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Journal articles on the topic 'Musical model'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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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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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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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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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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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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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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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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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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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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Rentfrow, Peter J., Lewis R. Goldberg, David J. Stillwell, Michal Kosinski, Samuel D. Gosling, and Daniel J. Levitin. "The Song Remains the Same: A Replication and Extension of the MUSIC Model." Music Perception 30, no. 2 (2012): 161–85. http://dx.doi.org/10.1525/mp.2012.30.2.161.

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there is overwhelming anecdotal and empirical evidence for individual differences in musical preferences. However, little is known about what drives those preferences. Are people drawn to particular musical genres (e.g., rap, jazz) or to certain musical properties (e.g., lively, loud)? Recent findings suggest that musical preferences can be conceptualized in terms of five orthogonal dimensions: Mellow, Unpretentious, Sophisticated, Intense, and Contemporary (conveniently, MUSIC). The aim of the present research is to replicate and extend that work by empirically examining the hypothesis that m

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Zhou, Yuchen. "Music Generation Based on Bidirectional GRU Model." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 684–90. http://dx.doi.org/10.54097/t2szjs78.

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Lately, substantial advancements in the realm of deep learning have given rise to new approaches for autonomously generating music. This study has devised a generative framework intended to produce musical melodies. This framework capitalizes on bidirectional gated recurrent units (GRU) as its foundational architecture. To impart knowledge to the model, a collection of classical piano compositions in MIDI format has been employed as the training dataset. One implements a stacked architecture of bidirectional GRU layers to capture long-term musical patterns. The addition of dropout regularizati

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Swanwick, Keith. "Musical Criticism and Musical Development." British Journal of Music Education 8, no. 2 (1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.

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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives suppo

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Barchet, Alice Vivien, Johanna M. Rimmele, and Claire Pelofi. "TenseMusic: An automatic prediction model for musical tension." PLOS ONE 19, no. 1 (2024): e0296385. http://dx.doi.org/10.1371/journal.pone.0296385.

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The perception of tension and release dynamics constitutes one of the essential aspects of music listening. However, modeling musical tension to predict perception of listeners has been a challenge to researchers. Seminal work demonstrated that tension is reported consistently by listeners and can be accurately predicted from a discrete set of musical features, combining them into a weighted sum of slopes reflecting their combined dynamics over time. However, previous modeling approaches lack an automatic pipeline for feature extraction that would make them widely accessible to researchers in

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Prabavathy, S. "Classification of Musical Instruments Sound Using Pre-Trained Model with Machine Learning Techniques." Asian Journal of Electrical Sciences 9, no. 1 (2020): 45–48. http://dx.doi.org/10.51983/ajes-2020.9.1.2369.

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Classify the musical instruments by machine is a challenging task. Musical data classification becomes very popular in research field. A huge manual process required to classify the musical instrument. This proposed system classifies the musical instruments using GoogleNet which is a pretrained network model; SVM and kNN are the two techniques which is used to classify the features. In this paper, to simply musical instruments classifications based on its features which are extracted from various instruments using recent algorithms. The performance of kNN with SVM compares in this proposed wor

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Hu, Zhejing, Yan Liu, Gong Chen, Xiao Ma, Shenghua Zhong, and Qianwen Luo. "Responding to the Call: Exploring Automatic Music Composition Using a Knowledge-Enhanced Model." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 1 (2024): 521–29. http://dx.doi.org/10.1609/aaai.v38i1.27807.

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Call-and-response is a musical technique that enriches the creativity of music, crafting coherent musical ideas that mirror the back-and-forth nature of human dialogue with distinct musical characteristics. Although this technique is integral to numerous musical compositions, it remains largely uncharted in automatic music composition. To enhance the creativity of machine-composed music, we first introduce the Call-Response Dataset (CRD) containing 19,155 annotated musical pairs and crafted comprehensive objective evaluation metrics for musical assessment. Then, we design a knowledge-enhanced

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Raharja, Timbul Haryono, R. M. Soedarsono, and Adhi Susanto. "Pengaruh Sri Sultan Hamengku Buwono I pada Seni Karawitan Kraton Yogyakarta." Resital: Jurnal Seni Pertunjukan 15, no. 1 (2014): 43–51. http://dx.doi.org/10.24821/resital.v15i1.799.

