presage market conditions because people contemplating complex future economic behavior prefer simpler music, and vice versa. In comparing the annual average beat variance of the songs in the US Billboard Top 100 since its inception in 1958 through 2007 to the standard deviation of returns of the S&P 500 for the same or the subsequent year, a significant negative correlation is observed. Furthermore, the beat variance appears able to predict future market volatility, producing 2.5 volatility points of profit per year on average. Keywords: music; complexity; volatility; strategy; behavioral
Multiple Viewpoint Modeling of North Indian Classical Vocal Compositions
"... Abstract. Previous research has shown that ensembles of variable length Markov models (VLMMs), known as Multiple Viewpoint Models (MVMs), can be used to predict the continuation of Western tonal melodies, and outperform simpler, fixed-order Markov models. Here we show that this technique can be effe ..."
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Abstract. Previous research has shown that ensembles of variable length Markov models (VLMMs), known as Multiple Viewpoint Models (MVMs), can be used to predict the continuation of Western tonal melodies, and outperform simpler, fixed-order Markov models. Here we show that this technique can be effectively applied to predicting melodic continuation in North Indian classical music, providing further evidence that MVMs are an effective means for modeling temporal structure in a wide variety of musical systems.
IN TURKISH FOLK MUSIC USING VARIABLE-LENGTH MARKOV MODELS Approved by:
"... A˘glarsam a˘gladın gülersem güldün Sazım bu sesleri turnadan m’aldın Pençe vurup sarı teli sızlatma A¸sık Veysel S¸atıro˘glu iii ACKNOWLEDGEMENTS First of all, I would like to thank my advisor, Parag Chordia. Without his incredible guidance and “know-how ” skills, I am doubtful that I would be able ..."
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A˘glarsam a˘gladın gülersem güldün Sazım bu sesleri turnadan m’aldın Pençe vurup sarı teli sızlatma A¸sık Veysel S¸atıro˘glu iii ACKNOWLEDGEMENTS First of all, I would like to thank my advisor, Parag Chordia. Without his incredible guidance and “know-how ” skills, I am doubtful that I would be able to learn and achieve this much throughout the masters program. I would also like to thank Jason Freeman for the very same reason. I will remember him as one of the most knowledgeable, dedicated and helpful teachers I have ever had. I am very thankful to Prof. Gil Weinberg for his supportive guidance and comments in the review of the thesis. I would like to thank Turkish Radio and Television Corporation (TRT), Türk Müzik Kültürünün Hafızası Score Archive and the numerous musicians, transcribers and archivers for their efforts in building the TRT Turkish folk music database. I would also like to thank Prof. Erdal Tu˘gcular for his invaluable contributions to the
COMPUTATIONAL MODELING OF IMPROVISATION IN TURKISH FOLK MUSIC USING VARIABLE-LENGTH MARKOV MODELS
"... The paper describes a new database, which currently consists of 64 songs encompassing approximately 6600 notes, and a system, which uses Variable-Length Markov Models (VLMM) to predict the melodies in the uzun hava (long tune) form, a melodic structure in Turkish folk music. The work shows VLMMs are ..."
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The paper describes a new database, which currently consists of 64 songs encompassing approximately 6600 notes, and a system, which uses Variable-Length Markov Models (VLMM) to predict the melodies in the uzun hava (long tune) form, a melodic structure in Turkish folk music. The work shows VLMMs are highly predictive. This suggests that variable-length Markov models (VLMMs) may be applied to makam-based and non-metered musical forms, in addition to Western musical traditions [20]. To the best of our knowledge, the work presents the first symbolic, machine readable database and the first application of expressive modeling in Turkish folk music. 1.
ORIGINAL ARTICLE Decomposing rhythm processing: electroencephalography of perceived and self-imposed rhythmic patterns
"... Abstract Perceiving musical rhythms can be considered a process of attentional chunking over time, driven by accent patterns. A rhythmic structure can also be generated internally, by placing a subjective accent pattern on an isochronous stimulus train. Here, we investigate the eventrelated potentia ..."
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Abstract Perceiving musical rhythms can be considered a process of attentional chunking over time, driven by accent patterns. A rhythmic structure can also be generated internally, by placing a subjective accent pattern on an isochronous stimulus train. Here, we investigate the eventrelated potential (ERP) signature of actual and subjective accents, thus disentangling low-level perceptual processes from the cognitive aspects of rhythm processing. The results show diVerences between accented and unaccented events, but also show that diVerent types of unaccented events can be distinguished, revealing additional structure within the rhythmic pattern. This structure is further investigated by decomposing the ERP into subcomponents, using principal component analysis. In this way, the processes that are common for perceiving a pattern and selfgenerating it are isolated, and can be visualized for the tasks separately. The results suggest that top-down processes have a substantial role in the cerebral mechanisms of rhythm processing, independent of an externally presented stimulus.
for the Cognitive Sciences of Music On the non-existence of music: Why music theory is a figment of the imagination
"... We argue for an approach to the theory of music which starts from the position that music is primarily a construct of human minds (and secondarily a social construct) and contrast it with the approach implicit in the work of some music theorists, which treats music as though it were an externally de ..."
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We argue for an approach to the theory of music which starts from the position that music is primarily a construct of human minds (and secondarily a social construct) and contrast it with the approach implicit in the work of some music theorists, which treats music as though it were an externally defined quasi-Platonic absolute. We argue that a natural conclusion of this approach is that music theory, while already being a kind of folk psychology, can benefit from being more explicitly informed by music cognition studies. We give examples from work in the computational modelling of music cognition, following our approach, which attempts to place each musical phenomenon in an ecological context motivated by evolutionary considerations, and which aims to explain musical phenomena independently of the explicit intervention of the theorist. We argue that only thus can a theory be said veridically to explicate the phenomenology of music. We place our argument in context of the Generative Theory of Tonal Music (Lerdahl & Jackendoff, 1983), Generative Linguistics, and other papers in the current volume, and compare them all with results of modelling studies based on our espoused approach.
