Statistical Analysis of Harmony and Melody in Rock Music

Temperley, David; Clercq, Trevor de

doi:10.1080/09298215.2013.839525

Cited by 8 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Likewise, Gauldin (2004) refers to the bVII-I progression as "comparatively rare" in classical music. In rock music, bVII is the most common non-primary triad (Temperley & De Clercq, 2013), and bVII-I is a relatively common two-chord succession (De Clercq & Temperley, 2011). Many music theorists confirm the importance of bVII and the bVII-I progression as important to the rock repertory, referring to it as an important two-chord progression (Doll, 2017;Moore, 1992Moore, , 1995Tagg, 2014), and to bVII as a possible substitute for the V chord (Gauldin, 2004;Snodgrass, 2015), or as part of the Aeolian cadence bVI-bVII-I, which is one of the most important three-chord schemas to emerge in the rock era (Doll, 2017).…”

mentioning

confidence: 99%

Musical Style Affects the Strength of Harmonic Expectancy

Vuvan

Hughes

2019

Music & Science

View full text Add to dashboard Cite

Research in music perception has typically focused on common-practice music (tonal music from the Western European tradition, ca. 1750-1900) as a model of Western musical structure. However, recent research indicates that different styles within Western tonal music may follow distinct harmonic syntaxes. The current study investigated whether listeners can adapt their harmonic expectations when listening to different musical styles. In two experiments, listeners were presented with short musical excerpts that primed either rock or classical music, followed by a timbre-matched cadence. Results from both experiments indicated that listeners prefer V-I cadences over bVII-I cadences within a classical context, but that this preference is significantly diminished in a rock context. Our findings provide empirical support for the idea that different musical styles do employ different harmonic syntaxes. Furthermore, listeners are not only sensitive to these differences, but are able to adapt their expectations depending on the listening context.

show abstract

mentioning

confidence: 99%

Musical Style Affects the Strength of Harmonic Expectancy

Vuvan

Hughes

2019

Music & Science

View full text Add to dashboard Cite

show abstract

“…We also created two additional predictors of familiarity reflecting classic work on tonality and C/D. We calculate the tonal stability of each pitch class as established by Krumhansl and Kessler (1982), which is known to be a good estimator of pitch-class prevalence in Western classical music (Krumhansl, 1990), popular music (Temperley & Clercq, 2013), and even bebop jazz (Järvinen, 1995). The correlation between the best key profile and the pitch-class profile of the input has been used as a measure of key clarity () (see Lartillot & Toiviainen, 2007) and as this measure indexes the cultural conventions and shows higher values for pitch-class distribution with tonic, dominant, and third degree, it is a reasonable link with an aspect of consonance—perhaps tonal consonance (Huron, 1991).…”

Section: Experiments 1: Analysis Of Consonance and Dissonance Predictorsmentioning

confidence: 99%

The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords

Eerola

Lahdelma

2021

Music & Science

View full text Add to dashboard Cite

Acoustic and musical components of consonance and dissonance perception have been recently identified. This study expands the range of predictors of consonance and dissonance by three analytical operations. In Experiment 1, we identify the underlying structure of a number of central predictors of consonance and dissonance extracted from an extensive dataset of chords using a hierarchical cluster analysis. Four feature categories are identified largely confirming the existing three categories (roughness, harmonicity, familiarity), including spectral envelope as an additional category separate from these. In Experiment 2, we evaluate the current model of consonance/dissonance by Harrison and Pearce by an analysis of three previously published datasets. We use linear mixed models to optimize the choice of predictors and offer a revised model. We also propose and assess a number of new predictors representing familiarity. In Experiment 3, the model by Harrison and Pearce and our revised model are evaluated with nine datasets that provide empirical mean ratings of consonance and dissonance. The results show good prediction rates for the Harrison and Pearce model (62%) and a still significantly better rate for the revised model (73%). In the revised model, the harmonicity predictor of Harrison and Pearce’s model is replaced by Stolzenburg’s model, and a familiarity predictor coded through a simplified classification of chords replaces the original corpus-based model. The inclusion of spectral envelope as a new category is a minor addition to account for the consonance/dissonance ratings. With respect to the anatomy of consonance/dissonance, we analyze the collinearity of the predictors, which is addressed by principal component analysis of all predictors in Experiment 3. This captures the harmonicity and roughness predictors into one component; overall, the three components account for 66% of the consonance/dissonance ratings, where the dominant variance explained comes from familiarity (46.2%), followed by roughness/harmonicity (19.3%).

show abstract

“…Nearly all regressions significantly confirm the predictions of Kats and Smelik who suggested that Ionian, Aeolian, and Mixolydian modes would be relatively popular because these modes sound familiar to ears used to major and minor scales, and indeed there is a connection between familiarity, processing fluency, and liking (Huron, 2013;van Balen, 2016). Nevertheless, it is not certain whether the preference for these modes is really based on familiarity, as it is visible as early as 1606 (Marti, 2004; when the change in tonal system was far from complete) and furthermore, even in our times the diatonic modes have been used quite regularly in folk and rock music (Moore, 1992;Powers, Porter, & Cowdery, 2001;Temperley & de Clerq, 2013). As the Ionian mode is perceived as happy (Temperley & Tan, 2013), an alternative explanation for its popularity would be that Calvinist protestants prefer happy music.…”

Section: Modementioning

confidence: 85%

Interaction between musical and poetic form affects song popularity: The case of the Genevan Psalter.

Schotanus¹,

Koops²,

Edworthy³

2018

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

for their support and comments. Furthermore, he would like to thank several people who helped him collecting data: Machiel Karels (Psalmboek.nl); Maaike Oosten, Anje de Heer and the Steunpunt Liturgie of the Gereformeerde Kerken vrijgemaakt (GKv); H.N. Werkman; and all the ministers, organ players and church members that collaborated in this research. Special thanks he owes to the second and third author who helped him restructure and improve this paper. No part of this paper is published earlier in any form, except for a presentation at Utrecht University: Schotanus, Y.P. (2016-11-24) Colloquium in the Musicologies, Interaction Between Musical and Poetic Form Affects Song Popularity: The Case of the Genevan Psalter. Utrecht. Yke Schotanus (The Hague, 1963) is PhD candidate at Utrecht University, working with a NWO PhD scholarship for teachers. Furthermore he is a secondary-school teacher Dutch Language and Literature, a writing coach, and a singer-songwriter. Hendrik Vincent Koops (Oss, 1984) is a PhD candidate in computer science at the Utrecht University, focusing on computationally modeling harmonic variation and subjectivity. Judy Reed Edworthy

show abstract

Statistical Analysis of Harmony and Melody in Rock Music

Cited by 8 publications

References 0 publications

Musical Style Affects the Strength of Harmonic Expectancy

Musical Style Affects the Strength of Harmonic Expectancy

The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords

Interaction between musical and poetic form affects song popularity: The case of the Genevan Psalter.

Contact Info

Product

Resources

About