Vilen
2011-08-09 20:28:29 UTC
I suppose developing by me melodic harmonic system much more powerful
as existing one based on overtone series (OTS) and decided to prove
it on creating of new unknown melodies. I understand that I ain't
able to music composition but see some ways to simplify the task. The
one of them is invertion of melody. This way provides fulfillment of
very important for melody features: suitable repetition grade of
notes and their sequences , suitable modification of the notes'
sequences. That is provided for inverted melody. I made such
experiments with several well known melodies and, possibly, obtained
interesting results. Especially good melodies (for example begin of
Beethoven's 5 symphony, begin of Tchaikovsky's 1-st piano concert,
songs " Santa Lucia" or " Besame mucho" have explicitly worse (less
interesting) inverted counterparts. Less beautiful melodies have as I
could see relative good counterparts. Of course, these results don't
permit to make final conclusions but they correlate with results of
scientific investigations in areas of melody recognitions and music
psychology (for example:http://www.ncbi.nlm.nih.gov/pubmed/1574162
"The role of contour and intervals in the recognition of melody
parts: evidence from cerebral asymmetries in musicians";
http://neuro.psychiatryonline.org/cgi/content/full/21/1/94
"Cerebral Dominance in Musicians and Nonmusicians" ). These
publications show very important role of interval's direction in
recognition( and hence in perception) of melodies and narrow
connection of their perception and emotions. Apparently huge
emotional effect is necessary for good melody. Thus the supposition
arises that good composition demands some correlation of positive and
negative melody intervals.
I did once more experiments in order to prove that differences
between properties of original and inverted melodies aren't connected
with OTS. It is demonstrated on sound files of melodies which notes
don't include OTS (they are presented by sinusoids). Besides the
examples are presented additionally in which sinusoids' frequencies
are belong to ETscale without common fifth and octave intervals.
page:http://home.arcor.de/yuri.vilenkin/experiments
Yuri Vilenkin
as existing one based on overtone series (OTS) and decided to prove
it on creating of new unknown melodies. I understand that I ain't
able to music composition but see some ways to simplify the task. The
one of them is invertion of melody. This way provides fulfillment of
very important for melody features: suitable repetition grade of
notes and their sequences , suitable modification of the notes'
sequences. That is provided for inverted melody. I made such
experiments with several well known melodies and, possibly, obtained
interesting results. Especially good melodies (for example begin of
Beethoven's 5 symphony, begin of Tchaikovsky's 1-st piano concert,
songs " Santa Lucia" or " Besame mucho" have explicitly worse (less
interesting) inverted counterparts. Less beautiful melodies have as I
could see relative good counterparts. Of course, these results don't
permit to make final conclusions but they correlate with results of
scientific investigations in areas of melody recognitions and music
psychology (for example:http://www.ncbi.nlm.nih.gov/pubmed/1574162
"The role of contour and intervals in the recognition of melody
parts: evidence from cerebral asymmetries in musicians";
http://neuro.psychiatryonline.org/cgi/content/full/21/1/94
"Cerebral Dominance in Musicians and Nonmusicians" ). These
publications show very important role of interval's direction in
recognition( and hence in perception) of melodies and narrow
connection of their perception and emotions. Apparently huge
emotional effect is necessary for good melody. Thus the supposition
arises that good composition demands some correlation of positive and
negative melody intervals.
I did once more experiments in order to prove that differences
between properties of original and inverted melodies aren't connected
with OTS. It is demonstrated on sound files of melodies which notes
don't include OTS (they are presented by sinusoids). Besides the
examples are presented additionally in which sinusoids' frequencies
are belong to ETscale without common fifth and octave intervals.
page:http://home.arcor.de/yuri.vilenkin/experiments
Yuri Vilenkin