Common and distinct quantitative characteristics of Chinese and Western music in terms of modes, scales, degrees and melody variations

References

• Akkoc, C. (2002). Non-deterministic scales used in traditional Turkish music. Journal of New Music Research, 31(4), 285–293. https://doi.org/10.1076/jnmr.31.4.285.14169
   Web of Science ®Google Scholar
• Aktas, M. E., Akbas, E., Papayik, J., & Kovankaya, Y. (2019). Classification of turkishmakammusic: A topological approach. Journal of Mathematics and Music, 13(2), 135–149. https://doi.org/10.1080/17459737.2019.1622810
   Web of Science ®Google Scholar
• Aljanaki, A. (2011). Automatic musical key detection [Master’s thesis], University of Tartu.
   Google Scholar
• Andreatta, M. (2016). Formal and computational models in popular music. In Z. Kapoula, & M. Vernet (Eds.), Aesthetics & neuroscience: Scientific and artistic perspectives (pp. 257–269). Springer. https://hal.archives-ouvertes.fr/hal-01461216.
   Google Scholar
• Andreatta, M. (2018). From music to mathematics and backwards: Introducing algebra, topology and category theory into computational musicology. In M. Emmer, & M. Abate (Eds.), Imagine math 6 (between culture and mathematics), XXth anniversary (pp. 77–88). Springer. https://doi.org/10.1007/978-3-319-93949-0.
   Google Scholar
• Benward, B., Jackson, B. G., & Jackson, B. R. (1999). Practical beginning theory: A fundamentals worktext (8th ed.). McGraw-Hill Education.
   Google Scholar
• Bowling, D. L., Gill, K., Choi, J. D., Prinz, J., & Purves, D. (2010). Major and minor music compared to excited and subdued speech. The Journal of the Acoustical Society of America, 127(1), 491–503. https://doi.org/10.1121/1.3268504
   PubMed Web of Science ®Google Scholar
• Brothers, H. J. (2009). Intervallic scaling in the Bach cello suites. Fractals-Complex Geometry Patterns and Scaling in Nature and Society, 17(4), 537–545. https://doi.org/10.1142/S0218348(09004521
   Web of Science ®Google Scholar
• Brown, S., & Jordania, J. (2013). Universals in the world's musics. Psychology of Music, 41(2), 229–248. https://doi.org/10.1177/0305735611425896
   Web of Science ®Google Scholar
• Burkholder, J. P., Grout, D. J., & Palisca, C. V. (2014). A history of Western music. W W Norton & Co Ltd.
   Google Scholar
• Cambouropoulos, E. (1996). A general pitch interval representation: Theory and applications. Journal of New Music Research, 25(3), 231–251. https://doi.org/10.1080/09298219608570706
   Web of Science ®Google Scholar
• Christensen, T. (2006). The Cambridge history of Western music theory. Cambridge University Press.
   Google Scholar
• Chua, Y. S. (1991). Composition based on pentatonic scales: A computer-aided approach. Computer, 24(7), 67–71. https://doi.org/10.1109/2.84840
   Web of Science ®Google Scholar
• Clauset, A., Shalizi, C. R., & Newman, M. E. J. (2009). Power-law distributions in empirical data. SIAM Review, 51(4), 661–703. https://doi.org/10.1137/070710111
   Web of Science ®Google Scholar
• Clayton, M., Jakubowski, K., & Eerola, T. (2019). Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure. Musicae Scientiae, 23(3), 304–331. https://doi.org/10.1177/1029864919844809
   Web of Science ®Google Scholar
• Collier, W. G., & Hubbard, T. L. (2004). Musical scales and brightness evaluations: Effects of pitch, direction, and scale mode. Musicae Scientiae, 8(2), 151–173. https://doi.org/10.1177/102986490400800203
   Web of Science ®Google Scholar
• Costa, M., Fine, P., & Bitti, P. E. R. (2004). Interval distributions, mode, and tonal strength of melodies as predictors of perceived emotion. Music Perception, 22(1), 1–14. https://doi.org/10.1525/mp.2004.22.1.1
   Web of Science ®Google Scholar
• Dai, N. (1992). The origin of the toning method of the “addition or subtraction of one-third”. Studies in the History of Natural Sciences, 11(4), 325–332.
   Google Scholar
• Du, Y. (2004). Chinese traditional music theory course (in Chinese). Shanghai Music Publishing House.
   Google Scholar
• Du, Y., & Qin, D. (2007). Chinese music theory (in Chinese). Shanghai Music Publishing House.
