Littérature scientifique sur le sujet « Musical tempo »
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Articles de revues sur le sujet "Musical tempo"
Tamir-Ostrover, Hila, et Zohar Eitan. « Higher is Faster ». Music Perception 33, no 2 (1 décembre 2015) : 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.
Texte intégralIwanaga, Makoto, et Maki Tsukamoto. « Preference for Musical Tempo Involving Systematic Variations of Presented Tempi for Known and Unknown Musical Excerpts ». Perceptual and Motor Skills 86, no 1 (février 1998) : 31–41. http://dx.doi.org/10.2466/pms.1998.86.1.31.
Texte intégralMcKinney, Martin F., et Dirk Moelants. « Ambiguity in Tempo Perception : What Draws Listeners to Different Metrical Levels ? » Music Perception 24, no 2 (1 décembre 2006) : 155–66. http://dx.doi.org/10.1525/mp.2006.24.2.155.
Texte intégralOakes, Steve. « Musical tempo and waiting perceptions ». Psychology and Marketing 20, no 8 (15 juillet 2003) : 685–705. http://dx.doi.org/10.1002/mar.10092.
Texte intégralFonseca, Modesto Flávio Chagas. « O arquivo musical da Orquestra Lira Sanjoanense no tempo da Companhia de Muzica ». LaborHistórico 8, no 1 (20 septembre 2022) : 127–39. http://dx.doi.org/10.24206/lh.v8i1.47629.
Texte intégralSeptianto, Felix. « “Chopin” effect ? An exploratory study on how musical tempo influence consumer choice of drink with different temperatures ». Asia Pacific Journal of Marketing and Logistics 28, no 5 (14 novembre 2016) : 765–79. http://dx.doi.org/10.1108/apjml-11-2015-0182.
Texte intégralAraújo, Ítalo Robert da Silva, et Alexsander Jorge Duarte. « Criação-performance partilhada em música ». ouvirOUver 15, no 2 (10 mars 2020) : 552–67. http://dx.doi.org/10.14393/ouv-v15n2a2019-46350.
Texte intégralRepp, Bruno H., W. Luke Windsor et Peter Desain. « Effects of Tempo on the Timing of Simple Musical Rhythms ». Music Perception 19, no 4 (2002) : 565–93. http://dx.doi.org/10.1525/mp.2002.19.4.565.
Texte intégralBérces, Emese. « Terminological examination of musical tempo designations ». Magyar Terminológia 5, no 1 (juin 2012) : 79–87. http://dx.doi.org/10.1556/materm.5.2012.1.7.
Texte intégralFonterrada, Marisa Trench. « Lições que a fênix nos traz ». Orfeu 6, no 2 (10 septembre 2021) : 10–29. http://dx.doi.org/10.5965/2525530406022021010.
Texte intégralThèses sur le sujet "Musical tempo"
Copini, Guilherme de Cesaro 1985. « Musica espectral = o tempo musical conforme Gerard Grisey ». [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa
Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research
Mestrado
Musica
Mestre em Música
Socha, Eduardo. « Tempo musical em Theodor W. Adorno ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12012016-125616/.
Texte intégralThis dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.
Reed, Rasmus. « Tempo and tempo variation in musical performance : perception, memory and evaluation ». Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434601.
Texte intégralHerrlein, Julio Cesar da Silva. « Uma forma de sentir o tempo : investigação sobre temporalidades em um portfolio de composições ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/88683.
Texte intégral“A way of feeling the time" is a cycle of compositions and is also the title of the recital in which these compositions were performed. This work, besides the music and audiovisual records, is a first investigation about the time, its importance in the compositional process of the selected portfolio and its philosophical and musical characterization. From the investigation of time’s nature, there is a distiction between two forms of temporality: the subjective temporality, concerning the personal and heterogeneous “way of feeling the time”; and the objective temporality, that deals with the quantitative, generalized and homogeneous aspects of the time. The compositions are presented under this scope of investigation: time, listening and memory. Algorithmic composition, computer assisted composition and intuition modelling are also discussed herein.
Demarchi, Paulo Cesar. « Fases da preparação da obra Nih Nik do compositor Chico Mello ». reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22335.
