Relevant bibliographies by topics / Musical perception

Academic literature on the topic 'Musical perception'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musical perception.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Musical perception"

1

Miller, Benjamin O. "Time perception in musical meter perception." Psychomusicology: A Journal of Research in Music Cognition 12, no. 2 (1993): 124–53. http://dx.doi.org/10.1037/h0094111.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.

Full text
Abstract:
This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
APA, Harvard, Vancouver, ISO, and other styles
3

Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3172. http://dx.doi.org/10.1121/1.419195.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Girgin, Demet. "Pre-service Music Teachers’ Metaphoric Perception for the Musical Instrument Education." Journal of Qualitative Research in Education 7, no. 1 (January 31, 2019): 1–15. http://dx.doi.org/10.14689/issn.2148-2624.1.7c1s.7m.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Tillmann, Barbara, and Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, no. 1 (April 1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Zatorre, Robert J. "Brain Imaging Studies of Musical Perception and Musical Imagery." Journal of New Music Research 28, no. 3 (September 1, 1999): 229–36. http://dx.doi.org/10.1076/jnmr.28.3.229.3112.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Swain, Joseph P. "Music Perception and Musical Communities." Music Perception 11, no. 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.

Full text
Abstract:
Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to the status of relevant musical communities; (2) a perceptual object that is real for only a small minority of listeners may yet be deemed significant if that minority performs some crucial activity in the musical culture; (3) important perceptual objects can be explicitly taught by advanced musical communities; (4) although this perspective calls into question the objectivity of theoretical principles, music theory must continue to incorporate the results of experiments in music perception.
APA, Harvard, Vancouver, ISO, and other styles
8

Trehub, Sandra E. "Infants’ perception of musical patterns." Perception & Psychophysics 41, no. 6 (November 1987): 635–41. http://dx.doi.org/10.3758/bf03210495.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Best, Harold M. "Musical Perception and Music Education." Arts Education Policy Review 96, no. 4 (April 1995): 2–9. http://dx.doi.org/10.1080/10632913.1995.9934551.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Miller, Johanna L. "Musical pitch perception starts early." Physics Today 67, no. 10 (October 2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Musical perception"

1

Mate-Cid, Saul. "Vibrotactile perception of musical pitch." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.

Full text
Abstract:
Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical performance. Over the range of notes between C1 (32.7Hz) and C6 (1046.5Hz), no significant difference was found between the mean vibrotactile detection thresholds in terms of displacement for the fingertip of participants with normal hearing and with severe/profound hearing impairments. These thresholds have been used to identify an optimum dynamic range in terms of frequency-weighted acceleration to safely present vibrotactile music. Assuming a practical level of stimulation ≈10dB above the mean threshold, the dynamic range was found to vary between 12 and 27dB over the three-octave range from C2 to C5. Results on the fingertip indicated that temporal cues such as the transient and continuous parts of notes are important when considering the perception of vibrotactile pitch at suprathreshold levels. No significant difference was found between participants with normal hearing and with severe/profound hearing impairments in the discrimination of vibrotactile relative pitch from C3 to C5 using the fingertip without training. For participants with normal hearing, the mean percentage of correct responses in the post-training test was greater than 70% for intervals between four and twelve semitones using the fingertip and three to twelve semitones using the forefoot. Training improved the correct responses for larger intervals on fingertips and smaller intervals on forefeet. However, relative pitch discrimination for a single semitone was difficult, particularly with the fingertip. After training, participants with normal hearing significantly improved in the discrimination of relative pitch with the fingertip and forefoot. However, identifying relative and absolute pitch was considerably more demanding and the training sessions that were used had no significant effect.
APA, Harvard, Vancouver, ISO, and other styles
2

Zacharakis, Asterios. "Musical timbre : bridging perception with semantics." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8715.

