Abstract

Music is universal means for expression and transmission of emotions. By means of music a composer passes to the emotions the listeners, and listeners, in the process of listening of one or another piece of music, experience the certain emotions stopped up in work by his author, and also expressed by a performer. Thus, music can be attributed to the general category, named "highly emotional facilities of communication", such categories, as dance, picture, movie and other works of fine art, are also included in that [1]. Such works express(or cause for a man) the different emotional states. Highly emotional facilities of communication are complemented and often communications" that is mainly based on the narrative reflection of some events intersect with "text facilities. Both these means of communication attach maintenance to the certain elements and structures, however first from them expresses feeling and emotions, and the second is mainly constrained.

The aim of the real research is a construction of semiotic метамодели of the intellectual system intended for the search of informing constituent of pieces of music. Tasks is a study of existent models of the emotional states, that can be stopped up by composers in the pieces of music, study of musical descriptions, responsible for maintenance of one or another emotion, and also choice of method of presentation of pieces of music for the analysis of their highly emotional content. As a result on the basis of gain knowledge, it is assumed to build semiotic метамодель of the intellectual system for an analysis, classification, and maybe, and synthesis of pieces of music with set highly emotional.

In 1980th a few models were offered for description of the emotional states and moods. These models were mainly based on two-dimensional classification of moods. Among them it is possible to mention the cyclic model of emotions of Russel [2] and model of moods of Tayer [3]. The last is based on activating and pleasure as on two measuring, and then on energy and stress as on two different types of activating.

In spite of by volume enough base of knowledge about musical structures(especially for western music), affecting of musical object the emotional state and perception of listener still remains a wide area for researches. In the experiments of Хевнер [4] united in groups the emotional reaction of listeners on the pieces of music, suggesting to describe music them by means of adjectives, and then grouped these adjectives. Farnsnout perfected and regrouped these adjectives in 10 groups that is presently used by researchers for the selection of emotional maintenance of pieces of music [5]. Other researchers apply the two-dimensional model of moods of Tayer for the selection of emotions in music. Liu and other [6] use music intensity as "measuring of energy" in the model of Tayer, and timbre and rhythm as "measuring of stress", as this model is user-friendly in the computer systems

Thus, due to that the fully certain models of emotions are worked out, and also musical descriptions that determine emotional maintenance of musical phrases are experimentally got and described [8], extraction of highly emotional information from the pieces of music is fully feasible.

As material for researches we use the scores of pieces of music in the format of MusicXML [9]. This format contains these enough in an order to distinguish necessary information, and is less bulky, than format of MIDI. This format is a comfortable drawing of score of piece of music tool, as information in it is kept in a clear structural form, and also, as it is supported in most modern programmatic foods for the record of music in a musical form(Finale, Sibelius, etc.). In addition, MusicXML a structure is comfortable for treatment by means of computer programmatic

N-process of Di Paola [1] hierarchical method Liu and other [6] used in an order to define the mood of piece of music in obedience to the model of Tayer [3]. Intensity is used at first for classification of mood of work as satisfied/depressed or quiet/uneasy. A timbre and rhythm are used for determination of category of mood in each of groups. Marks, offered Jaslin and Brezin and fraiberg [7], and also two-dimensional classification of moods of Russel [2] used, to break up these four categories of model of Tayer on more detailed categories of the emotional states, identical that used in the cyclic model of Russel:

it is satisfaction: satisfied, satisfied, enthusiastic, pleasant, happy;

it is depression: suffering, angry, disordered, sad, sad, low-spirited, boring;

it is an anxiety: disturbed, amazed, excited, alarmed, scared, wicked;

it is a calmness: sleepy, tired, relaxed, quiet.

Figure 1 - Hierarchial Music Mood Detection Process

Animation. Size - 75 kilobytes, frames - 13, loops - 5

he got descriptions can be in future used for filling of semiotic metamodels of the intellectual system as attributes of musical actantets and construction of discurses. From the point of view of semiotics, in any piece of music it is possible to distinguish certain актанты and дискурсы similarly as well as in text works. In our researches we determine as actantets minimum units of piece of music, bearing semantic(highly emotional) information. Such actantents can be separate arcades, times, and even separate chords or notes. The attributes of these actantets will be their emotional maintenance. For example, a the same musical arcade(i.e. musical phrase) can be reproduced in a different rate, rhythm, timbre, by means of different articulation etc. Evolutions of musical phrases, i.e. the change of descriptions influencing on their emotional maintenance we examine as discurses.

Thus, at further researches it is necessary to take into account these human factors as additional criteria for a synthesis and analysis of pieces of music. Offered method of the semiotic going near an analysis and synthesis of pieces of music, based on research of their highly emotional maintenance, unites in itself research in area of theory of music, musical perception, psychiacoustic and semiotics. The use of musical scores in the format of MusicXML allows to produce the analysis of work us exactly in a that kind, what it a composer bethought to, i.e. not taking into account influence of expression of performer. Application of combination of different models of description of the emotional states allows most exactly to define highly emotional maintenance of piece of music, and application of semiotic concepts, such as актанты and дискурсы, allows to draw on the results got at an analysis for filling of rich in content part of semoitic of the oriented intellectual systems.

Master's work is not yet complete at the time of writing this essay. Estimated date of completion: December 2012. Full text of the paper, as well as materials on the subject may be obtained from the author or his scientific advisor after that date.

1. DiPaola, S., Arya, A. - Affective Communication Remapping in MusicFace System - European Conference on Electronic Imaging and the Visual Arts, EVA-2004, London, England, 2004. [Electronic resourse] / Интернет-ресурс. - Режим доступа: http://www.csit.carleton.ca/~arya/pubs/eva.pdf
2. Russell, J. A. A circumplex model of affect - Journal of Personality and Social Psychology, 39, 1161 – 1178, 1980.
3. Russell, J. A. A circumplex model of affect - Journal of Personality and Social Psychology, 39, 1161 – 1178, 1980.
4. Thayer, R.E. The Biopsychology of Mood and Arousal. – New York, 1989.
5. Hevner, K. Experimental studies of the elements of expression in music - American Journal of Psychology, 48: 246 – 268, 1936.
6. The International Society for Music Information Retrieval [Electronic resourse] / Интернет-ресурс. - Режим доступа: http://ismir2003.ismir.net
7. Liu, D., et al. – Automatic Mood Detection from Acoustic Music Data, ISMIR-03. [Electronic resourse] / Интернет-ресурс. - Режим доступа: http://ismir2003.ismir.net/papers/Liu.PDF
8. Bresin, R., Friberg, A. Synthesis and Decoding of Emotionally Expressive Music Performance, IEEE International Conference on Systems, Man, and Cybernetics. – Tokyo, 1999.
9. Juslin, P.N., Sloboda, J.A. Music and Emotion: Theory and Research. – New York, 2001.
10. Good, M. – MusicXML in Practice: Issues in Translation and Analysis. Proceedings of the First International Conference MAX 2002: Musical Application Using XML [Electronic resourse] / Интернет-ресурс. - Режим доступа: http://michaelgood.info/publications/music/musicxml-in-practice-issues-in-translation-and-analysis/