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Gamelan sebagai alat musik atau karawitan sebagai produk musikal dari Kraton Yogyakartamempunyai beberapa karakter yang sangat khas. Karawitan masih dipergunakan sebagai suatu identitasdan diakui oleh masyarakat hingga saat ini. Pengembangan musikal ini bermula dari Sri SultanHamengku Buwono I. Ada dua alasan penting yang mendorong gagasan penciptaan karaktergamelan. Pertama, konsepsi kedudukan raja telah mendudukkan gamelan sebagai salah satu pusakapenting. Kedua, kepribadian Sultan yang maskulin, heroik, dan patriotik menjadi model pengembangan,memberi ciri khas pada masing-masing ricikan ga

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Caliga, Marina. "7. A Model of Integrality of Musical and Teaching Activities at the Lesson of Musical Education." Review of Artistic Education 11, no. 1 (2016): 58–65. http://dx.doi.org/10.1515/rae-2016-0007.

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Abstract In this article the author investigates and applies accumulated experience in music education through the methodological integrality of musical didactic activities at musical education lesson. In this regard, musical didactic activities are not only pedagogical acts of transmission of musical knowledge, but their mission is the living of sound messages, the discovery of self through art and student integration through musical didactic activities. Integrating through musical didactic activities, students discover, create, analyze, summarize, compare, apply, reflect, operating various m

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Yates, Samuel. "Choreographing conjoinment: Side Show’s fleshly fixations and disability simulation." Studies in Musical Theatre 13, no. 1 (2019): 67–78. http://dx.doi.org/10.1386/smt.13.1.67_1.

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This article aims to amplify disability theory’s impact in performance studies by generating a framework for understanding disability representation in musical theatre. Taking the original and revival Broadway productions of Side Show (1997, 2014) as a case study, I articulate how the musical simulates disability through a ‘choreography of conjoinment’ that relies on the exceptional able-bodiedness of the actors playing conjoined twins Daisy and Violet Hilton. Using disability as a category of analysis reveals how disabled bodies are made to be maximally productive iterations of themselves in

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Domínguez Salas, Manuel. "ABDUCTIVE REASONING AS A MODEL FOR MUSICAL CREATION IN JULIO ESTRADA’S MUSICAL WORKS." Culture Crossroads 22 (September 13, 2023): 88–104. http://dx.doi.org/10.55877/cc.vol22.440.

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The paper deals with two philosophical postulates that although at first sight both do not have a direct link, it is my hypothesis that there may be a connection between them since in each one imagination plays an important role in the process of scientific discovery. On the one hand, it deals with the abductive reasoning by Charles Sanders Pierce (1839–1914), focusing on the problem related with abduction and scientific imagination, graphicacy or the ability to represent ideas through images, beelddenken or “pictorial thinking” as a form of communicating ideas without the use of any verbal fo

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Marin, Escande. "The Topological Model in the Works of Yuasa Jōji." Organised Sound 27, no. 1 (2022): 80–85. http://dx.doi.org/10.1017/s1355771822000267.

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The oeuvre of Japanese composer Yuasa Jōji holds a singular place in the contemporary musical landscape. From the artist collective Jikken Kōbō, in which he took part during the 1950s, to his later pieces for large orchestra, and through his innovative electroacoustic and mixed-music, Yuasa single-handedly explored a vast number of musical issues across the twentieth century. This article aims to shed a new light on the composer’s substantial musical output through his interest in topological theories. It will be a question of showing through examples, the different outcomes of the application

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Jama, Karolus Budiman, Margaretha Pula E. Djokaho, and Isabel Coryunitha Panis Panis. "Pelatihan Drama Musikal bagi Guru Sekolah Minggu." Educate: Journal of Community Service in Education 2, no. 2 (2022): 88–97. http://dx.doi.org/10.32585/educate.v2i2.3289.

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Mencerdaskan generasi penerus bangsa bukan hanya urusan pemerintah, akan tetapi urusan semua pihak termasuk gereja. Demikian juga dengan pengembangan seni untuk pertumbuhan karakter. Gereja memiliki akses yang cukup untuk memanfaatkan seni sebagai media dalam menumbuhkan karakter positif bagi anak-anak. Salah satu bidang seni yang dapat menumbuhkan karakter positif adalah drama musikal. Pelatihan drama musikal bagi guru-guru sekolah minggu di gereja Marturia Oetete Kabupaten Kupang adalah salah satu cara dalam menjawab kebutuhan dan persoalan mitra berkaitan dengan aktivitas sekolah minggu yan

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Faber, Sarah E. M., and Anthony R. McIntosh. "Towards a standard model of musical improvisation." European Journal of Neuroscience 51, no. 3 (2020): 840–49. http://dx.doi.org/10.1111/ejn.14567.