Full text
Abstract:
Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, verbal description of these qualities facilitates communication between musicians, composers, producers, audio engineers etc. The development of a common semantic framework for musical timbre description could be exploited by intuitive sound synthesis and processing systems and could even influence the way in which music is being consumed. This work investigates the relationship between musical timbre perception and its semantics. A set of listening experiments in which participants from two different language groups (Greek and English) rated isolated musical tones on semantic scales has tested semantic universality of musical timbre. The results suggested that the salient semantic dimensions of timbre, namely: luminance, texture and mass, are indeed largely common between these two languages. The relationship between semantics and perception was further examined by comparing the previously identified semantic space with a perceptual timbre space (resulting from pairwise dissimilarity rating of the same stimuli). The two spaces featured a substantial amount of common variance suggesting that semantic description can largely capture timbre perception. Additionally, the acoustic correlates of the semantic and perceptual dimensions were investigated. This work concludes by introducing the concept of partial timbre through a listening experiment that demonstrates the influence of background white noise on the perception of musical tones. The results show that timbre is a relative percept which is influenced by the auditory environment.
APA, Harvard, Vancouver, ISO, and other styles
3

Harrison, L. "Music analysis and musical perception : studies in the psychology of musical structure." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328316.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Krom, Matthew Wayne. "Machine perception of natural musical conducting gestures." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61823.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hamaoui, Kamil. "The perceptual grouping of musical sequences : pitch and timing as competing cues /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC IP addresses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236630.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ramos, Danilo. "Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.

Full text
Abstract:
RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.
RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
APA, Harvard, Vancouver, ISO, and other styles
7

Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.

Full text
Abstract:
The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
APA, Harvard, Vancouver, ISO, and other styles
8

Bruce, Greg. "An investigation of duplex perception with musical triads." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368285.

Full text
Abstract:
Duplex perception (DP) occurs when a stimulus simultaneously contributes to the perception of two auditory events (Rand, 1974), thus violating the principle of exclusive allocation. One interpretation of DP is that it is the consequence of independent auditory modules [speech/music vs. acoustical] of which one `mode' [phonetic/musical] has `perceptual precedence' (Liberman and Mattingly, 1989). The more common scene analysis view is that DP is the consequence of competing cues for organisation (Bregman, 1987,1990). This thesis attempted to explore DP with musical triads. It was found that tonal fusion was affected when triads were presented dichotically. Secondly, these `duplexed' triads evinced a trade-off between mode and note performance, modulated by presentation (monaural vs. dichotic). Thirdly, sequential grouping had no effect on DP. Fourthly, the relative timing of the notes in a chord had little effect on tonal fusion or DP. Finally, there was no evidence for subliminal tonal fusion, which contradicted the notion of perceptual precedence in DP. Although the findings support the idea that DP is the product of competing cues (e. g. spatial location vs. musical schemas), the insensitivity of triads to temporal-sequential organisation highlights important differences between DP with speech and music.
APA, Harvard, Vancouver, ISO, and other styles
9

Lefford, M. Nyssim 1968. "The structure, perception and generation of musical patterns." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28781.

Full text
Abstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.
Includes bibliographical references (p. 149-151).
Structure distinguishes music from noise. When formulating that structure, musical artists rely on both mental representations and sensory perceptions to organize pitch, rhythm, harmony, timbre and dynamics into musical patterns. The generative process may be compared to playing a game, with goals, constraints, rules and strategies. In this study, games serve as a model for the interrelated mechanisms of music creation, and provide a format for an experimental technique that constrains creators as they generate simple rhythmic patterns. Correlations between subjects' responses and across experiments with varied constraints provide insight into how structure is defined in situ and how constraints impact creators' perceptions and decisions. Through the music composition games we investigate the nature of generative strategizing, refine a method for observing the generative process, and model the interconnecting components of a generative decision. The patterns produced in these games and the findings derived from observing how the games are played elucidate the roles of metric inference, preference and the perception of similarity in the generative process, and lead us to a representation of generative decision tied to a creator's perception of structure.
M. Nyssim Lefford.
Ph.D.
APA, Harvard, Vancouver, ISO, and other styles
10

Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.

