| 1. |
- Bäckman, Kjell, 1949-
(author)
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Automatic jazz harmony evolution
- 2009
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In: SMC. - Porto. - 9789899557765 ; , s. 349-354
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Conference paper (peer-reviewed)abstract
- Jazz harmony has during jazz history mainly been functionally based on principles of tonality derived from the classical and romantic periods of the 18th and 19th centuries. In the Evolutionary Jazz Harmony project we introduced a functionless harmony system that impacted the musical feeling in jazz compositions to imitate the harmonic feeling in an avant-garde way. The main features of that new harmony system were chords not built on any specific base note and not necessarily connected to the major/minor concept. In this project we introduce an automatic evaluation of the produced harmony sequences that both looks at each individual chord and the chord progression. A population of chord progressions is evaluated and the highest ranked ones will most likely be used for breeding of the offspring. This project is one of the sub-projects of the EJI (Evolutionary Jazz Improvisation) project, where we explore various aspects of jazz music; improvised solo, harmony, tune creation, algorithmic creation of piano, bass and drum accompaniment, communication between instruments etc. The results have been evaluated by a live jazz group consisting of professional jazz musicians.
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| 2. |
- Madison, Guy, 1961-, et al.
(author)
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Musical groove is correlated with properties of the audio signal as revealed by computational modelling, depending on musical style
- 2009
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In: SMC 2009. - Porto : INESC. - 9789899557765 ; , s. 239-240
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Conference paper (peer-reviewed)abstract
- With groove we mean the subjective experience of wanting to move rhythmically when listening to music. Previous research has indicated that physical properties of the sound signal contribute to groove - as opposed to mere association due to previous exposure, for example. Here, a number of quantitative descriptors of rhythmic and temporal properties were derived from the audio signal by means of computational modelling methods. The music examples were 100 samples from 5 distinct music styles, which were all unfamiliar to the listeners. Listeners’ ratings of groove were correlated with aspects of rhythmic patterning for Greek, Indian, Samba, and West African music. Microtiming was positively correlated with groove for Samba and negatively correlated with groove for Greek, but had very small unique contributions in addition to the rhythmical properties. For Jazz, none of the measured properties had any significant contributions to groove ratings.
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