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Tonietti, Tito M. "Does Newton's Musical Model of Gravitation Work?*." Centaurus 42, no. 2 (2000): 135–49. http://dx.doi.org/10.1034/j.1600-0498.2000.420204.x.

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Marchand, Sylvain. "Musical Audio Effects in the SAS Model." Journal of New Music Research 30, no. 3 (2001): 259–69. http://dx.doi.org/10.1076/jnmr.30.3.259.7474.

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Huang, Cuiqing, and Qiang Zhang. "Research on Music Emotion Recognition Model of Deep Learning Based on Musical Stage Effect." Scientific Programming 2021 (October 26, 2021): 1–10. http://dx.doi.org/10.1155/2021/3807666.

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The change of life style of the times has also prompted the reform of many art forms (including musicals). Nowadays, the audience can not only enjoy the wonderful performances of offline musicals but also feel the charm of musicals online. However, how to bring the emotional integrity of musicals to the audience is a technical problem. In this paper, the deep learning music emotion recognition model based on musical stage effect is studied. Firstly, there is little difference between the emotional results identified by the CRNN model test and the actual feelings of people, and the coincidence

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Scherzinger, Martin. "Music in the Thought of Deconstruction / Deconstruction in the Thought of Music (For Joseph Dubiel)." Musicological Annual 41, no. 2 (2005): 81–104. http://dx.doi.org/10.4312/mz.41.2.81-104.

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This article critically speculates on points of affinity and difference between, on the one hand, musicological writings and the musical practices they attempt to represent and, on the other, the operation of deconstruction (defined in terms of the differential structure of our grip on presence and plenitude). The article outlines two prominent instances of misreading Derridean deconstruction in the context of musical writing (Subotnik, Korsyn). This is followed by a brief description of music's peculiar resonance with Derrida's model of language; an argument that will be crafted across the te

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Dediu, Dan. "A Parallel Model of Musical Research and Creation." Artes. Journal of Musicology 25, no. 1 (2022): 1–5. http://dx.doi.org/10.2478/ajm-2022-0001.

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Abstract Stages of both processes – research and creation – are depicted and proposed as tools for understanding the uniqueness of the musical triad: musicology, interpretation, composition. Although the borderlines between them are fuzzy and the interconnections powerful, we can find sufficient reasons to compare these different ways to obtain knowledge and to generate results in the field of music. The proposition of a single model for all three areas takes into account the following stages: information, analysis, design, processing (combining intuition with rational procedures), adaptation,

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Tsvetkovskaya, T. A. "A Multifunctional Model of a Modern Listener’s Behavior." Art & Culture Studies, no. 3 (October 2021): 128–47. http://dx.doi.org/10.51678/2226-0072-2021-3-128-147.

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The article focuses on strengthening positions of a modern listener in the context of the development of academic musical art. Since the end of the last century, there has been a surge in scientific interest in studying the audience of classical music. Listening experience is being analyzed on an equal basis with composition and performing. Interdisciplinary researches touch upon historical practices, semantic aspects and communication characteristics. However, today the very nature of listeners’ relationship with art is changing, too. The listener becomes an active participant in musical even

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YETTI, ELINDRA, and ICHA KHAIRIAH. "PENINGKATAN KEMAMPUAN MUSIKALITAS MELALUI BERMAIN ALAT MUSIK DOL." JPUD - Jurnal Pendidikan Usia Dini 11, no. 2 (2017): 226–37. http://dx.doi.org/10.21009/jpud.112.03.

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Abstract: This study aims to know whether the use instrument dol can the ability of children in earlychildhood musical Paud Al-khair Air Napal Sub District, Bengkulu Utara Regency, BengkuluProvince, 2016. The method used is action research model Kemmis & Mc Taggart. The subjects of thisresearch were 17 children of group B in Paud Al-khair. The study was conducted in two cyclesconsisting of nine meetings in each the cycle. Techniques of data collection was done throughobservation, interviews and document study. Techniques of data analysis in this research is theanalysis of qualitative data

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Okada, Keisuke, Manami Kanamaru, Phan Xuan Tan, and Eiji Kamioka. "Exploiting MUSIC model to solve cold-start user problem in content-based music recommender systems." Intelligent Decision Technologies 15, no. 4 (2022): 749–60. http://dx.doi.org/10.3233/idt-210196.

