The interaction of tonal and modal principles of mode organization in the polyphonic cycle “34 Preludes and Fugues” by V. Bibik (based on Book III)

Statement of the problem. The article examines mode organization in the polyphonic cycle “34 Preludes and Fugues” by Ukrainian composer Valentin Bibik. The scientific novelty. The article explores modality and tonality as modeorganazing constituents in the polyphonic piano piece “34 Preludes and Fugues” by V. Bibik. The aim of the article is to indicate mode organization on the example of tonality and modality in polyphonic development of “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. The research methodology consists of integrated approaches to polyphonic music of the 20th century, including comparative and system-structural analyzes of musical works. Analysis of recent publications. The theoretical basis of the article is the latest publications by T. Bershadskaya (2008), N. Gulyanitskaya (1984), Yu. Kholopov (1972), M. Heinemann (2001), F. Hentschel (2006), I. Pustijanac (2016) and others. These studies investigate the compositional techniques of the twentieth century and their individual implementation into polyphonic works. When studying scientific sources, attention is focused on the interaction of polyphony and harmony since V. Bibik’s polyphonic cycle was chosen as the research material, in which polyphonic and harmonic patterns are closely intertwined, however, modal principles become the connecting factors, which is proved in the work. The presentation of the main material. The article investigates modern trends in the development of polyphonic music of the XX–XXI centuries, as well as the composer’s intention to create a mode organization in the cycle “34 Preludes and Fugues”. The article defines commonly used terms from the modern theory of musical modes regarding such phenomena as modality, tonality and their interconnection. The work presents the historiography of V. Bibik’s creative heritage in the context of the poliphony development. The work highlights the interaction of tonal and modal patterns in “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. Conclusions. The article argues the dominance of modality in structural organization of the cycle “34 Preludes and Fugues”. It is noted that the cycle accumulates a huge number of composer’s ideas regarding the interpretation of modern musical modes and tonal system. V. Bibik is not recognized as the author of the theoretical concepts of the mode organization in music, but the cycle itself is considered as a kind of composer’s creative manifesto, a vivid reflection of his conception of musical modes.

Modulating Cortical Instrument Representations During Auditory Stream Segregation and Integration With Polyphonic Music

Numerous neuroimaging studies demonstrated that the auditory cortex tracks ongoing speech and that, in multi-speaker environments, tracking of the attended speaker is enhanced compared to the other irrelevant speakers. In contrast to speech, multi-instrument music can be appreciated by attending not only on its individual entities (i.e., segregation) but also on multiple instruments simultaneously (i.e., integration). We investigated the neural correlates of these two modes of music listening using electroencephalography (EEG) and sound envelope tracking. To this end, we presented uniquely composed music pieces played by two instruments, a bassoon and a cello, in combination with a previously validated music auditory scene analysis behavioral paradigm (Disbergen et al., 2018). Similar to results obtained through selective listening tasks for speech, relevant instruments could be reconstructed better than irrelevant ones during the segregation task. A delay-specific analysis showed higher reconstruction for the relevant instrument during a middle-latency window for both the bassoon and cello and during a late window for the bassoon. During the integration task, we did not observe significant attentional modulation when reconstructing the overall music envelope. Subsequent analyses indicated that this null result might be due to the heterogeneous strategies listeners employ during the integration task. Overall, our results suggest that subsequent to a common processing stage, top-down modulations consistently enhance the relevant instrument’s representation during an instrument segregation task, whereas such an enhancement is not observed during an instrument integration task. These findings extend previous results from speech tracking to the tracking of multi-instrument music and, furthermore, inform current theories on polyphonic music perception.

Singing Transcription from Polyphonic Music Using Melody Contour Filtering

Automatic singing transcription and analysis from polyphonic music records are essential in a number of indexing techniques for computational auditory scenes. To obtain a note-level sequence in this work, we divide the singing transcription task into two subtasks: melody extraction and note transcription. We construct a salience function in terms of harmonic and rhythmic similarity and a measurement of spectral balance. Central to our proposed method is the measurement of melody contours, which are calculated using edge searching based on their continuity properties. We calculate the mean contour salience by separating melody analysis from the adjacent breakpoint connective strength matrix, and we select the final melody contour to determine MIDI notes. This unique method, combining audio signals with image edge analysis, provides a more interpretable analysis platform for continuous singing signals. Experimental analysis using Music Information Retrieval Evaluation Exchange (MIREX) datasets shows that our technique achieves promising results both for audio melody extraction and polyphonic singing transcription.

A Deep Learning Approach for Generating Pleasant Music

Advancement in deep neural networks have made it possible to compose music that mimics music composition by humans. The capacity of deep learning architectures in learning musical style from arbitrary musical corpora have been explored in this paper. The paper proposes a method for generated from the estimated distribution. Musical chords have been extracted for various instruments to train a sequential model to generate the polyphonic music on some selected instruments. We demonstrate a simple method comprising a sequential LSTM models to generate polyphonic music. The results of the model evaluation show that generated music is pleasant to hear and is similar to music played by humans. This has great application in entertainment industry which enables music composers to generate variety of creative music.

Periodization of the spread of polyphonic music and the introduction of linear notation in Ukraine

The purpose of the article is to determine the influence of Reformation currents on Ukrainian musical culture and to develop the periodization of the spread of polyphonic music. The methodology includes a systematic analysis, which made it possible to analyze and investigate the impact of Reformation trends on the spread of polyphonic music. To outline the temporal and quantitative characteristics of the analyzed material, statistical and chronological methods were used, which contributed to the definition of gradual and consistent innovations in Ukrainian musical culture. The scientific novelty is the development of periodization of the spread of polyphonic music and the introduction of linear notation in Ukraine. Conclusions. In the process of studying the influence of Reformation currents and the activities of Catholic educational institutions, the origins of polyphonic music were identified. The periodization of the distribution of polyphonic music in Ukraine has been developed. It was established that the first wealthy musicians were the Ukrainian wealthy gentry.

Antonio Chemotti, Polyphonic music ‘pro mortuis’ in Italy (1550–1650). An introduction, Lucca–Warszawa 2020

Recenzja książki: Antonio Chemotti, Polyphonic music ‘pro mortuis’ in Italy (1550–1650). An introduction, Lucca–Warszawa 2020