Statistical features and perceived similarity of folk melodies

Music Perception

Volumn 18, Issue 3, 2001, Pages 275-296

  Eerola, Tuomas ^a,b   Jarvinen, Topi ^a   Louhivuori, Jukka ^a   Toiviainen, Petri ^a  

^a UNIVERSITY OF JYVÄSKYLÄ   (Finland)

^b Department of Music ^*  (Finland)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 19544369202     PISSN: 07307829     EISSN: None     Source Type: Journal    
DOI: 10.1525/mp.2001.18.3.275     Document Type: Review

References (101)

1. Anagnostopoulou, C., & Smaill, A. (2000). Similarity and categorisation in Boulez' Parenthese from the Third Piano Sonata: A formal analysis. Proceedings of the 6th ICMPC, Keele, U.K.
2. Andrews, M. W., & Dowling, W. J. (1991). The development of perception of interleaved melodies and control of auditory attention. Music Perception, 8, 349-368.
3. Atalay, B. V., & Placek, R. (1997). Machine versus human: Responding to the task of identifying eras for keyboard pieces. In A. Gabrielsson (Ed.), Proceedings of the Third Triennial ESCOM conference (pp. 521-526). Uppsala, Sweden: Uppsala University.
4. Barsalou, L. W. (1985). Ideals, central tendency, and frequency of instantiation as determinants of graded structure in categories. Journal of Experimental Psychology: Learning, Memory, and Cognition, 11, 629-654.
5. Barsalou, L. W., Huttenlocher, J., & Lamberts, K. (1998). Basing categorization on individuals and events. Cognitive Psychology, 36, 203-272.
6. Bartlett, J. C., & Dowling, W. J. (1980). Recognition of transposed melodies: A key-distance effect in developmental perspective. Journal of Experimental Psychology: Human Perception and Performance, 6, 501-515.
7. Bartlett, J. C., & Dowling, W. J. (1988). Scale structure and similarity of melodies. Music Perception, 5, 285-314.
8. Bassok, M., & Medin, D. L. (1997). Birds of a feather flock together: Similarity judgments with semantically rich stimuli. Journal of Memory and Language, 36, 311-336.
9. Boltz, M. G. (1993). The generation of temporal and melodic expectancies during musical listening. Perception and Psychophysics, 53, 585-600.
10. Boltz, M. G. (1998). Tempo discrimination of musical patterns: Effects due to pitch and rhythmic structure. Perception and Psychophysics, 60, 1357-1373.
11. Cambouropoulos, E., & Smaill A. (1995). A computational model for the discovery of parallel melodic passages. In L. Finarelli & F. Regazzi (Eds.), Proceedings of the XI Colloquium on Musical Informatics (pp. 67-70). Bologna, Italy: Associazione di Informatica Musicale Italiana.
12. Cambouropoulos, E. (1997). The role of similarity in categorisation: Music as a case study. In A. Gabrielsson (Ed.), Proceedings of the Third Triennial ESCOM conference (pp. 533-538). Uppsala, Sweden: Uppsala University.
13. Cambouropoulos, E. (2001). Melodic cue abstraction, similarity and category formation: A computational approach. Music Perception, 18, 347-370.
14. Carterette, E. C., Kohl, D. V., & Pitt, M. A. (1986). Similarities among transformed melodies: The abstraction of invariance. Music Perception, 3, 393-410.
15. Castellano, M. A., Bharucha, J. J., & Krumhansl, C. L. (1984). Tonal hierarchies in the music of North India. Journal of Experimental Psychology: General, 113, 394-412.
16. Cope, D. (1991). Computers and musical style. The Computer Music and Digital Audio Series, 6. Madison, WI: A-R Editions.
17. Cope, D. (1998). Signatures and earmarks: Computer recognition of patterns in music. In W. B. Hewlett & E. Selfridge-Field (Eds.), Melodic similarity: Concepts, procedures, and applications (pp. 129-138). Cambridge, MA: MIT Press.
18. Cuddy, L. L., Cohen, A. J., & Mewhort, D. J. K. (1981). Perception of structure in short melodic sequences. Journal of Experimental Psychology: Human Perception and Performance, 7, 869-883.
19. Darlington, R. B. (1990). Regression and linear models. New York: McGraw-Hill.
20. Deliège, I. (1989). Approche perceptive de formes contemporaines. In S. McAdams & I. Deliège (Eds.), La musique et les sciences cognitives (pp. 305-326). Bruxelles, Belgium: Pierre Mardaga.