Texte intégralFortunato, Catarina Isabel Brás Serra de Almeida. « Tempo musical na interpretação de Préludes II de Claude Debussy ». Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7554.
Texte intégralEste trabalho propõe-se estudar o tempo musical, tendo em conta a forma como é indicado e explorado, no seio da obra para piano Préludes II de Claude Debussy. Tal investigação comporta três perspectivas que se interligam para a definição de resultados: a manifestada pelo compositor na partitura; a tecida por autores, numa perspectiva analítica; e a comprovada por gravações escolhidas realizadas por intérpretes criteriosamente seleccionados.
This work proposes to study musical time, given the way it is displayed and explored within the work Préludes II for piano by Claude Debussy. The process is defined from three points of view: as written in the score by the composer; as perceived by scholars, in the analitic way; and, as interpreted by selected performers in specific recordings.
Fernandes, Junior Antonio Carlos Lopes 1976. « Contribuições ao problema de extração de tempo musical ». [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260786.
Texte intégralTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
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Resumo: A deteção de tempo em um sinal musical é uma tarefa muito importante em diversas aplicações. A presente tese apresenta os resultados da detecção de andamento usando uma nova abordagem baseada na extração de atributos de um conjunto de funções de detecção de periodicidade e aprendizado de máquina. Para isto a transformada wavelet foi utilizada para separar o sinal musical em diferentes resoluções e o domínio complexo retificado foi aplicado para a construção de funções de deteccão de onsets. Em seguida, as funções de deteccão de periodicidade para cada nível wavelet foram geradas por operações de autocorrelação. Descritores de áudio clássicos foram adaptados e extraídos de cada função de periodicidade e foram usados como entradas para a máquina de aprendizado que mapeia os descritores para o tempo da música. As máquinas utilizadas foram o perceptron de múltiplas camadas e a máquina de aprendizado extremo, com propostas diferenciadas de configuração. Um método para classificação e avaliação dos descritores foi proposto. Também, neste trabalho, um novo descritor foi proposto. Um método de seleção forward de atributos via Gram-Schmidt foi aplicado para a escolha do melhor subconjunto para o treinamento da máquina. Foi ainda aplicado um método de clustering via K-means para a partilha de observações entre os conjuntos de treinamento, teste e validação, e foi proposto um novo método de seleção de observações via análise de componentes principais denominado de seleção esférica de observações
Abstract: Tempo detection in a music signal is a very important task for many applications. This thesis presents results concerning this task using a new approach based on the extraction of features from a set of periodicity detection functions and on machine learning. The wavelet transform was utilized to separate the musical signal at different resolutions and the rectified complex domain was applied to the construction of onset detection functions. Then, periodicity detection functions for each resolution were generated by autocorrelation operations. Classic audio features were extracted from each periodicity function and were used as inputs to a neural network that maps descriptors to music tempo. The used machines were the multilayer perceptron and an extreme learning machine, with different configuration proposals. A method for classification and evaluation of features has been proposed. Also, in this work, a new descriptor has been proposed. A method of forward selection via Gram-Schmidt was applied to choosing the best subset for the machine training. A K-means clustering method was also applied for partitioning observations between the training sets and a new observation selection method via principal component analysis, called spherical selection of observations, was proposed
Doutorado
Eletrônica, Microeletrônica e Optoeletrônica
Doutor em Engenharia Elétrica
César, Marina Maluli. « O tempo na interpretação musical : uma escuta tensiva ». Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-04042013-125624/.