Full text
Abstract:
Doutoramento em Música
This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.
Esta tese explora as possibilidades da Audição Espacial em relação à percepção do som e apresenta três composições acusmáticas baseadas numa estética musical que enfatiza esta relação e a incorpora como uma parte do seu discurso musical. A primeira característica importante destas composições é a utilização exclusiva de sinusóides e de outros sinais sonoros invariáveis no tempo. Embora estes tipos de sinais não apresentem variações no tempo, é possível percepcionar variações de altura, intensidade e timbre assim que estes se movem no espaço, devido aos processos acústicos envolvidos na audição espacial. Para enfatizar a percepção destas variações, esta tese propõe dividir um som em múltiplas unidades e espalhá-las no espaço utilizando vários monitores dispostos à volta da plateia. Além da percepção de variações de características do som, também é possível criar variações de ritmo e de textura que dependem de como os sons são dispostos no espaço. Esta estratégia permite superar o problema de “sound surrogacy” implícito na música acusmática, uma vez que é possível estabelecer relações causa-efeito entre o movimento do som e a percepção de variações de características do som, variações do ritmo e textura. Outra consequênça importante da utilização da fragmentação com a espacialização do som é a possibilidade de criar campos sonoros difusos, independentemente dos níveis de reverberação da sala, e de criar espaços sonoros com uma certa profundidade, sem utilizar nenhum tipo de delay ou reverberação artificiais.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Musical perception"

1

Rita, Aiello, and Sloboda John A, eds. Musical perceptions. New York: Oxford University Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Israel, Anyahuru, and Ohiaraumunna Tom, eds. Musical sense and musical meaning: An indigenous African perception. Amsterdam: Rozenberg, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Peter, Desain, and Windsor Luke, eds. Rhythm perception and production. Exton, PA: Swets & Zeitlinger Publishers, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Beauchamp, James W., ed. Analysis, Synthesis, and Perception of Musical Sounds. New York, NY: Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-32576-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Niall, Griffith, and Todd Peter M, eds. Musical networks: Parallel distributed perception and performace. Cambridge, Mass: MIT Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bamberger, Jeanne Shapiro. The art of listening: Developing musical perception. 5th ed. New York: Harper & Row, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

J, Tafuri, ed. Didattica della musica e percezione musicale. Bologna: Zanichelli, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Christensen, Erik. The musical timespace. Aalborg: Aalborg University Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Joos, Maxime. La perception du temps musical chez Henri Dutilleux. Paris: L'Harmattan, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bruce, Gregory. An investigation of duplex perception with musical triads. Birmingham: University of Birmingham, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Musical perception"

1

Moravcsik, Michael J. "Perception of Sound." In Musical Sound, 89–104. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bowling, Daniel, and Dale Purves. "A biological basis for musical tonality." In Sensory Perception, 205–14. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-211-99751-2_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hartmann, William M. "Loudness Perception." In Principles of Musical Acoustics, 125–36. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Trainor, Laurel J., and Kathleen A. Corrigall. "Music Acquisition and Effects of Musical Experience." In Music Perception, 89–127. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Patterson, Roy D., Etienne Gaudrain, and Thomas C. Walters. "The Perception of Family and Register in Musical Tones." In Music Perception, 13–50. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Seznurkmez, Kivilcim Yildiz. "Time, Memory And The Musical Perception." In Memory in the Ontopoesis of Life, 153–63. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2501-2_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Krysko, Mariya D., Alexander V. Vartanov, Irine I. Vartanova, and Valentin V. Klimov. "Subjective Perception Space of Musical Passages." In Advances in Intelligent Systems and Computing, 266–76. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25719-4_34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Haugen, Mari Romarheim. "Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves." In Current Research in Systematic Musicology, 37–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_3.