21. Deliège, I. (1996). Cue abstraction as a component of categorisation processes in music listening. Psychology of Music, 24, 131-156.
22. Deliège, I. (1997). Similarity in processes of categorisation: Imprint formation as a prototype effect in music listening. Proceedings of the Interdisciplinary Workshop on Similarity and Categorisation (pp. 59-65). Edinburgh: University of Edinburgh.
23. Deliège, I. (2001). Prototype effect in music listening: An empirical approach of the notion on imprint. Music Perception, 18, 371-407.
24. Deutsch, D. (1997). The tritone paradox: A link between music and speech. Current Directions in Psychological Science, 6, 174-180.
25. Deutsch, D. ,& Feroe, J. (1981). The internal representation of pitch sequences in tonal music. Psychological Review, 88, 503-522.
26. Dewitt, L. A., & Crowder, R. G. (1986). Recognition of novel melodies after brief delays. Music Perception, 3, 259-274.
27. Dibben, N. (1994). The cognitive reality of hierarchic structure in tonal and atonal music. Music Perception, 12, 1-25.
28. Dowling, J. W. (1971). Recognition of inversions of melodies and melodic contours. Perception & Psychophysics, 9, 348-349.
29. Dowling, W. J. & Bartlett, J. C. (1981). The importance of interval information in long-term memory for melodies. Psychomusicology, 1, 30-49.
30. Dowling, W. J., & Fujitani, D. S. (1971). Contour, interval, and pitch recognition in memory for melodies. Journal of the Acoustical Society of America, 49, 524-531.
31. Dowling, W. J., & Harwood, D. L. (1986). Music cognition. Orlando, FL: Academic Press.
32. Dowling, W. J. (1978). Scale and contour: Two components of a theory of memory for melodies. Psychological Review, 85, 341-354.
33. Drake, C., Dowling, W. J., & Palmer, C. (1991). Accent structures in the reproduction of simple tunes by children and adult pianists. Music Perception, 8, 315-334.
34. Edworthy, J. (1985). Interval and contour in melody processing. Music Perception, 2, 375-388.
35. Eerola, T., & North, A. C. (2001). Measuring melodic complexity: An expectancy-based model. Manuscript submitted for publication.
36. Eiting, M. H. (1984). Perceptual similarities between musical motifs. Music Perception, 2, 78-94.
37. Freedman, E. G. (1999). The role of diatonicism in the abstraction and representation of contour and interval information. Music Perception, 16, 365-387.
38. Freeman, L. C., & Merriam, A. P. (1956). Statistical classification in anthropology: An application to ethnomusicology. American Anthropologist, 58, 464-472.
39. Gabrielsson, A. (1973). Similarity ratings and dimension analysis of auditory rhythm patterns. I & II. Scandinavian Journal of Psychology, 14, 138-160, 161-176.
40. Hahn, U., & Chater, N. (1998). Similarity and rules: Distinct? Exhaustive? Empirically distinguishable? Cognition, 65, 197-230.
41. Hewlett, W. B., & Selfridge-Field, E. (Eds.). (1998). Melodic similarity: Concepts, procedures, and applications. Cambridge, MA: MIT Press.
42. Hofmann-Engl L., & Parncutt R. (1998). Computational modeling of melodic similarity judgments: Two experiments on isochronous melodic fragments [On-line]. Available: http://freespace.virgin.net/ludger.hofmann-engl/similarity.html
43. Hörnel, D. (1998). A multi-scale neural-network model for learning and reproducing choral variations. In W. B. Hewlett & E. Selfridge-Field (Eds.), Melodic similarity: Concepts, procedures, and applications (pp. 141-157). Cambridge, MA: MIT Press.
44. Howell, D. C. (1997). Statistical methods for psychology. 4th ed. Fairfield, CT: Duxbury Press.
45. HSHL (1988). Siionin virret ja halullisten sielujen hengelliset laulut [Hymns of zion and spiritual songs for devoted souls]. Rauma: Rukoilevaisen Kansan Yhdistys.
46. Huron, D. (1994). UNIX tools for musical research: The humdrum toolkit reference manual. Stanford, CA: Center for Computer Assisted Research in Humanities.
47. Huron, D., & Royal, M. (1996). What is melodic accent? Converging evidence from musical practice. Music Perception, 13, 489-516.