Texte intégralThe theoretical foundation of this work is based on the French line semiotics and its recent developments in tensivity theory. Our object of study is the variations of rhythm and tempo present in a sound text by approaching the plan of musical expression. The objective of this work is to understand how different performers articulate such discursive possibilities during the musical interpretation, based on the indications present in the music score. After initial considerations about the text and intertext in music, which purpose is to determine how these potentialities are manifested, we consider the time in different levels according to essays by Gérard Grisey (1987, 2004, 2008) and Messiaen (1996, 1995, 1994). In a second moment we seek to articulate the different types of listening as discussed in studies conducted by Schaeffer (1966) and Greimas (2008). From these studies we define hearing as the act of doing, which requires the acquisition of skills to do so. This way we base this study on the notion of rhythm according to a perspective grounded in tensive semiotics found in previous work by Greimas and Courtes (1986), Valéry (2007), Zilberberg (1990, 1996, 2001, 2011) and Tatit (1998, 2010b). Finally, based on studies about temporality conducted by Zilberberg and further developments proposed by Tatit, we have analyzed six performances of two Nocturnes by Chopin (two performances of opus 15 n. 3 and four other performances of opus 27 n. 2). During the analysis we compared the use of rubato time in the musical performance. The goal was to establish some guidelines to understand the mechanisms that underlies the construction of meaning which ultimately result in the characteristic enunciation of a musical discourse defined by the intentions of each performer.
Lucas, João Paulo Vieira Martins. « Criação musical e coreográfica em colaboração : tempo, experiência, alteridade ». reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21993.
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Quando um coreógrafo e um compositor musical se encontram para colaborar numa criação conjunta, em que instâncias se movimentam? Em que plano convergem seus saberes, suas referências e suas inquietações artísticas particulares, em que condições se aprofunda sua cumplicidade criativa? O impulso inicial da presente pesquisa parte destas indagações. Entre os dois criadores se funda uma relação de diálogo, que vai trilhando o seu caminho ao longo de sua própria dialogia, sujeito às modelações que sobrevém do cruzamento de ambições expressivas, de idiossincrasias, de poéticas pessoais, de um sem número de fatores que vão determinando os destinos da composição da obra. Surge assim uma nova interrogação, à qual procurarei responder nesta pesquisa: existirão formas de pensar a colaboração (formas de enfrentá-la) que coloquem os sujeitos da experiência colaborativa no encalço do enriquecimento potencial do seu objeto? E, a existirem tais formas, como conscientizá-las de modo a se tornarem úteis ao aprimoramento do processo criativo? Considerando o universo infinito das relações de colaboração entre as diferentes disciplinas artísticas, me proponho no presente estudo a um recorte preciso: problematizar a colaboração entre coreógrafo e compositor musical, tentando identificar os eixos em que essa colaboração se atualiza e possibilitar caminhos que revelem (e eventualmente amplifiquem) a potência virtual que ela encerra. Para tal revisito dois processos criativos que vivenciei e dos quais retiro considerações que me parecem importantes, procurando relacioná-las com um campo epistemológico multidisciplinar e projetando-as na tentativa de conceber um pensamento sobre a colaboração artística que contribua efetivamente para beneficiar a sua qualidade, a sua intensidade e o seu êxito. Os conceitos de plano de colaboração e de experiência de colaboração projetam, nesta pesquisa, dois eixos exploratórios em cujo enfoque se alicerça a análise dos referidos processos. Refletindo sobre os sentidos e intensidades em movimento na articulação entre a dança e a música, bem como sobre a entrega do coreógrafo e do compositor à sua mútua alteridade colaborativa, me proponho ao levantamento de estratégias operativas e à sinalização de ponderações que potenciem a experiência da colaboração. _________________________________________________________________________________________________ ABSTRACT
What is the possible ground when a choreographer and a music composer get together to elaborate a joint creation? In what sphere can their knowledge, their references, their specific artistic concerns meet? Which are the conditions needed for a deepening of their creative complicity? How do the multiple senses invested in the process of composition of their work flow? The initial impulse of this research has such questions as a point of departure. A dialogue is established between the two creators, a relationship that threads its path along their own dialogy, a path which is subject to a modelling that is an expression of the crossing of expressive ambitions, idiosyncrasies, personal poetics, of a countless number of factors that slowly determine the destinies of the work composition. This leads to a new interrogation, one that I will try to answer in this research: are there ways to think the cooperation (ways to face it) that place the subjects of this cooperative experience on a path to a potential enrichment of their object? And, if such ways exist, how can one incorporate them in order for them to become useful to the enhancement of the creative process? Considering the infinite universe of cooperative relationships between the different artistic disciplines, I propose a specific outline on this study: to question the cooperation between the choreographer and the music composer, in an effort to identify the axis in which this cooperation materializes and facilitate paths that reveal (and possibly amplify) the virtual power they encompass. With this in mind, I revisit two creative processes I’ve experienced and from which I derive considerations that I find important, trying to connect them with a multidisciplinary epistemological field and bringing them forth in an attempt to conceive a thought about artistic cooperation that contributes effectively to benefit its quality, its intensity and its success. The concepts of cooperation plan and cooperation experience project – in this research – two exploratory axes that act as a foundation to the analysis of said processes. By reflecting on the senses and intensities present in the articulation between dance and music, as well as on the commitment of the choreographer and the composer to their mutual cooperative otherness, I propose to do a survey of the cooperative strategies and flag the considerations that enhance the cooperative experience.
