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Littérature scientifique sur le sujet « Music perceptual evaluation »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Music perceptual evaluation"

Houtsma, Adrianus J. M., and Henricus J. G. M. Tholen. "II. A Perceptual Evaluation." Music Perception 4, no. 3 (1987): 255–66. http://dx.doi.org/10.2307/40285369.

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This article reports a study of the musical appreciation of carillons consisting of computer-synthesized major-third bells, minor-third bells, and "neutral-third" bells. Paired comparison judgments of melodies played on these instruments were obtained from a group of carillon majors, a group of other music students from a local conservatory, and a group of nonmusicians. The results provide evidence that each group of subjects can hear the difference between the three computerized instruments, but each group evaluates these perceptual differences in a different way.

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de Man, Brecht, Kirk McNally, and Joshua Reiss. "Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production." Journal of the Audio Engineering Society 65, no. 1/2 (2017): 108–16. http://dx.doi.org/10.17743/jaes.2016.0062.

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Novello, Alberto, Martin M. F. McKinney, and Armin Kohlrausch. "Perceptual Evaluation of Inter-song Similarity in Western Popular Music." Journal of New Music Research 40, no. 1 (2011): 1–26. http://dx.doi.org/10.1080/09298215.2010.523470.

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Larrouy-Maestri, Pauline, Dominique Morsomme, David Magis, and David Poeppel. "Lay Listeners Can Evaluate the Pitch Accuracy of Operatic Voices." Music Perception 34, no. 4 (2017): 489–95. http://dx.doi.org/10.1525/mp.2017.34.4.489.

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Lay listeners are reliable judges when evaluating pitch accuracy of occasional singers, suggesting that enculturation and laypersons’ perceptual abilities are sufficient to judge “simple” music material adequately. However, the definition of pitch accuracy in operatic performances is much more complex than in melodies performed by occasional singers. Furthermore, because listening to operatic performances is not a common activity, laypersons‘ experience with this complicated acoustic signal is more limited. To address the question of music expertise in evaluating operatic singing voices, liste

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Liu, Fang, Cunmei Jiang, Tom Francart, Alice H. D. Chan, and Patrick C. M. Wong. "Perceptual Learning of Pitch Direction in Congenital Amusia." Music Perception 34, no. 3 (2017): 335–51. http://dx.doi.org/10.1525/mp.2017.34.3.335.

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Congenital amusia is a lifelong disorder of musical processing for which no effective treatments have been found. The present study aimed to treat amusics’ impairments in pitch direction identification through auditory training. Prior to training, twenty Chinese-speaking amusics and 20 matched controls were tested on the Montreal Battery of Evaluation of Amusia (MBEA) and two psychophysical pitch threshold tasks for identification of pitch direction in speech and music. Subsequently, ten of the twenty amusics undertook 10 sessions of adaptive-tracking pitch direction training, while the remain

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Ycart, Adrien, Lele Liu, Emmanouil Benetos, and Marcus T. Pearce. "Investigating the Perceptual Validity of Evaluation Metrics for Automatic Piano Music Transcription." Transactions of the International Society for Music Information Retrieval 3, no. 1 (2020): 68–81. http://dx.doi.org/10.5334/tismir.57.

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Zacharakis, Asterios, Maximos Kaliakatsos-Papakostas, Costas Tsougras, and Emilios Cambouropoulos. "Creating Musical Cadences via Conceptual Blending." Music Perception 35, no. 2 (2017): 211–34. http://dx.doi.org/10.1525/mp.2017.35.2.211.

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The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in or

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Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "The Evaluation of Vocal Pitch Accuracy." Music Perception 32, no. 1 (2014): 1–10. http://dx.doi.org/10.1525/mp.2014.32.1.1.

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The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality

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Rasumow, Eugen, Matthias Blau, Simon Doclo, et al. "Perceptual Evaluation of Individualized Binaural Reproduction Using a Virtual Artificial Head." Journal of the Audio Engineering Society 65, no. 6 (2017): 448–59. http://dx.doi.org/10.17743/jaes.2017.0012.