48. Järvinen, T. (1995). Tonal hierarchies in jazz improvisation. Music Perception, 12, 415-437.
49. Järvinen, T., Toiviainen, P., & Louhivuori, J. (1999). Classification and categorization of musical styles with statistical analysis and self-organizing maps. In A. Patrizio, G. A. Wiggins, & H. Pain (Eds.), Proceedings of the AISB'99 Symposium on Musical Creativity (pp. 54-57). Edinburgh: The Society for the Study of Artificial Intelligence and Simulation of Behaviour.
50. Jones, M. R., & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
51. Keil, F. C., Smith, W. C., Simons, D. J., & Levin, D. T. (1998). Two dogmas of conceptual empiricism: Implications for hybrid models of the structure of knowledge. Cognition, 65, 103-135.
52. Kendall, R. A. (1999). Music Experiment Development System: MEDS 2000 Software for Windows 95/2000 [computer software]. Los Angeles: UCLA.
53. Kassler, E. J., Hansen, C., & Shepard, R. N. (1984). Tonal schemata in the perception of music in Bali and the west. Music Perception, 2, 131-165.
54. Knopoff, L., & Hutchinson, W. (1983). Entropy as a measure of style: The influence of sample length. Journal of Music Theory, 27, 75-97.
55. Koniari, D., Predazzer, S., & Mélen, M. (2001). Categorisation processes in music perception during childhood. Music Perception, 18, 297-324.
56. Krumhansl, C. L. (1990). Cognitive foundation of musical pitch. New York: Oxford University Press.
57. Krumhansl, C. L. (1991). Memory for musical surface. Memory and Cognition, 19, 401-411.
58. Krumhansl, C. L. (1995a). Effects of musical context on similarity and expectancy. Systematische Musikwissenschaft, 3, 211-250.
59. Krumhansl, C. L. (1995b). Music psychology and music theory: Problems and prospects. Music Theory Spectrum, 17, 53-90.
60. Krumhansl, C. L. (1996). A perceptual analysis of Mozart's piano sonata K.282: Segmentation, tension, and musical ideas. Music Perception, 13, 401-432.
61. Krumhansl, C. L., Louhivuori, J., Toiviainen, P., Järvinen, T., & Eerola, T. (1999). Melodic expectation in Finnish spiritual folk hymns: Convergence of statistical, behavioral, and computational approaches. Music Perception, 17, 151-196.
62. Krumhansl, C. L., Toivanen, P., Eerola, T., Toiviainen, P., Järvinen, T., & Louhivuori, J. (2000). Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks. Cognition, 76, 13-58.
63. Lamont, A., & Dibben, N. (1997). Perceived similarity of musical motifs: An exploratory study. In M. Ramscar, U. Hahn, E. Cambouropoulos, & H. Pain (Eds.), Proceedings of SimCat 1997: An Interdisciplinary Workshop on Similarity and Categorisation (pp. 143-149). Edinburgh: Department of Artificial Intelligence, University of Edinburgh.
64. Lamont, A. & Dibben, N. (2001). Motivic structure and the perception of similarity. Music Perception, 18, 245-274.
65. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
66. Lomax, A. (1968). Folk song style and culture. Washington, D.C.: American Association for the Advancement of Science.
67. Mélen, M., & Wachsmann, J. (2001). Categorization of musical structures by 6-to-10 month old infants. Music Perception, 18, 325-346.
68. Monahan, C. B., & Carterette, E. C. (1985). Pitch and duration as determinants of musical space. Music Perception, 3, 1-32.
69. Narmour, E. (1990). The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago Press.
70. Nosofsky, R. M. (1988). Similarity, frequency, and category representations. Journal of Experimental Psychology: Learning, Memory, and Cognition, 14, 54-65.
71. Nosofsky, R. M. (1991). Tests of an exemplar model for relating perceptual classification and recognition memory. Journal of Experimental Psychology: Human Perception and Performance, 17, 3-27.
72. Nosofsky, R. M. (1992). Similarity scaling and cognitive process models. Annual Review of Psychology, 43, 25-54.
73. O Maidín, D. (1998). A geometrical algorithm for melodic difference. In W. B. Hewlett & E. Selfridge-Field (Eds.), Melodic similarity: Concepts, procedures, and applications (pp. 65-72). Cambridge, MA: MIT Press.
