2013
DOI: 10.1080/09298215.2013.788039
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Statistical Analysis of Harmony and Melody in Rock Music

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Cited by 67 publications
(48 citation statements)
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“…Nearly all regressions significantly confirm the predictions of Kats and Smelik who suggest 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 (Van Balen, 2016;Huron, 2013). 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 (Temperley & De Clerq, 2013;Moore, 1992;Powers et al, 2001). 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: Discussionmentioning
confidence: 81%
“…Nearly all regressions significantly confirm the predictions of Kats and Smelik who suggest 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 (Van Balen, 2016;Huron, 2013). 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 (Temperley & De Clerq, 2013;Moore, 1992;Powers et al, 2001). 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: Discussionmentioning
confidence: 81%
“…These three corpora may be taken as rough approximations of three musical styles: popular music, jazz music, and Bach chorale harmonizations. While we expect these three corpora each to be broadly consistent with general principles of Western tonal harmony (Piston, 1948), we also expect each corpus to possess distinctive statistical regularities that differentiate the harmonic languages of the three musical styles (Broze & Shanahan, 2013;Clercq & Temperley, 2011;Rohrmeier & Cross, 2008;Temperley & De Clercq, 2013). Figure 3 displays example chord sequences from these three corpora, alongside their corresponding integer encodings.…”
Section: Experiments 2: Memory Decay Helps Predict Musical Sequencesmentioning
confidence: 85%
“…1 (3) The classical corpus contains 9,788 instrumental melodies from Barlow and Morgenstern's (1948) Dictionary of Classical Themes, encoded in Humdrum notation by David Huron. (4) The rock corpus consists of 162 melodies from songs on Rolling Stone magazine's list of the ''500 Greatest Songs of All Time'' (Rolling Stone, 2004;Temperley & de Clercq, 2013). (The entire rock corpus contains 200 melodies; songs with modulations were excluded, as were songs containing no melodic information, such as rap songs.)…”
Section: Testing On Sequential Corpus Datamentioning
confidence: 99%