The notion of musical similarity is particularly complex because there are numerous dimensions of similarity. If similarity takes place between different fragments from one musical piece, a musical similarity implies a repetition of the first occurring fragment. As well, eventually, the similarity does not occur by direct repetition, but by presenting in two (or more) set of relations, some common values or patterns. Objective musical similarity can be based on musical features such as:
Pitched parameters
- Pitch interval similarity
- Melodic similarity
- Modulation pattern similarity
- Timbral similarity
Non-pitched parameters
- Metrical structure similarity
- Rhythmic pattern similarity
- Section structure similarity
Semiotic parameters
- Modality structure similarity
- Extensional similarity
- Intensional similarity
Nevertheless, similarity can be based also on less objective features such as musical genre, personal history, social context (e.g. music from the 1960s), and a priori knowledge.
Read more about Musical Similarity: Applications
Famous quotes containing the words musical and/or similarity:
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“Incompatibility. In matrimony a similarity of tastes, particularly the taste for domination.”
—Ambrose Bierce (1842–1914)