melac – calculate melodic accent values for successive pitches in a Humdrum input
`` melac [inputfile.sem ...] [> outputfile.tac]``
The melac command accepts as input Humdrum `` **semits`` data and outputs a series of values representing the degree of melodic accent associated with each note. Melodic accent values vary between 0 (no accent) and 1 (maximum accent). Input is limited to only a single `` **semits`` data spine.
The melac command implements a model of melodic accent developed by Joseph Thomassen (see REFERENCES). Thomassen’s model is sensitive to pitch contour only – distinguishing just three types of melodic motion: ascending, descending, and unison. The model calculates tonal accent values according to a moving 3-pitch window.
It is recommended that output files produced using the melac command should be given names with the distinguishing `.mac’ extension.
The melac command provides only a help option:
-h displays a help screen summarizing the command syntax
Options are specified in the command line.
The following example illustrates the output of the melac command. The **semits spine is the input, and the **melac spine is the corresponding output. (A **kern equivalent to **semits has been added to increase the readability.) ````
**kern **semits **melac 16ee 16 1 16cc 12 0.5 16b 11 0.355 16cc 12 0.2407 16g 7 0.1207 16cc 12 0.2407 16b 11 0.1207 16cc 12 0.0957 16ff 17 0.5561 16cc 12 0.085 16b 11 0.355 16cc 12 0.2407 16a 9 0.1207 16cc 12 0.2407 16b 11 0.1207 16cc 12 0.29 *- *- *-
DOS 2.0 and up, with the MKS Toolkit. OS/2 with the MKS Toolkit. UNIX systems supporting the Korn shell or Bourne shell command interpreters, and revised awk (1985).
This command is currently able to handle only a single (monophonic) input stream.
Thomassen, J. “Melodic accent: Experiments and a tentative model,” Journal of the Acoustical Society of America, Vol. 71, No. 6 (1982) pp.1598-1605; see also, Erratum, Journal of the Acoustical Society of America, Vol. 73, No. 1 (1983) p.373.
Huron, D. & Royal, M. “What is melodic accent? Converging evidence from musical practice.” Music Perception, Vol. 13, No. 4 (1996) pp. 489-516.