   Google Scholar
• Goienetxea, I., Mendialdua, I., Rodriguez, I., & Sierra, B. (2019). Statistics-based music generation approach considering both rhythm and melody coherence. IEEE Access, 7, 183365–183382. https://doi.org/10.1109/ACCESS.2019.2959696
   Web of Science ®Google Scholar
• Greenberg, D., Wride, S., Snowden, D., Spathis, D., Potter, J., & Rentfrow, P. (2022). Universals and variations in musical preferences: A study of preferential reactions to Western music in 53 countries. Journal of Personality and Social Psychology, 122(2), 286–309. https://doi.org/10.1037/pspp0000397
   PubMed Web of Science ®Google Scholar
• Heydarian, P., & Jones, L. (2014). Tonic and scale recognition in Persian audio musical signals. 2014 12th International Conference on signal processing (ICSP), Hangzhou, China.
   Google Scholar
• Hindemith, P. (2015). The craft of musical composition. Shanghai Music Publishing House.
   Google Scholar
• Ho, L., & Han, K. (1982). On Chinese scales and national modes. Asian Music, 14(1), 132–154. https://doi.org/10.2307/834047
   Web of Science ®Google Scholar
• Honingh, A., & Bod, R. (2011). In search of universal properties of musical scales. Journal of New Music Research, 40(1), 81–89. https://doi.org/10.1080/09298215.2010.543281
   Web of Science ®Google Scholar
• Hsü, K. J., & Hsü, A. J. (1990). Fractal geometry of music. Proceedings of the National Academy of Sciences, 87(3), 938–941. https://doi.org/10.1073/pnas.87.3.938
   PubMed Web of Science ®Google Scholar
• Hua, T. (2015). Temperament of the San-fen-sun-yi (dividing into three and adding subtracting one) and the fifth recycle: Similarities and differences. Art of Music (Journal of the Shanghai Conservatory of Music), 04, 23–27.
   Google Scholar
• Kostka, S. (2006). Materials and techniques of twentieth-century music. Pearson Prentice Hall.
   Google Scholar
• Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. Oxford University Press. https://books.google.co.jp/books?id=J4dJCAAAQBAJ.
   Google Scholar
• Krumhansl, C. L., & Kessler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89(4), 334–368. https://doi.org/10.1037/0033-295X.89.4.334
   PubMed Web of Science ®Google Scholar
• Lerdahl, F. (2001). Tonal pitch space. Oxford University Press.
   Google Scholar
• Li, C. (2000). Fundamentals of music principles (in Chinese). People's Music Publishing House.
   Google Scholar
• Li, J. (2004). Introduction to structural analysis of Chinese music (in Chinese). Central Conservatory of Music Press.
   Google Scholar
• Li, Y. (1981). Introduction to the pentatonicism of the national mode. Chinese Music, 1, 11–12.
   Google Scholar
• Li, Z., & Han, B. (2020). Research on the construction of an acoustic database of traditional Chinese musical instruments. Musicology in China, 2, 92–102. https://doi.org/10.14113/j.cnki.cn11-1316/j.2020.02.011
   Google Scholar
• Li, Z., Liang, X., Liu, J., Li, W., Zhu, J., & Han, B. (2018). DCMI: A database of Chinese musical instruments.
   Google Scholar
• Liu, Z. (2006). A brief history of ancient Chinese music (in Chinese). People's Music Publishing House.
   Google Scholar
• Liu, Z., & Li, Z. (2021). Music data sharing platform for computational musicology research (CCMUSIC DATASET) Version 1.1). https://doi.org/10.5281/zenodo.5676893.
