Open-Source Intelligence and Music Information Retrieval for Geographic Attribution of Musical Affect and the Ecological Limits of Population Inference
Authors: Mohammadreza Rashidi
Organizations: Department of Computer Science AI and Media Analysis Lab Berlin, Germany
Abstract
A common intuition holds that a region's music mirrors the temperament of its people, so that melancholic melodies mark melancholic populations. We test the measurable half of that intuition and reject the inferential half. Using the Essen Folksong Collection, a corpus of thousands of notated folk melodies, we extract real melodic and affect-related features from 2393 deduplicated melodies spanning 16 countries and 7 geographic regions, with the analysis performed on symbolic scores rather than audio. The mode of each melody is computed with a key-finding algorithm rather than read from the file, because the collection's own documentation warns its major and minor labels are unreliable. Cross-country differences in melodic structure are large and highly significant. All 8 tested features differ across countries at p<0.001, with the leap-related features reaching p<10^-90, and China carries a distinctive wide-leap, high-activity signature (arousal composite +1.24 standard deviations, mean absolute interval 2.77 semitones against Germany's 2.17). We then test the inferential half. We correlate the regional musical-affect measures with two published, validated national indices, the World Happiness Report ladder score and the Hofstede individualism index. None of the 6 correlations is significant (0 of 6). The geography of musical affect is real and measurable, but it does not predict how happy or how individualist a population is, and any claim that it does is an ecological fallacy. We release the full extraction and analysis pipeline, and a fail-closed checker re-derives every number in this paper from the data.
Since antiquity, musical scales have been explained by harmony rather than melody. This view relies on the mathematically designed scales of a few traditions, and was never directly tested. Testing it requires cross-cultural data and a method that judges theories by what they get wrong as well as right. We provide both, modelling scale evolution across 1,314 scales from 96 countries. A Melody model explains the near-universal preference for step-sizes of 1-3 semitones, and matches independent data from melodies, singing, and psychoacoustics. Harmony does far less: it explains the music-theoretic scales, but in those measured from performance it adds only a weak bias towards fourths, fifths, and octaves. Harmony's importance has been overstated, likely due to the historical focus on music-theoretic rather than measured scales. Melody is the primary driver of global scale structure; harmonic constraints are less impactful and mainly reflect musicological theory over musical performance.
John M McBride, Steven Brown, Elizabeth Phillips +2
Music comprises two core structural components, melody and rhythm, that vary widely across cultures. Whether these components coevolve in a coupled way or follow independent trajectories remains unclear. We introduce a novel computational pipeline to extract vocal melodic pitch-interval and percussive inter-onset timing distributions from 27,628 popular songs across 59 countries, enabling large-scale cross-cultural comparison that bypasses traditional music annotations. Musical similarities between countries aligned with geographic and linguistic relationships, validating our approach. Substantial variation emerged in both melodic and rhythmic structures across countries, yet the diversity of the two components was not significantly correlated, challenging assumptions of coupled evolution. Only rhythmic diversity was significantly associated with ethnic and linguistic heterogeneity, while melodic diversity showed no such association. These findings suggest that melody and rhythm constitute partially independent systems shaped by distinct cultural and evolutionary pressures, rather than components of a single monolithic musical style.
Sonic seasoning research has shown that listeners attribute systematic gustatory and emotional meaning to sound, and text-to-music generative artificial intelligence has recently been used to render gustatory prompts as musical stimuli. Whether the taste-sound correspondences acquired by such models hold beyond the cultural context in which they were validated remains untested. We extended a single-country study to a three-country online experiment conducted in Argentina, Italy, and Japan (N = 361). Participants first indicated their preference between base and fine-tuned MusicGen excerpts generated from four taste prompts (sweet, sour, bitter, salty), and then rated fine-tuned excerpts on twelve taste, emotion, and thermal descriptors. Preference for the fine-tuned model was confirmed in Argentina and Italy but not in Japan, and the salty prompt yielded the weakest correspondence in all three cohorts. Ratings differed substantially between countries, yet the main effect of country was no longer detectable once ratings had been standardized within participant, whereas the interactions characterizing the mapping of prompts onto descriptors remained essentially unchanged. Much of the apparent cross-cultural divergence is therefore attributable to differences in scale use; a structural component nevertheless persists. In addition an exploratory factor analysis indicated that the twelve descriptors were organized along different latent dimensions in each cohort. These results indicate that cross-cultural variation in AI-mediated sonic seasoning operates at two levels: the overall level at which taste is attributed to a given stimulus, and the relational structure of those attributions. Evaluations of generative music systems across populations should accordingly distinguish response-style bias from genuine perceptual reorganization.