Gotowa bibliografia na temat „Musical perception”
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Artykuły w czasopismach na temat "Musical perception"
Miller, Benjamin O. "Time perception in musical meter perception." Psychomusicology: A Journal of Research in Music Cognition 12, nr 2 (1993): 124–53. http://dx.doi.org/10.1037/h0094111.
Pełny tekst źródłaKoniari, Dimitra, Sandrine Predazzer i Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children". Music Perception 18, nr 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
Pełny tekst źródłaBurns, Edward M. "Perception of musical pitch". Journal of the Acoustical Society of America 101, nr 5 (maj 1997): 3172. http://dx.doi.org/10.1121/1.419195.
Pełny tekst źródłaGirgin, Demet. "Pre-service Music Teachers’ Metaphoric Perception for the Musical Instrument Education". Journal of Qualitative Research in Education 7, nr 1 (31.01.2019): 1–15. http://dx.doi.org/10.14689/issn.2148-2624.1.7c1s.7m.
Pełny tekst źródłaTillmann, Barbara, i Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, nr 1 (kwiecień 1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.
Pełny tekst źródłaZatorre, Robert J. "Brain Imaging Studies of Musical Perception and Musical Imagery". Journal of New Music Research 28, nr 3 (1.09.1999): 229–36. http://dx.doi.org/10.1076/jnmr.28.3.229.3112.
Pełny tekst źródłaSwain, Joseph P. "Music Perception and Musical Communities". Music Perception 11, nr 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.
Pełny tekst źródłaTrehub, Sandra E. "Infants’ perception of musical patterns". Perception & Psychophysics 41, nr 6 (listopad 1987): 635–41. http://dx.doi.org/10.3758/bf03210495.
Pełny tekst źródłaBest, Harold M. "Musical Perception and Music Education". Arts Education Policy Review 96, nr 4 (kwiecień 1995): 2–9. http://dx.doi.org/10.1080/10632913.1995.9934551.
Pełny tekst źródłaMiller, Johanna L. "Musical pitch perception starts early". Physics Today 67, nr 10 (październik 2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.
Pełny tekst źródłaRozprawy doktorskie na temat "Musical perception"
Mate-Cid, Saul. "Vibrotactile perception of musical pitch". Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.
Pełny tekst źródłaZacharakis, Asterios. "Musical timbre : bridging perception with semantics". Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8715.
Pełny tekst źródłaHarrison, 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.
Pełny tekst źródłaKrom, Matthew Wayne. "Machine perception of natural musical conducting gestures". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61823.
Pełny tekst źródłaHamaoui, 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.
Pełny tekst źródłaRamos, 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/.
Pełny tekst źródłaRAMOS, 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.
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/.
Pełny tekst źródłaBruce, 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.
Pełny tekst źródłaLefford, M. Nyssim 1968. "The structure, perception and generation of musical patterns". Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28781.
Pełny tekst źródłaIncludes 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.
Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition". Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.
Pełny tekst źródłaThis 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.
Książki na temat "Musical perception"
Rita, Aiello, i Sloboda John A, red. Musical perceptions. New York: Oxford University Press, 1994.
Znajdź pełny tekst źródłaIsrael, Anyahuru, i Ohiaraumunna Tom, red. Musical sense and musical meaning: An indigenous African perception. Amsterdam: Rozenberg, 2008.
Znajdź pełny tekst źródłaPeter, Desain, i Windsor Luke, red. Rhythm perception and production. Exton, PA: Swets & Zeitlinger Publishers, 2000.
Znajdź pełny tekst źródłaBeauchamp, James W., red. 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.
Pełny tekst źródłaNiall, Griffith, i Todd Peter M, red. Musical networks: Parallel distributed perception and performace. Cambridge, Mass: MIT Press, 1999.
Znajdź pełny tekst źródłaBamberger, Jeanne Shapiro. The art of listening: Developing musical perception. Wyd. 5. New York: Harper & Row, 1988.
Znajdź pełny tekst źródłaJ, Tafuri, red. Didattica della musica e percezione musicale. Bologna: Zanichelli, 1988.
Znajdź pełny tekst źródłaChristensen, Erik. The musical timespace. Aalborg: Aalborg University Press, 1996.