   Google Scholar
• McLean, D. (2001). The science behind Europe's music scale. Interdisciplinary Science Reviews, 26(3), 211–221. https://doi.org/10.1179/030801801679476
   Web of Science ®Google Scholar
• Mehr, S. A., Singh, M., Knox, D., Ketter, D. M., Pickens-Jones, D., Atwood, S., Lucas, C., Jacoby, N., Egner, A. A., Hopkins, E. J., Howard, R. M., Hartshorne, J. K., Jennings, M. V., Simson, J., Bainbridge, C. M., Pinker, S., O'Donnell, T. J., Krasnow, M. M., & Glowacki, L. (2019). Universality and diversity in human song. Science, 366(6468), aax0868. https://doi.org/10.1126/science.aax0868
   Web of Science ®Google Scholar
• Nan, N., & Guan, X. (2023). Goal orientation in music composition and other social behaviors leading to the common quantitative law. IEEE Transactions on Computational Social Systems, 10(1), 388–402. https://doi.org/10.1109/TCSS.2022.3227080
   Web of Science ®Google Scholar
• Nan, N., Guan, X., Wang, Y., & Du, Y. (2022). Common quantitative characteristics of music melodies — pursuing the constrained entropy maximization casually in composition. SCIENCE CHINA Information Sciences, 65(7), 174201. https://doi.org/10.1007/s11432-021-3366-4
   Web of Science ®Google Scholar
• Newman, M. E. J. (2005). Power laws, Pareto distributions and Zipf's law. Contemporary Physics, 46(5), 323–351. https://doi.org/10.1080/00107510500052444
   Web of Science ®Google Scholar
• Noll, T. (2018). Dual lattice-path transformations and the dynamics of the major and minor exo-modes. Journal of Mathematics and Music, 12(3), 212–232. https://doi.org/10.1080/17459737.2018.1548035
   Web of Science ®Google Scholar
• Panteli, M., Benetos, E., & Dixon, S. (2018). A review of manual and computational approaches for the study of world music corpora. Journal of New Music Research, 47(2), 176–189. https://doi.org/10.1080/09298215.2017.1418896
   Web of Science ®Google Scholar
• Pareto, V. (1896). Cours d'économie politique: Professé à l'Universįté de Lausanne [Political economy course] (Vol. 1). F. Rouge. https://doi.org/10.3917/DROZ.PARET.1964.01.
   Google Scholar
• Parncutt, R. (2014). The emotional connotations of major versus minor tonality: One or more origins? Musicae Scientiae, 18(3), 324–353. https://doi.org/10.1177/1029864914542842
   Web of Science ®Google Scholar
• Patel, A. D. (2008). Talk of the tone. Nature, 453(7196), 726–727. https://doi.org/10.1038/453726a
   PubMed Web of Science ®Google Scholar
• Popoff, A., Andreatta, M., & Ehresmann, A. (2015). A categorical generalization of klumpenhouwer networks. International Conference on Mathematics and computation in music (MCM), London, UK.
   Google Scholar
• Randel, D. M. (2003). The Harvard dictionary of music (4th ed.). Harvard University Press.
   Google Scholar
• Sadie, S., & Tyrrell, J. (2001). The new grove dictionary of music and musicians Vol. 16 (2nd ed). Oxford University Press.
   Google Scholar
• Savage, P. E., Brown, S., Sakai, E., & Currie, T. E. (2015). Statistical universals reveal the structures and functions of human music. Proceedings of the National Academy of Sciences, 112(29), 8987–8992. https://doi.org/10.1073/pnas.1414495112
   PubMed Web of Science ®Google Scholar
• Schoenberg, A. (1984). The fundamentals of music composition. Shanghai Music Publishing House.
   Google Scholar
• Tan, D., & Temperley, D. (2013). Emotional connotations of diatonic modes. Music Perception, 30(3), 237–257. https://doi.org/10.1525/mp.2012.30.3.237
   Web of Science ®Google Scholar
• Tan, D., & Temperley, D. (2017). Perception and familiarity of diatonic modes. Music Perception, 34(3), 352–365. https://doi.org/10.1525/mp.2017.34.3.352
   Web of Science ®Google Scholar
• Tong, F. (1926). Chinese music sourcing (in Chinese). The Commercial Press.
   Google Scholar
• Tsougras, C. (2003). Modal pitch space—a theoretical and analytical study. Musicae Scientiae, 7(1), 57–86. https://doi.org/10.1177/102986490300700104
   Web of Science ®Google Scholar
• Tymoczko, D. (2006). The geometry of musical chords. Science, 313(5783), 72. https://doi.org/10.1126/science.1126287
   PubMed Web of Science ®Google Scholar
• Tymoczko, D. (2011). A geometry of music: Harmony and counterpoint in the extended common practice. Oxford University Press.
   Google Scholar
• Wang, G. (1990). A study of eastern and Western musical temperament (in Chinese). Shanghai Bookstore Publishing House.
   Google Scholar
• Wang, G. (2019). The history of Chinese music (in Chinese). Anhui People's Publishing House.
   Google Scholar
• Whorley, R. P., & Conklin, D. (2016). Music generation from statistical models of harmony. Journal of New Music Research, 45(2), 160–183. https://doi.org/10.1080/09298215.2016.1173708
   Web of Science ®Google Scholar
• Xie, L., & Gao, Y. (2022). A database for aesthetic classification of Chinese traditional music. Cognitive Computation and Systems, 4(2), 197–204. https://doi.org/10.1049/ccs2.12064
   Google Scholar
• Zhao, X. (2013). The craft of traditional music composition (in Chinese). Anhui Literature and Art Publishing House.
   Google Scholar
• Zipf, G. K. (1949). Human behaviour and the principle of least effort. Addison-Wesley Press.
   Google Scholar