74. O'Neill, E. R. (1988). Seoltoireacht Ghear. Dublin: Geal Linn.
75. Oram, N., & Cuddy, L. L. (1995). Responsiveness of Western adults to pitch-distributional information in melodic sequences. Psychological Research , 57, 103-118.
76. Orpen, K., & Huron, D. (1992). The measurement of similarity in music: A quantitative approach for non-parametric representations. Computers in Music Research, 4, 1-44.
77. Palmer, C., & Krumhansl, C. L. (1990). Mental representations for musical meter. Journal of Experimental Psychology: Human Perception and Performance, 16, 728-741.
78. Pollard-Gott, L. (1983). Emergence of thematic concepts in repeated listening to music. Cognitive Psychology, 15, 66-94.
79. Povel, D. J., & Essens, P. (1985). Metrical and nonmetrical representations of temporal patterns. Perception and Psychophysics, 37, 1-7.
80. Quinn, I. (1999). The combinatorial model of pitch contour. Music Perception, 16, 439-456.
81. Rosch, E., & Lloyd, B. B. (1978). Cognition and categorization. Hillsdale, NJ: Lawrence Erlbaum Associates.
82. Rosner, B., & Meyer, L. B. (1982). Melodic process and the perception of music. In D. Deutsch (Ed.), The psychology of music (pp. 317-342). New York: Academic Press.
83. Rosner, B., & Meyer, L. B. (1986). The perceptual roles of melodic process, contour, and form. Music Perception, 4, 1-40.
84. Rölleke, H. (Ed.) (1993). Das Volksliederbuch. Köln: Kiepenhauer & Witsch.
85. Saffran, J. R., Johnson, E. K., Aslin, R. N., & Newport, E. L. (1999). Statistical learning of tone sequences by human infants and adults. Cognition, 70, 27-52.
86. Saffran, J. R., Newport, E. L., & Aslin, R. N. (1996). Word segmentation: The role of distributional cues. Journal of Memory and Language, 35, 606-621.
87. Schellenberg, E. G. (1996). Expectancy in melody: Tests of the implication-realization model. Cognition, 58, 75-125.
88. Schellenberg, E. G. (1997). Simplifying the implication-realization model of melodic expectancy. Music Perception, 14, 295-318.
89. Schmuckler, M. A. (1999). Testing models of melodic contour similarity. Music Perception, 16, 295-326.
90. Schmuckler, M. A., & Boltz, M. G. (1994). Harmonic and rhythmic influences on musical expectancy. Perception and Psychophysics, 56, 313-325.
91. Serafine, M. L., Glassman, N., & Overbeeke, C. (1989). The cognitive reality of hierarchic structure in music. Music Perception, 6, 397-430.
92. Simpson, J., & Huron, D. (1993). The perception of rhythmic similarity: A test of a modified version of Johnson-Laird's theory. Canadian Acoustics, 21, 89-90.
93. Smaill, A., & Westhead, M. D. (1993). Automatic characterisation of musical style. Music education: An artificial intelligence approach (pp. 157-170). Berlin: Springer-Verlag.
94. Smith, E. E., Patalano, A. L., & Jonides, J. (1998). Alternative strategies of categorization. Cognition, 65, 167-196.
95. Smith, L. A., McNab, R. J., & Witten, I. H. (1998). Sequence-based melodic comparison: A dynamic-programming approach. In W. B. Hewlett & E. Selfridge-Field (Eds.), Melodic similarity: Concepts, procedures, and applications (pp. 101-117). Cambridge, MA: MIT Press.
96. Suojanen, P. (1984). Finnish folk hymn singing: Study in music anthropology (Publication 11). Tampere, Finland: University of Tampere Institute for Folk Tradition.
97. Trueswell, J. C. (1996). The role of lexical frequency in syntactic ambiguity resolution. Journal of Memory and Language, 35, 566-585.
98. Tversky, A., & Kahneman, D. (1973). Availability: A heuristic for judging frequency and probability. Cognitive Psychology, 5, 207-232.
99. Van Egmond, R., & Povel, D.-J. (1996). Perceived similarity of exact and inexact transpositions. Acta Psychologica, 92, 283-295.
100. Van Egmond, R., Povel, D.-J., & Maris, M. (1996). The influence of height and key on the perceptual similarity of transposed melodies. Perception and Psychophysics, 58, 1252-1259.
101. Zbikowski, L. M. (1999). Musical coherence, motive, and categorization. Music Perception, 17, 5-42.