Full text
Abstract:
AbstractThe perception of musical rhythm includes not only the sonic rhythm but also the endogenous reference structures, such as meter. Musical meter is often described and understood as points in time or durations between such points. In this chapter, I argue that musical meter also has a shape. I propose that we perceive and make sense of musical meter based on our previous musical experiences involving meter-related bodily motion. In other words, the meter-related motion is integral to the perceived meter—they are the same. Meter thus has a shape that relates to the embodied sensations of these movements. Also crucial is the notion that musical meter is conditioned by musical culture. This perspective on meter as shape is highly influenced by Godøy’s motor-mimetic perspective on music perception and musical shape cognition and concurs with the multimodal approach to sonic design that acknowledges motion as intrinsic to music performance and perception.
APA, Harvard, Vancouver, ISO, and other styles
9

Petsche, H., H. Pockberger, and P. Rappelsberger. "EEG-Studies in Musical Perception and Performances." In Musik in der Medizin / Music in Medicine, 53–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 1987. http://dx.doi.org/10.1007/978-3-642-71697-3_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Fontana, Federico, Stefano Papetti, Hanna Järveläinen, Federico Avanzini, and Bruno L. Giordano. "Perception of Vibrotactile Cues in Musical Performance." In Springer Series on Touch and Haptic Systems, 49–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58316-7_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Musical perception"

1

Karystinaios, Emmanouil, Francesco Foscarin, and Gerhard Widmer. "Perception-Inspired Graph Convolution for Music Understanding Tasks." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/850.

Full text
Abstract:
We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification, link prediction, and graph classification. Our experiments demonstrate that MusGConv improves the performance on three of the aforementioned tasks while being conceptually very simple and efficient. We interpret this as evidence that it is beneficial to include perception-informed processing of fundamental musical concepts when developing graph network applications on musical score data. All code and models are released on https://github.com/manoskary/musgconv.
APA, Harvard, Vancouver, ISO, and other styles
2

Chen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen, and Ping-Tsung Lu. "Affective perception of Musical Television." In 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ronnberg, Niklas. "Musical Elements in Sonification Support Visual Perception." In ECCE 2019: 31st European Conference on Cognitive Ergonomics. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3335082.3335097.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

SHEPHERD, R., and PJ SIMPSON. "PERCEPTION OF THE TIMBRE OF MUSICAL INSTRUMENTS." In Acoustics '81. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/23285.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rovenko, Elena. "ON THE PHENOMENON OF THE �WAGNERIAN PAINTING�: THE DIALECTICS OF SENSE-MAKING, PERCEPTION AND INTERPRETATION." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.13.

Full text
Abstract:
Having given the concept of �absolute music� a negative connotation in 1846, Richard Wagner not only inspired discussions about the correlation of form and content in music, but also affected painters, who were looking for the ideal of non-mimetic meaning-generating strategies in music, and whose art was specified as the �Wagnerian painting� by French critic Theodore de Wyzewa. Using the historical and the comparative approaches, as well as the semantic and structural analysis of the expressive means in music and painting, the paper: 1) considers Wyzewa�s programme with regard to certain correlations of his ideas with the thoughts of his predecessors; 2) interprets three steps of Wyzewa�s gnoseological algorithm (from �reality� to �consciousness�) as the correlate to components of sense-making in Wagnerian dramas: the �sensation� is generated by the pure sense of musical material, the �notion� is similar to the extra-musical meaning of leitmotifs, the �emotion� is the essence of an artwork; 3) projects this algorithm onto the Wagnerian painter�s creative process; 4) demonstrates various non-mimetic strategies of the meaning formation in painting, close to the algorithm for connecting extra-musical and immanent musical meanings in Wagnerian dramas; 5) discusses the epistemological mechanism in the process of perceiving the �Wagnerian painting�: from a purely visual impression (like �sensation�) � through actualizing cultural memory and an artist�s intentions (intellectual mediation, �notion�) � to super-intellectual reflection (synthetic �emotion�). The paper will specifically concern itself with the creative process in the fin de siecle era and to renew the ideas about the basis of synthesis of arts. As it is the art of Henri Fantin-Latour that is considered as the example of the Wagnerian painting by Wyzewa himself, the article will focus on this oeuvre in particular.
APA, Harvard, Vancouver, ISO, and other styles
6

Karystinaios, Emmanouil, Francesco Foscarin, and Gerhard Widmer. "Musical Voice Separation as Link Prediction: Modeling a Musical Perception Task as a Multi-Trajectory Tracking Problem." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/430.

