Attractor tempos for metrical structures

Gotham, Mark

doi:10.1080/17459737.2014.980343

Cited by 6 publications

(6 citation statements)

References 20 publications

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“…In addition, future research might also more closely consider the relationship between measures like IOI, perceived beat and meter, and AMS. Though IOI, AMS, and perceived pulse / meter all have previously reported preferred temporal ranges, which broadly seem to align with each other (e.g., Fraisse, 1963 ; Parncutt, 1994 ; Farbood et al, 2013 ; Gotham, 2015 ; Ding et al, 2017 ), it is likely that IOI, AMS, and perceived pulse / meter do not form a trivial and/or consistent relationship to one another across all timescales.…”

Section: Discussionmentioning

confidence: 84%

Perception of Nigerian Dùndún Talking Drum Performances as Speech-Like vs. Music-Like: The Role of Familiarity and Acoustic Cues

et al. 2021

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It seems trivial to identify sound sequences as music or speech, particularly when the sequences come from different sound sources, such as an orchestra and a human voice. Can we also easily distinguish these categories when the sequence comes from the same sound source? On the basis of which acoustic features? We investigated these questions by examining listeners’ classification of sound sequences performed by an instrument intertwining both speech and music: the dùndún talking drum. The dùndún is commonly used in south-west Nigeria as a musical instrument but is also perfectly fit for linguistic usage in what has been described as speech surrogates in Africa. One hundred seven participants from diverse geographical locations (15 different mother tongues represented) took part in an online experiment. Fifty-one participants reported being familiar with the dùndún talking drum, 55% of those being speakers of Yorùbá. During the experiment, participants listened to 30 dùndún samples of about 7s long, performed either as music or Yorùbá speech surrogate (n = 15 each) by a professional musician, and were asked to classify each sample as music or speech-like. The classification task revealed the ability of the listeners to identify the samples as intended by the performer, particularly when they were familiar with the dùndún, though even unfamiliar participants performed above chance. A logistic regression predicting participants’ classification of the samples from several acoustic features confirmed the perceptual relevance of intensity, pitch, timbre, and timing measures and their interaction with listener familiarity. In all, this study provides empirical evidence supporting the discriminating role of acoustic features and the modulatory role of familiarity in teasing apart speech and music.

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Section: Discussionmentioning

confidence: 84%

Perception of Nigerian Dùndún Talking Drum Performances as Speech-Like vs. Music-Like: The Role of Familiarity and Acoustic Cues

et al. 2021

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“…Figure 5 illustrates the contextual nature of IUs with different situations. 7 In two distinct depictions of the tresillo (labeled as a and b), the informational unit corresponds to the 8th note, disregarding if it is explicitly or not present in the rhythm. In (c) the smallest value is clearly the 16th note.…”

Section: Rhythmic Encodingmentioning

confidence: 99%

“…Meter is also one of the parameters (aside phrase structure, contrapuntal structure, pitch spelling, harmony, and key) selected by David Temperley [18] for the elaboration of a computational model focused on the cognition of musical structures, based on a system of preference rules. Mark Gotham [7] proposes to identify the principles that govern the notion of attractor tempos, responsible for the optimization of the salience of certain metric structures. For this purpose, Gotham elaborates a mathematical model capable of quantifying pulse salience, extended then to establish metrical salience values, according to hierarchical levels considered.…”

Section: Introductionmentioning

confidence: 99%

Prime Decomposition Encoding: An Analytical Tool by the Use of Arithmetic Mapping of Drum-Set Timelines

Mathias¹,

Almada²

2021

MusMat

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This paper introduces an original proposal intended to encode timelines as univocal integers, by the use of arithmetic mapping, exploring inherent properties of prime numbers. A group of algorithms were developed in order to encode drum-set timelines (as well as to retrieve the original rhythms from the codes), either individually or taken together, forming grooves. Additional parameters (dynamic levels and timbre) are also included in the encoding process. Geometrical representation of the grooves, adopting terminology and methodology proposed by Gottfried Toussaint [19], is also provided. Some practical application, addressing analysis and composition, are suggested at the last section of the study.

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“…Return to text 19. See, for instance, the discussion of the effect of metrical levels on tempo optimization in Gotham 2015. Return to text 20. No parallels with standard mathematical usage should be assumed (such as curly brackets for listing elements in a set).…”

Section: Footnotesmentioning

confidence: 99%

“…Return to text 72. The "symmetry" relations discussed here concern beat ordering in mixed meters, an entirely separate consideration from the "symmetry" relations in the literature on simple meters (such as Leong's [2007] "r180" relation and Gotham 2015). In future work that uses these two types of symmetry concurrently, it may be desirable to distinguish an "O[rder]-Sym" (for beat ordering) from a "P[roportional]-Sym" for proportional schemes.…”

Section: Footnotesmentioning

confidence: 99%

Meter Metrics

Gotham

2015

MTO

Self Cite

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“Consideration of a metric context is indispensable for a complete understanding of rhythm” (".fn_cite_pages($toussaint_2013, "16")."). In order to discuss the nature of a rhythm or its compositional development, it is necessary to account for the metrical context(s) in which it appears. In music that moves among a variety of metrical structures, it is also necessary to account for the relationships that exist between those meters. This article provides a detailed characterization of those relationships. What is more, the relationships introduced here may be discussed independently of any rhythmic parallel, illuminating purely metrical aspects of temporal organization, and thus offering an altogether new analytical perspective on repertoires in which metric change is an important compositional parameter. This study identifies a variety of metrical relationships, defines them (mathematically where appropriate), and assesses them for perceptual and musical significance, including the rarity of their occurrence. The focus is on “mixed” metrical structures that systematically use more than one type of duration on the same level, such as both “short” and “long” beats (which may or may not correspond to 2- and 3-unit groupings). “Simple” meters (with only one type of beat) are also discussed for the sake of completeness and because all are used together in the relevant repertoires (which include much twentieth-century Western music, some popular musics, and “world” musics including the Balkan Aksak style). The breadth of this potential application is a principal asset of the theoretical apparatus presented.

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Attractor tempos for metrical structures

Cited by 6 publications

References 20 publications

Perception of Nigerian Dùndún Talking Drum Performances as Speech-Like vs. Music-Like: The Role of Familiarity and Acoustic Cues

Perception of Nigerian Dùndún Talking Drum Performances as Speech-Like vs. Music-Like: The Role of Familiarity and Acoustic Cues

Prime Decomposition Encoding: An Analytical Tool by the Use of Arithmetic Mapping of Drum-Set Timelines

Meter Metrics

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