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The new user cold-start problem is a grand challenge in content-based music recommender systems. This happens when the systems do not have sufficient information regarding the user’s preferences. Towards solving this problem, in this study, a rating prediction framework is proposed. The proposed framework allows the systems to predict the user’s rating scores for unrated musical pieces, by which good recommendations can be generated. The core idea here is to leverage the so-called MUSIC model, i.e., a five-factor musical preference model, which is characterized by Mellow, Unpretentious, Sophis

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ALWARD, PETER. "Multiplicity, Audibility, and Musical Continuity." Dialogue 59, no. 1 (2020): 101–21. http://dx.doi.org/10.1017/s0012217320000074.

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ABSTRACTMusical works are both multiple — they have a plurality of instances — and audible — they can be heard by listening to their instances. Two prominent approaches to musical ontology designed to explain these features of musical works are the type-token model and the continuant-stage model. Julian Dodd has argued that the type-token model has an advantage over the continuant-stage model because it can offer a direct explanation of the audibility of musical works in terms of their ontological category. In this paper, I defend the continuant-stage model against Dodd's argument by invoking

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Zielonka, Stefania. "Musemes in affect. Philip Tagg’s model of music analysis." Interdisciplinary Studies in Musicology, no. 20 (December 28, 2020): 97–105. http://dx.doi.org/10.14746/ism.2020.20.8.

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The paper is an attempt to synthesize the most important aspects of a model of popular and film music analysis proposed by British musicologist Philip Tagg. Tagg, using the category of musemes – universal meaning units, isolated from the musical structure of the composition on the basis of criteria established for every given case – examines selected pieces using multi-level semiotic analysis. In his model Tagg takes into account both the importance of the broadly understood cultural context and the intertextuality of the piece. He also emphasizes the role of affect in musical communication, w

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Gorbunova, Irina Borisovna. "integrative model for the semantic space of music and a contemporary musical educational process." LAPLAGE EM REVISTA 6 (September 4, 2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial940p.2-13.

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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the ch

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Lupone, Michelangelo, Laura Bianchini, Silvia Lanzalone, and Alessio Gabriele. "Research at Rome's Centro Ricerche Musicali on Interactive and Adaptive Installations and on Augmented Instruments." Computer Music Journal 44, no. 2-3 (2020): 133–58. http://dx.doi.org/10.1162/comj_a_00570.

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Abstract Established in 1988 by composers Laura Bianchini and Michelangelo Lupone, the Centro Ricerche Musicali (CRM) in Rome was officially recognized in 1990 as a Music Research Center by the Ministry for University Education and Scientific and Technological Research. The Center focuses on musical production in relation to new technologies, in order to create a continual interaction among musical language, scientific thought, and technological resources. The staff at CRM, comprising musicians, technicians, visual artists, architects, information technology specialists, engineers, and researc

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Karan, Gordana. "Melodic models and modelling: The fundamental system of knowledge acquisition in music." New Sound, no. 59-1 (2022): 11–24. http://dx.doi.org/10.5937/newso22059011k.

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In the pursuit of developing a fundamental understanding of terms, phenomena, rules and meanings in music, vital to the performance and interpretation of a musical work, it is necessary to apply a methodologically grounded system to the reading of a score that efficiently establishes a basis for understanding the musical content and contributes to the development of musical abilities and musicality more broadly. In the musical-pedagogical process, as part of the wider set of music disciplines (harmony, counterpoint, music forms, knowledge of music styles), the most crucial are the methods and

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Gembris, Heiner. "Maria Manturzewska’s model of the lifespan development of professional musicians in the light of recent research and cultural changes." Musicae Scientiae 27, no. 4 (2023): 827–41. http://dx.doi.org/10.1177/10298649231191430.

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The lifespan trajectory of musical achievement in the field of classical music and the factors that promote or hinder the development of talent in music are the focus of Manturzewska’s model of the lifespan development of professional musicians. This article aims to describe Manturzewska’s model briefly, relate it to recent research, and explore the extent to which it fits the diversity of musical careers of contemporary professional musicians. A brief depiction of the developmental model provides insight into the six developmental phases of the model and the factors that influence them. Recen

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Gorbunova, Irina B. "The integrative model for the semantic space of music and a contemporary musical educational process." Educação e desafios 6, Especial (2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial529p.2-13.

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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the ch

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Rehding, Alexander. "Liszt's Musical Monuments." 19th-Century Music 26, no. 1 (2002): 52–72. http://dx.doi.org/10.1525/ncm.2002.26.1.52.

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The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may merely conceal a fundamental vacuity. Nietzsche in particular develops an incisive critique of this kind of monumentality, which he links with a historiographic model of what he calls "monumental history." Nietzsche's historical model is probed against an episode from Liszt's career, in which the apotheosis topic first

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Gorbunova, Irina B. "Musical Computer." ICONI, no. 2 (2020): 60–78. http://dx.doi.org/10.33779/2658-4824.2020.2.060-078.

