An initial exploration of parallelism in music: Equi-temporal three-tone diatonic sequences

Authors

  • B.W. Frankland Dept. of Psychology, Dalhousie University, Halifax, NS B3H 4J1, Canada

Keywords:

Acoustics, Signal encoding, Cluster analysis, Pitch-pattern parallelism, Root mean square

Abstract

The perception of the parallelism in music, which is considered to be crucial to the understanding and expression of affect in music is discussed. The perception in parallelism in two sequences can be divided into pitch-pattern parallelism that is based on the pitch-height of the contour, and time-pattern parallelism based on the timing of events such as onsets, offsets, and durations. A focus on the corresponding changes between the adjacent notes or the actual pitches is necessary to access the parallelism. Sequences are encoded as intervals and then the two sequences are compared interval-by-interval to quantify the parallelism. The several approaches include the sum of the differences between intervals (DifInt), the absolute value of differences between intervals (MADInt), and the root mean square of the differences between intervals (RMSInt). Cluster analysis has indicated that there are minimal effects of training or experience with music.

Additional Files

Published

2006-09-01

How to Cite

1.
Frankland B. An initial exploration of parallelism in music: Equi-temporal three-tone diatonic sequences. Canadian Acoustics [Internet]. 2006 Sep. 1 [cited 2024 Apr. 16];34(3):36-7. Available from: https://jcaa.caa-aca.ca/index.php/jcaa/article/view/1810

Issue

Vol. 34 No. 3 (2006)

Section

Proceedings of the Acoustics Week in Canada

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