Renner, Katia Klar. « O tempo musical no tempo do sujeito : ouvindo os fazedores de música da idade madura ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10315.
Texte intégralThis dissertation refers to a study performed with senior adults that have in its daily activities the music, through singing, conducting, instruments and music teaching. The focus of this project is to identify the reasons that leads this group of individuals to practice music and which is the consequence of this in its life quality, once that the longevity is a major and challenging subject to all knowledge areas. Thirteen individuals were interviewed, seven amateurs and six professionals of different areas of the musical art. The methodology adopted was the life span elaboration, supported by the thoughts of Bosi (1994) and Marre (1991). In the musical area the choices focused on Gembris (1998) and Costa (2004). From the answers obtained, five categories were organized for amateurs and six for professionals. The data obtained showed that the musical practice brings a major contribution to the individuals because it stimulates the organisms intensively, activating its psycho-biologics functions. It was also concluded that there is an improvement in the life quality supported by answers referring to the benefits that the music brings to the persons that are involved directly with it. Finally, it was percept that the longevity allows to amplify the life and the possibilities of the development of the human mind. These are the results of the actions developed through the life experiences, being the music an important channel to allow that the creativity and the conscience become a continuous flow of knowledge and wisdom.
Livres sur le sujet "Musical tempo"
Representing musical time : A temporal-logic approach. Exton, (PA) : Swets & Zeitlinger Publishers, 2000.
Trouver le texte intégralGleich, Clemens von. Bach tempo guide : With 200 practical exercises. Göteborg : Göteborg Organ Art Center, 2002.
Trouver le texte intégralAbravaya, Ido. On Bach's rhythm and tempo. Kassel : Bärenreiter, 2006.
Trouver le texte intégralSachs, Curt. Rhythm and tempo : A study in music history. New York : Columbia University Press, 1988.
Trouver le texte intégralTakt und Pendelschlag : Quellentexte zur musikalischen Tempomessung des 17. bis 19. Jahrhunderts neu betrachtet. München : Katzbichler, 2010.
Trouver le texte intégralShaping time : Music, the brain, and performance. New York : Schirmer Books, 1995.
Trouver le texte intégralGleich, Clemens von. Mozart, Takt und Tempo : Neue Anregungen zum Musizieren. München : E. Katzbichler, 1993.
Trouver le texte intégralRichard, Hudson. Stolen time : The history of tempo rubato. New York : Clarendon Press, 1997.
Trouver le texte intégralMusical time : The sense of order. Stuyvesant, NY : Pendragon Press, 1990.
Trouver le texte intégralNater, Walter. Viell zu geschwinde ! : Anleitung zur richtigen Umsetzung der Metronomzahlen und der Ausführungsvorschriften der vorromantischen Musik. Zürich : Musikverlag Pan, 1993.
Trouver le texte intégralChapitres de livres sur le sujet "Musical tempo"
Desmond, Karen. « 24. Tempus, Tempo, and Insular Semibreves ». Dans Epitome musical, 499–538. Turnhout, Belgium : Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.em-eb.5.132717.
Texte intégralMurakami, Masashi, Takashi Sakamoto et Toshikazu Kato. « Music Retrieval and Recommendation Based on Musical Tempo ». Dans Advances in Intelligent Systems and Computing, 362–67. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94944-4_39.
Texte intégralGrachten, Maarten, Josep Lluís Arcos et Ramon López de Mántaras. « TempoExpress, a CBR Approach to Musical Tempo Transformations ». Dans Lecture Notes in Computer Science, 601–15. Berlin, Heidelberg : Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-28631-8_44.