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A new page in the manifestation and demonstration of expressive means of musical sound has been opened by the computer as a musical instrument, or the “musical computer.” Contemporary musicians have endeavored at the attempts at connecting composition with the theory of information, the unification of musical and acoustic parameters, having realized the idea of a regulated poly-dimensional sound space, a multilevel compositional model applied for sound generation with the use of concisely differentiated modulations of parameters of the level of frequencies, durations and dynamics. In the prese

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Cuevas Romero, Sara. "Creatividad y modelos de enseñanza a través de la expresión corporal, en el ámbito de educación secundaria obligatoria (Musical creativity through body expression, in the field of compulsory secondary education)." Retos, no. 25 (March 6, 2015): 100–106. http://dx.doi.org/10.47197/retos.v0i25.34490.

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Presentamos una investigación, basada en la creación como desarrollo de un proceso de aprendizaje entre el alumnado de primero de Educación Secundaria Obligatoria, que parte de los cuatro parámetros del sonido, y la búsqueda de recursos musicales y expresivos, donde convergen la composición, la interpretación y la expresión corporal. Desde el punto de vista metodológico, nos encontramos ante una investigación empírica (experimental), basada en la recogida de datos de una realidad educativa, orientada a la mejora de la práctica docente. Los resultados en esta investigación, se obtienen tras rea

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Bader, Rolf. "Modeling Temporal Lobe Epilepsy during Music Large-Scale Form Perception Using the Impulse Pattern Formulation (IPF) Brain Model." Electronics 13, no. 2 (2024): 362. http://dx.doi.org/10.3390/electronics13020362.

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Musical large-scale form is investigated using an electronic dance music piece fed into a Finite-Difference Time-Domain physical model of the cochlea, which again is input into an Impulse Pattern Formulation (IPF) Brain model. In previous studies, experimental EEG data showed an enhanced correlation between brain synchronization and the musical piece’s amplitude and fractal correlation dimension, representing musical tension and expectancy time points within the large-scale form of musical pieces. This is also in good agreement with a FitzHugh–Nagumo oscillator model.However, this model cannot

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Gonçalves, Marcelo Trevisan. "Music Model: aplicação do questionário em um grupo musical escolar." [re]Design 2, no. 1 (2023): 106–15. http://dx.doi.org/10.35818/redesign.v2i1.1246.

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Neste artigo descrevemos o processo de aplicação, de uma ferramenta destinada a avaliar a motivação para a aprendizagem, em estudantes de um grupo musical escolar. O questionário escolhido foi o inventário de motivação MUSIC® Model, por sua melhor adequação ao contexto, pela linguagem de fácil compreensão, pela praticidade de aplicação e pela proposta simples e objetiva de análise. Inicialmente, realizamos sua tradução para o português e, em seguida, o inserimos na plataforma de formulários da Universidade de Aveiro. Posteriormente, aplicamos o questionário com estudantes portugueses do ensino

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Mats Johansson. "Non-Isochronous Musical Meters: Towards a Multidimensional Model." Ethnomusicology 61, no. 1 (2017): 31. http://dx.doi.org/10.5406/ethnomusicology.61.1.0031.

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Laden, Bernice. "A parallel learning model of musical pitch perception." Journal of the Acoustical Society of America 93, no. 4 (1993): 2402. http://dx.doi.org/10.1121/1.406006.

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Brown, Judith C. "Cluster‐based probability model for musical instrument identification." Journal of the Acoustical Society of America 101, no. 5 (1997): 3167. http://dx.doi.org/10.1121/1.419121.

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Laden, Bernice, and Douglas H. Keefe. "A neural network model of musical chord classification." Journal of the Acoustical Society of America 84, S1 (1988): S178. http://dx.doi.org/10.1121/1.2025989.

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Marsden, Alan, and Anthony Pople. "Towards a connected distributed model of musical listening." Interface 18, no. 1-2 (1989): 61–72. http://dx.doi.org/10.1080/09298218908570538.

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Brown, Guy J., and Martin Cooke. "Perceptual grouping of musical sounds: A computational model." Journal of New Music Research 23, no. 2 (1994): 107–32. http://dx.doi.org/10.1080/09298219408570651.

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Laden, Bernice. "A parallel learning model of musical pitch perception." Journal of New Music Research 23, no. 2 (1994): 133–44. http://dx.doi.org/10.1080/09298219408570652.

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