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Fela, Randy Frans, Nick Zacharov, and Søren Forchhammer. "Assessor Selection Process for Perceptual Quality Evaluation of 360 Audiovisual Content." Journal of the Audio Engineering Society 70, no. 10 (2022): 824–42. http://dx.doi.org/10.17743/jaes.2022.0037.

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Thèses sur le sujet "Music perceptual evaluation"

Sanden, Christopher, and University of Lethbridge Faculty of Arts and Science. "An empirical evaluation of computational and perceptual multi-label genre classification on music / Christopher Sanden." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Mathematics and Computer Science, c2010, 2010. http://hdl.handle.net/10133/2602.

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Automatic music genre classi cation is a high-level task in the eld of Music Information Retrieval (MIR). It refers to the process of automatically assigning genre labels to music for various tasks, including, but not limited to categorization, organization and browsing. This is a topic which has seen an increase in interest recently as one of the cornerstones of MIR. However, due to the subjective and ambiguous nature of music, traditional single-label classi cation is inadequate. In this thesis, we study multi-label music genre classi cation from perceptual and computational perspectives. F

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SIMONETTA, FEDERICO. "MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that

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Nieto, Oriol. "Discovering structure in music| Automatic approaches and perceptual evaluations." Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705329.

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<p> This dissertation addresses the problem of the automatic discovery of structure in music from audio signals by introducing novel approaches and proposing perceptually enhanced evaluations. First, the problem of music structure analysis is reviewed from the perspectives of music information retrieval (MIR) and music perception and cognition (MPC), including a discussion of the limitations and current challenges in both disciplines. When discussing the existing methods of evaluating the outputs of algorithms that discover musical structure, a transparent open source software called mir eval,

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Chapitres de livres sur le sujet "Music perceptual evaluation"

Zhang, Kunzhu, Haoyu Yang, and Quan Yuan. "Perceptual Evaluation on the Man-Machine-Environment System of Music Library." In Man-Machine-Environment System Engineering. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4786-5_98.

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De Man, Brecht, Ryan Stables, and Joshua D. Reiss. "Perceptual Evaluation in Music Production." In IntelligentMusic Production. Focal Press, 2019. http://dx.doi.org/10.4324/9781315166100-6.

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Iwaki, Mamoru. "Information Hiding Using Interpolation for Audio and Speech Signals." In Advances in Multimedia and Interactive Technologies. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2217-3.ch004.

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In this chapter, a time-domain high-bit-rate information hiding method using interpolation techniques, which can extract embedded data in both informed (non-blind) and non-informed (blind) ways, is proposed. Three interpolation techniques are introduced for the information hiding method, i.e., spline interpolation, Fourier-series interpolation, and linear-prediction interpolation. In performance evaluation, spline interpolation was mainly examined as an example implementation. According to the simulation of information hiding in music signals, the spline interpolation-based method achieved aud

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Noble, Jason, Tanor Bonin, Roger Dean, and Stephen McAdams. "Evaluating the Psychological Reality of Alternate Temporalities in Contemporary Music." In Performing Time. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192896254.003.0031.

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Abstract Experiences of modulated temporality commonly accompany musical listening, but how music can produce experiences of modulated temporality as it unfolds in real time remains obscure. This chapter discusses psychophysical relationships between ‘real-time’ trajectories of musical/sonic parameters and listeners’ experiences of musical time and timelessness. It reports selected findings from an empirical study focusing on listeners’ responses to two excerpts from Gérard Grisey’s Vortex Temporum, a piece in which the composer deliberately employs different temporalities. This is in keeping

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Actes de conférences sur le sujet "Music perceptual evaluation"

Chowdhury, Shreyan, and Gerhard Widmer. "Expressivity-aware Music Performance Retrieval using Mid-level Perceptual Features and Emotion Word Embeddings." In FIRE 2023: Forum for Information Retrieval Evaluation. ACM, 2023. http://dx.doi.org/10.1145/3632754.3632761.

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Rosseel, H., and T. Van Waterschoot. "Interactive Perceptual Evaluation of Auralized Acoustics in Rehearsal Spaces for Vocal Music." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.0745.

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