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Relevant bibliographies by topics / Musical model

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Journal articles

Academic literature on the topic 'Musical model'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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Journal articles on the topic "Musical model"

1

Ovenden, Philippa. "JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME." Early Music History 41 (October 2022): 303–45. http://dx.doi.org/10.1017/s0261127923000013.

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In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named Liber de musica. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining Liber de musica through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles o

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2

Qureshi, Regula Burckhardt. "Musical sound and Contextual Input: A Performance Model for Musical Analysis." Ethnomusicology 31, no. 1 (1987): 56. http://dx.doi.org/10.2307/852291.

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3

Roeder, John. "A Declarative Model of Atonal Analysis." Music Perception 6, no. 1 (1988): 21–34. http://dx.doi.org/10.2307/40285414.

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Most computational models of musical understanding have focused on procedural aspects of analysis, suggesting techniques for parsing, comparing, and transforming various representations of a piece, or adapting discovery procedures of artificially intelligent (AI) inference systems, which plan and follow agendas and goals. Much contemporary AI research, however, also focuses on declarative aspects of knowledge, attempting to define data representations and relations that are commensurate with human cognition. Naturally, musical analysis has both procedural and declarative aspects: the declarati

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4

Getmanenko, Anastasia O. "THE MODEL OF CHILD’S MUSICAL TALENT." Sibirskiy psikhologicheskiy zhurnal, no. 59 (March 1, 2016): 34–44. http://dx.doi.org/10.17223/17267080/59/3.

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5

Brown, Steven, Peter Q. Pfordresher, and Ivan Chow. "A musical model of speech rhythm." Psychomusicology: Music, Mind, and Brain 27, no. 2 (2017): 95–112. http://dx.doi.org/10.1037/pmu0000175.

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6

Briggs, C. A. "A Model for Understanding Musical Development." Music Therapy 10, no. 1 (1991): 1–21. http://dx.doi.org/10.1093/mt/10.1.1.

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7

Mishra, Jennifer. "A Theoretical Model of Musical Memorization." Psychomusicology: A Journal of Research in Music Cognition 19, no. 1 (2005): 75–89. http://dx.doi.org/10.1037/h0094039.

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8

Duarte, Monica. "Music and styles: the creation by means of the theory of social representations." Comunicar 14, no. 27 (2006): 69–77. http://dx.doi.org/10.3916/c27-2006-11.

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We approached the theory of the social representations, from the epistemologic perspective of the rhetorical change of the philosophy, like a model for the creation of musical uhits. and soundtracks spread by mass media and characterized by musical topics, figures that reflect the social and psychological processes of the elaboration of musical ideas. The dynamics of this creation seem to be effective for the development of a «sgnificant» teaching process of music teaching. Se aborda la teoría de las representaciones sociales, a partir de la perspectiva epistemológica del viraje retórico de la

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9

Farbood, Morwaread M. "A Parametric, Temporal Model of Musical Tension." Music Perception 29, no. 4 (2012): 387–428. http://dx.doi.org/10.1525/mp.2012.29.4.387.

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tension in music is a high-level concept that is difficult to formalize due to its complex, multidimensional nature. This paper proposes a quantitative model of musical tension that takes into account the dynamic, temporal aspects of listening. The model is based on data from two experiments. The first was a web-based study that was designed to examine how individual musical parameters contribute directly to a listener's overall perception of tension and how those parameters interact. The second study was an in-lab experiment in which listeners were asked to provide continuous responses to lon

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10

Waterman, Ellen. "Wolf Music: Style, Context, and Authenticity in R. Murray Schafer's And Wolf Shall Inherit the Moon." Canadian University Music Review 18, no. 2 (2013): 72–88. http://dx.doi.org/10.7202/1014655ar.

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R. Murray Schafer's environmental music functions as a model for his ideal of an authentic Canadian musical identity. Schafer's idea of the North is embodied both in the music's style and in its context. Three works from the music drama Patria the Epilogue: And Wolf Shall Inherit the Moon serve as examples of the influence of the northern soundscape on Schafer's musical style.

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