Texte intégralArcos, Josep Lluís, Maarten Grachten et Ramon López de Mántaras. « Extracting Performers’ Behaviors to Annotate Cases in a CBR System for Musical Tempo Transformations ». Dans Case-Based Reasoning Research and Development, 20–34. Berlin, Heidelberg : Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-45006-8_5.
Texte intégralNakahara, Naoto, Koji Miyazaki, Hajime Sakamoto, Takashi X. Fujisawa, Noriko Nagata et Ryohei Nakatsu. « Dance Motion Control of a Humanoid Robot Based on Real-Time Tempo Tracking from Musical Audio Signals ». Dans Lecture Notes in Computer Science, 36–47. Berlin, Heidelberg : Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04052-8_4.
Texte intégralMazzola, Guerino. « Tempo Curves ». Dans Computational Music Science, 47–56. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_6.
Texte intégralMcAuley, J. Devin. « Tempo and Rhythm ». Dans Music Perception, 165–99. New York, NY : Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_6.
Texte intégralMüller, Meinard. « Tempo and Beat Tracking ». Dans Fundamentals of Music Processing, 303–53. Cham : Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21945-5_6.
Texte intégralMüller, Meinard. « Tempo and Beat Tracking ». Dans Fundamentals of Music Processing, 309–60. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69808-9_6.
Texte intégralHorn, Michael S., Melanie West et Cameron Roberts. « Rhythm and tempo ». Dans Introduction to Digital Music with Python Programming, 18–52. London : Focal Press, 2022. http://dx.doi.org/10.4324/9781003033240-3.
Texte intégralActes de conférences sur le sujet "Musical tempo"
Souza, Mila Soares de Oliveira de, Pedro Nuno de Souza Moura et Jean-Pierre Briot. « Tempo estimation via neural networks - a comparative analysis ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19420.
Texte intégralNavarro, Jordan, et Emanuelle Reynaud. « Impact of Music Tempo on Simulated Driving Performance ». Dans Applied Human Factors and Ergonomics Conference. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe100706.
Texte intégralAline, Hufschmitt, Cardon Stephane et Jacopin Eric. « Can Musical Tempo Makes Tetris Game Harder ? » Dans 2020 IEEE Conference on Games (CoG). IEEE, 2020. http://dx.doi.org/10.1109/cog47356.2020.9231593.
Texte intégralPadyana, Mahesha, et Bindu A. Thomas. « Musical metronome with tempo detection, synchronizer and gesture processing ». Dans 2014 International Conference on Information Communication and Embedded Systems (ICICES). IEEE, 2014. http://dx.doi.org/10.1109/icices.2014.7034155.
Texte intégralSilva, Douglas, Lucas Zampar, Felipe Rodrigues et Cláudio Gomes. « COUT-e e práticas itinerantes durante 2020 e 2021 ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19464.
Texte intégralF. Paiva, Lucas, Hugo G. Lopes, Leonardo B. Felix et Rodolpho V. A. Neves. « Estimação do compasso musical do forró utilizando rede perceptron multicamadas ». Dans Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1331.
Texte intégralWu, Fu-Hai Frank, et Jyh-Shing Roger Jang. « A supervised learning method for tempo estimation of musical audio ». Dans 2014 22nd Mediterranean Conference of Control and Automation (MED). IEEE, 2014. http://dx.doi.org/10.1109/med.2014.6961438.
Texte intégralGomes, Cláudio. « Acalma-te : resultados de composição automática e iterativa para relaxamento ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19446.
Texte intégralWu, Fu-Hai Frank. « Musical tempo octave error reducing based on the statistics of tempogram ». Dans 2015 23th Mediterranean Conference on Control and Automation (MED). IEEE, 2015. http://dx.doi.org/10.1109/med.2015.7158887.
Texte intégralBasaran, Dogac, Ali Taylan Cemgil et Emin Anarim. « Model based multiple musical sequence alignment using tempo extraction as preprocessing ». Dans 2016 24th Signal Processing and Communication Application Conference (SIU). IEEE, 2016. http://dx.doi.org/10.1109/siu.2016.7496042.
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