Znajdź pełny tekst źródłaJoos, Maxime. La perception du temps musical chez Henri Dutilleux. Paris: L'Harmattan, 1999.
Znajdź pełny tekst źródłaBruce, Gregory. An investigation of duplex perception with musical triads. Birmingham: University of Birmingham, 1999.
Znajdź pełny tekst źródłaCzęści książek na temat "Musical perception"
Moravcsik, Michael J. "Perception of Sound". W Musical Sound, 89–104. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_7.
Pełny tekst źródłaBowling, Daniel, i Dale Purves. "A biological basis for musical tonality". W Sensory Perception, 205–14. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-211-99751-2_12.
Pełny tekst źródłaHartmann, William M. "Loudness Perception". W 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.
Pełny tekst źródłaTrainor, Laurel J., i Kathleen A. Corrigall. "Music Acquisition and Effects of Musical Experience". W Music Perception, 89–127. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_4.
Pełny tekst źródłaPatterson, Roy D., Etienne Gaudrain i Thomas C. Walters. "The Perception of Family and Register in Musical Tones". W Music Perception, 13–50. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_2.
Pełny tekst źródłaSeznurkmez, Kivilcim Yildiz. "Time, Memory And The Musical Perception". W Memory in the Ontopoesis of Life, 153–63. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2501-2_14.
Pełny tekst źródłaKrysko, Mariya D., Alexander V. Vartanov, Irine I. Vartanova i Valentin V. Klimov. "Subjective Perception Space of Musical Passages". W 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.
Pełny tekst źródłaHaugen, Mari Romarheim. "Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves". W Current Research in Systematic Musicology, 37–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_3.
Pełny tekst źródłaPetsche, H., H. Pockberger i P. Rappelsberger. "EEG-Studies in Musical Perception and Performances". W 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.
Pełny tekst źródłaFontana, Federico, Stefano Papetti, Hanna Järveläinen, Federico Avanzini i Bruno L. Giordano. "Perception of Vibrotactile Cues in Musical Performance". W 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.
Pełny tekst źródłaStreszczenia konferencji na temat "Musical perception"
Karystinaios, Emmanouil, Francesco Foscarin i Gerhard Widmer. "Perception-Inspired Graph Convolution for Music Understanding Tasks". W 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.
Pełny tekst źródłaChen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen i Ping-Tsung Lu. "Affective perception of Musical Television". W 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.
Pełny tekst źródłaRonnberg, Niklas. "Musical Elements in Sonification Support Visual Perception". W ECCE 2019: 31st European Conference on Cognitive Ergonomics. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3335082.3335097.
Pełny tekst źródłaSHEPHERD, R., i PJ SIMPSON. "PERCEPTION OF THE TIMBRE OF MUSICAL INSTRUMENTS". W Acoustics '81. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/23285.
Pełny tekst źródłaRovenko, Elena. "ON THE PHENOMENON OF THE �WAGNERIAN PAINTING�: THE DIALECTICS OF SENSE-MAKING, PERCEPTION AND INTERPRETATION". W 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.
Pełny tekst źródłaKarystinaios, Emmanouil, Francesco Foscarin i Gerhard Widmer. "Musical Voice Separation as Link Prediction: Modeling a Musical Perception Task as a Multi-Trajectory Tracking Problem". W 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.
Pełny tekst źródłaRovenko, Elena. "ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES". W 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.
Pełny tekst źródłaVyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education". W ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
Pełny tekst źródłaPerez, Mauricio, Rodolfo Coelho De Souza i Regis Rossi Alves Faria. "Digital Design of Audio Signal Processing Using Time Delay". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.
Pełny tekst źródłaKannyo, Irene, i Caroline M. DeLong. "The effect of musical training on auditory perception". W 162nd Meeting Acoustical Society of America. Acoustical Society of America, 2012. http://dx.doi.org/10.1121/1.4733850.
Pełny tekst źródłaRaporty organizacyjne na temat "Musical perception"
Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya i 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, luty 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.
Pełny tekst źródłaJózsa, 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.
Pełny tekst źródłaVurkaç, 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, styczeń 2000. http://dx.doi.org/10.15760/etd.384.
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