Full text
Abstract:
This paper targets the perceptual task of separating the different interacting voices, i.e., monophonic melodic streams, in a polyphonic musical piece. We target symbolic music, where notes are explicitly encoded, and model this task as a Multi-Trajectory Tracking (MTT) problem from discrete observations, i.e., notes in a pitch-time space. Our approach builds a graph from a musical piece, by creating one node for every note, and separates the melodic trajectories by predicting a link between two notes if they are consecutive in the same voice/stream. This kind of local, greedy prediction is made possible by node embeddings created by a heterogeneous graph neural network that can capture inter- and intra-trajectory information. Furthermore, we propose a new regularization loss that encourages the output to respect the MTT premise of at most one incoming and one outgoing link for every node, favoring monophonic (voice) trajectories; this loss function might also be useful in other general MTT scenarios. Our approach does not use domain-specific heuristics, is scalable to longer sequences and a higher number of voices, and can handle complex cases such as voice inversions and overlaps. We reach new state-of-the-art results for the voice separation task on classical music of different styles. All code, data, and pretrained models are available on https://github.com/manoskary/vocsep_ijcai2023
APA, Harvard, Vancouver, ISO, and other styles
7

Rovenko, Elena. "ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.08.

Full text
Abstract:
The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the �purely formal perception� generates the factual meaning and consists of primary ordering of expressive means and unconscious establishing of their relations; and the �emphatic� perception produces the expressional meaning that is induced by the modality of an artwork and properties of expressive means. Secondly, the intelligible signification depends on conventional meanings assigned to expressive means. Thirdly, the aesthetic synthesis depends on an author�s intention, causes the content and consists of considering each of constructive and expressive means (strokes, color areas, lines, sounds, chords, modes) as a sense-generating unit. In the same epoch and in the same style these units have the equal intentional characteristics within the boundaries of a concrete art because of transmitting the same symbolic values (Ernst Cassirer) relating to space, time, mentality and world perception. This paper presents the applying of this three-step algorithm to musical artworks in total.
APA, Harvard, Vancouver, ISO, and other styles
8

Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

Full text
Abstract:
The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
APA, Harvard, Vancouver, ISO, and other styles
9

Perez, Mauricio, Rodolfo Coelho De Souza, and Regis Rossi Alves Faria. "Digital Design of Audio Signal Processing Using Time Delay." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.

Full text
Abstract:
This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.
APA, Harvard, Vancouver, ISO, and other styles
10

Kannyo, Irene, and Caroline M. DeLong. "The effect of musical training on auditory perception." In 162nd Meeting Acoustical Society of America. Acoustical Society of America, 2012. http://dx.doi.org/10.1121/1.4733850.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Musical perception"

1

Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya, and Henrique Lima. Neural correlates of the perception of emotions elicited by dance movements. A scope review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.

Full text
Abstract:
Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal studies in which dance and music are concomitantly present, whether there is any form of distinction between the contribution of each language on the perception of emotions evoked by the stimulus.
APA, Harvard, Vancouver, ISO, and other styles
2

Józsa, Viven. Hallyu as Soft Power : The Success Story of the Korean Wave and its Use in South Korea’s Foreign Policy. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.75.

Full text
Abstract:
The Korean Wave is taking over the world, achieving great success in areas such as music and cinematography, and making Korean culture increasingly attractive. Culture being a crucial resource of soft power, which in turn serves as a powerful tool in international relations, the South Korean government is trying to take advantage of its improved national image and international influence. This analysis provides an overview of the relationship between the Korean government and the Korean Wave, how the perception of Korea has changed thanks to its cultural outflow, and how the government tries to use this to its advantage.
APA, Harvard, Vancouver, ISO, and other styles
3

Vurkaç, Mehmet. Prestructuring Multilayer Perceptrons based on Information-Theoretic Modeling of a Partido-Alto-based Grammar for Afro-Brazilian Music: Enhanced Generalization and Principles of Parsimony, including an Investigation of Statistical Paradigms. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.384.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Musical perception' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography