I'd like to meet:
»-(¯..v..¯)-» Design your MySpace with MyLook «-(¯..v..¯)-«
Music:
1967-------------1) The Beatles, "Penny Lane" b/w "Strawberry Fields Forever" Capitol 5810 (17 February 1967) recorded 29 December 1966 - 17 January 1967, London, England------------2) Aretha Franklin, "Respect" Atlantic 2403 (16 April 1967) b/w "Dr. Feelgood" recorded 14 February 1967, Memphis, TN---------------------3) The Rolling Stones, "Let's Spend the Night Together" b/w "Ruby Tuesday" London 904 (13 January 1967) recorded November-December 1966, London, England------------------4) The Who, "I Can See For Miles" Decca 32206 (September 1967) b/w "Mary-Anne With The Shaky Hands" recorded 7 October 1967, London, England--------------------5) Jackie Wilson, "(Your Love Keeps Lifting Me) Higher and Higher" Brunswick 55336 (August 1967) b/w "I'm The One To Do It" recorded 7 July 1967, Chicago, IL-----------------------6) Sam and Dave, "Soul Man" Stax 231 (September 1967) b/w "May I Baby" recorded July 1967, Memphis, TN------------------------7) The Doors, "Light My Fire" Elektra 45615 (April 1967) b/w "The Crystal Ship" recorded 4 January 1967, Los Angeles, CA------------------8) The Buffalo Springfield, "For What It's Worth" Atco 6459 (15 December 1966) b/w "Until You Love Someone" recorded 1 December 1966, Los Angeles, CA---------------------9) Procol Harum, "A Whiter Shade Of Pale" Deram 7507 (June 1967) b/w "Lime Street Blues" recorded May 1967, London, England-----------------------10) Otis Redding, "Try A Little Tenderness" Volt 141 (14 November 1966) b/w "I'm Sick Ya'll" recorded September 1966, Memphis, TN-------------------
Movies:
Measuring the complexity of a MIDI fileA MIDI file is a concise description of a song. Instead of containing sound samples that represent how an audio speaker can reproduce the sounds, it contains a series of commands to a MIDI synthesizer that generates the sounds. MIDI files can be thought of as musical scores that do not use standard music notation. Instead of indicating the pitch and duration (quarter note, eighth note, etc.), MIDI files contain specific commands that tell the synthesizer what instruments are playing and when a note begins to play (note-on) and when it stops playing (note-off). This project only deals with note-on commands that can be differentiated from the rest because they begin with the prefix ‘9’. Ramsey (1999, pp. 4.21-4.23) provides the technical details of MIDI.A portion of this project includes the customization and enhancement of the midi player software developed by König (1998). This previous program decodes MIDI files and sends the individual commands to a MIDI synthesizer that plays the song. This project utilizes the decoding provided by König, compiles a list of note-on commands sorted by onset time, and computes the rhythmic and melodic complexity of the song.MIDI files allow for very small differences in onset time. Therefore, notes that appear to be played at the same time on a musical score may be played at slightly different times in a MIDI file. This difference is usually imperceptible. However, it is necessary to deal with these small deviations so that the representation vectors closely resemble the score notation on which the complexity algorithms depend. This project accomplishes this by allowing only one note to turn on within the duration of one-twelfth of a beat. For note-on commands that occur together within this threshold, the lowest pitch was recorded for the melody. Therefore, a C-Major chord would be recorded as a C note in the melody. During a song, the music may stop and restart. If this duration is greater than 7 beats, it is ignored in the rhythmic pattern. Melodic complexityAfter the notes have been filtered to treat chords as notes and ignore long pauses, separate algorithms measurer the rhythmic and melodic complexity of the song. Both algorithms build on autocorrelation described by Leman (1995) and similarity algorithms described by Schmulevich (2001).Beginning with the list of notes attained in the previous section, an absolute pitch vector, , is created to contain an ordered list of pitches present in the song. The melodic complexity algorithm advances in several steps:1. The melody difference vector, , is generated by finding the change in pitch between adjacent notes in p. Specifically, . 2. Subinterval pairs, and for , are created for every offset in M. Specifically, (i.e. ) and (i.e. ). 3. The differences between subinterval pairs, Ai and Bi for , are stored in distance vectors, . Specifically, (i.e. ). 4. The total error vector, Etot, is created as the concatenation of all subinterval distance vectors, Di. Specifically,. 5. The total error, Emelody, is calculated as the Euclidian length of Etot and divided by the number of pitch changes. Therefore, the number of notes in a song does not affect its melodic complexity. Specifically, .Essentially, this algorithm compares every pitch change, mi, to every other pitch change, mj, calculating the standard deviation between each pair of pitch changes and dividing by the number of pitch changes. Two songs that repeat the same melody a different number of times are calculated to have the same internal melodic complexity. Tempo, rhythm, and key do not affect this measure. Rhythmic complexityRhythmic complexity is computed in a way analogous to melodic complexity. Beginning with the original ordered list of notes, an absolute time vector, , was created that contains an ordered list of note onset times in the song. The rhythmic complexity algorithm completes in several steps:1. The inter-onset interval vector, , is generated by finding the difference between adjacent times in T. Specifically, . 2. The rhythm difference vector, , represents the linear change between durations. Specifically, . Calculating R in this way makes a doubling in duration equal to one and a halving of duration equal to negative one. For instance, a quarter note followed by a half note incurs a rhythm difference of one, while a quarter note followed by an eighth note incurs a difference of negative one. 3. The following four steps are analogous to steps 2-5 in the melodic complexity algorithm. Subinterval pairs, and for , are created for every offset in R. Specifically, (i.e. ) and (i.e.). 4. The differences between subinterval pairs, Ai and Bi for , are stored in distance vectors, . Specifically, (i.e. ). 5. The total error vector, Etot, is created as the concatenation of all subinterval distance vectors, Di. Specifically,. 6. The total error, Erhythm, is calculated as the Euclidian length of Erhythm and divided by the number of pitch changes. Therefore, the number of notes in a song does not affect its rhythmic complexity. Specifically, .This algorithm compares every rhythm change, ri, to every other rhythm change, rj, calculating the standard deviation between them and dividing by the number of rhythm changes. Two songs that repeat the same rhythm a different number of times are calculated to have the same rhythmic complexity. Tempo, melody, and key do not affect this measure. ResultsThis project included all ten songs that met the above selection criteria. Each song was analyzed in terms of its rhythmic and melodic complexity and four performance factors: number of weeks in the chart, average weekly change in position, peak ranking, and debut ranking. Because the sample is so small, the complete data is available in Table 1. The correlations between rhythmic and melodic complexity, and the four performance factors are shown in Table 2. With an alpha level of 0.01, the correlation between melodic complexity and number of weeks in the charts was statistically significant. The estimated magnitude (r2) of this relationship is 0.52. In other words approximately 52% of the explanation of chart longevity is associated with melodic complexity.With an alpha level of 0.05, the correlation between rhythmic complexity and number of weeks in the charts, rhythmic complexity and peak ranking, and melodic complexity and average weekly change in position were statistically significant.
Books:
.. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" .. .. width="425" height="350" ..