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The thesis summarizes the research in application of statistical methods of computational linguistics in music processing and explains theoretical background of these applications. In the second part methods of symbolic melody extraction are explored. A corpus of approxi- mately 400 hours of melodies of different music styles was created. A melody model using the language modeling techniques was trained on this corpus. In the third part of the thesis the model is used for an attempt to develop an alternative method of audio melody extraction which uses the melody model instead of commonly used heuristics and rules. The chosen ap- proach works well only on simple input data and produces worse results than the commonly used methods on the MIREX contest data. On the other hand, the experiments help to understand the conceptual between the pitch frequency development - the physical melody - and the melody perceived on an abstract level in the symbolic notation - the symbolic melody. 1

Several studies have demonstrated that melody recognition is reduced when the timbre (instrument) changes between exposure and test, but no study has evaluated the possibility that different timbres have differential effects on melody recognition. The current study evaluated adults’ recognition and liking of unfamiliar Irish melodies presented in four timbres: two familiar (voice, piano) and two less familiar (banjo, marimba). After exposure to a set of melodies, participants judged whether each melody from a larger set (original and novel) was old or new. Melodies presented vocally were remembered significantly better than those presented instrumentally even though they were liked less. The findings confirm that surface features of music and abstract, relational features are processed jointly as well as separately.

Several studies have demonstrated that melody recognition is reduced when the timbre (instrument) changes between exposure and test, but no study has evaluated the possibility that different timbres have differential effects on melody recognition. The current study evaluated adults’ recognition and liking of unfamiliar Irish melodies presented in four timbres: two familiar (voice, piano) and two less familiar (banjo, marimba). After exposure to a set of melodies, participants judged whether each melody from a larger set (original and novel) was old or new. Melodies presented vocally were remembered significantly better than those presented instrumentally even though they were liked less. The findings confirm that surface features of music and abstract, relational features are processed jointly as well as separately.

The purpose of the study was to determine whether a prototype aural training programme could successfully develop tertiary level aural training skills if face-to-face teaching components were replaced entirely by interactive CD-ROM delivery. Audiation is the ability by which one hears with the eyes (and, by extension, sees with the ears), and the reciprocal nature of listening and reading has long been recognised (Karpinski,2000). According to Allvin (1970), sound-to-sight and sight-to-sound skills can be developed through CAI with an effectiveness equal to face-to-face instruction. It appears that some aural skills assist naturally in the development of other aural skills; Carlsen (1969), for example,suggested that the effect of aural training by instruction generalised to sightsinging ability, while Baggaley (1974) writes in contrast that the ability to discriminate does not necessarily guarantee the ability to recognise and identify. Porter (1977) asserts what is now a generally known fact that one must teach for transfer, rather than to expect transfer to be automatic. A six-semester distance-mode prototype aural training programme was developed at the University of Southern Queensland and delivered to tertiary music students in all states of Australia as well as other countries including New Zealand, Singapore, south-east Asia and the United Kingdom. A pre-test/post-test model assessing three groups (internal, external and control) was applied at the beginning and end of the first semester of the six semester programme. The internal group received face-to-face teaching during the first semester; the external group received tuition via CD-ROM; the control group received no tuition in ear training. The study sought to compare results within and between the three groups in the areas of rhythmic perception, melodic perception, scale/mode recognition and interval recognition during this first semester of the study, and to find correlations between demographic data and test performance. External students achieved higher levels of improvement for all aural acuities than internal students and control group students. The findings indicate that students learning multiple instruments and students learning piano perform aural tasks better than students learning only a vii melody line instrument (including voice) or no instrument. In addition, internal students’ results showed a greater ceiling effect than the externals’, suggesting that the aural perception curriculum itself may need to take into account different individual levels of achievement. Tertiary music schools experiencing funding constraints may be able to re-organise aural tuition practice either to replace or to augment face-to-face classes with external aural training materials,without sacrificing the quality of their instruction.

Thesis (Ph. D.)--Cornell University, 1980. / Typescript. Vita. Includes bibliographical references (leaves 503-515).

Horace H. Work's thesis (M.A.)--Colorado College, 1964. / Typescript. Photocopy. [Ann Arbor] : University of Michigan Library, [1970?] 29 cm. Includes bibliographical references (leaves 72-73).

The following piece is a three movement, twenty minute orchestral work in a Romantic style whose primary goals are accessibility and beauty. In the process of writing this piece, I learned that strong and memorable melodies are the key to a successful composition - taking influence from Henry Mancini and early Japanese video game composers, this work takes a central melodic theme through a series of variations to demonstrate the power of harmonic and orchestrational recontextualization. Rhythmically, the work utilizes techniques from the Minimalist and Progressive Rock traditions to strike a balance between rhythmic complexity and melodic focus. The three movements are meant to represent three steps towards self-actualization - Explore depicts curiosity and open-mindedness, Engage demonstrates the merits of focusing on one's craft, and Wonder represents the value of feeling awe towards the world even if it is not easy or simple. Ultimately, the work moves through a wide variety of moods and textures throughout its duration while staying focused on the central theme until the end, with the goal of creating a listening experience that is both rich and memorable.

Thesis (Ph. D.)--School of Electrical and Computer Engineering, Georgia Institute of Technology, 2004. Directed by Mark A. Clements. / Vita. Includes bibliographical references (leaves 176-184).