发表机构
Communication University of China（中国传媒大学）
机构由 AI 辅助整理，请以论文原文为准。AI 中文总结
本研究通过分析100首中文流行歌曲的段落结构与连续效价-唤醒轨迹，揭示了段落间情感差异主要体现在唤醒度上，并提出了“局部循环-整体累积”的情感组织经验框架。
AI 中文摘要
音乐情感识别（MER）旨在通过计算方法识别和表示音乐中的情感信息，是音乐信息检索（MIR）领域中的一个重要研究方向。针对现有动态音乐情感识别研究中对歌曲段落结构考虑不足的问题，本研究通过将1,046个手工标注的段落与连续的效价-唤醒（VA）轨迹对齐，从段落类型、相邻段落转换、重复段落以及整首歌曲轨迹等角度，对100首中文流行歌曲进行了分析。结果表明，不同段落之间的情感差异在唤醒度上体现得更为明显。主歌通常形成相对较低的激活基线，预副歌表现出渐进的能量积累，副歌则产生更明显的高唤醒到达，而间奏、桥段和尾奏分别倾向于呈现过渡、发散和收尾的功能。尽管整首歌曲的段落配置多种多样，但高频的局部转换相对集中。高唤醒位置更常出现在歌曲的后半部分，但并不固定于最后的副歌。基于这些发现，本研究将所选流行歌曲的情感组织概括为一个“局部循环-整体累积”的经验框架，其中局部段落循环伴随着情感回拉，而整体轨迹则表现出后期VA上升以及高唤醒位置倾向于出现在歌曲后段的趋势。
英文摘要
Music Emotion Recognition (MER) aims to identify and represent emotional information in music through computational methods and is an important research area within Music Information Retrieval (MIR). To address the limited consideration of song sectional structure in existing dynamic MER research, this study examines 100 Chinese pop songs by aligning 1,046 manually annotated sections with continuous Valence-Arousal (VA) trajectories and analyzing them from the perspectives of section type, adjacent section transitions, repeated sections, and whole-song trajectories. The results show that emotional differences across sections are reflected more strongly in Arousal. Verse typically forms a relatively low-activation baseline, Pre-chorus exhibits a progressive buildup, and Chorus produces a more pronounced high-arousal arrival, while Interlude, Bridge, and Outro tend to show transitional, divergent, and closing functions, respectively. Although whole-song sectional configurations are diverse, high-frequency local transitions are relatively concentrated. High-arousal positions occur more often in the later part of a song, but are not fixed to the final Chorus. Based on these findings, this study summarizes the emotional organization of the selected pop songs as an empirical framework of "local cycles-global accumulation", in which local sectional cycles are accompanied by emotional pullbacks, while the overall trajectory exhibits a later-stage rise in VA and a tendency for high-Arousal positions to occur later in the song.
Comments18 pages, 4 figures, 5 tables
