Relevant bibliographies by topics / Musical perception / Dissertations / Theses
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Dissertations / Theses on the topic 'Musical perception'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Mate-Cid, Saul. "Vibrotactile perception of musical pitch." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.

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Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical perform
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2

Zacharakis, Asterios. "Musical timbre : bridging perception with semantics." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8715.

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Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, v
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3

Harrison, 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.

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4

Krom, Matthew Wayne. "Machine perception of natural musical conducting gestures." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61823.

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5

Hamaoui, 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.

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6

Ramos, 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/.

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RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito oc
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7

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/.

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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to d
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8

Bruce, 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.

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Duplex perception (DP) occurs when a stimulus simultaneously contributes to the perception of two auditory events (Rand, 1974), thus violating the principle of exclusive allocation. One interpretation of DP is that it is the consequence of independent auditory modules [speech/music vs. acoustical] of which one `mode' [phonetic/musical] has `perceptual precedence' (Liberman and Mattingly, 1989). The more common scene analysis view is that DP is the consequence of competing cues for organisation (Bregman, 1987,1990). This thesis attempted to explore DP with musical triads. It was found that tona
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9

Lefford, M. Nyssim 1968. "The structure, perception and generation of musical patterns." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28781.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.<br>Includes bibliographical references (p. 149-151).<br>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 m
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10

Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.

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Doutoramento em Música<br>This 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 h
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11

Kim, Jung-Kyong. "Effect of degraded pitch cues on melody recognition." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19681.

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Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches o
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12

Sousa, Jairo Aurélio de Deus. "O ensino da percepção musical para iniciantes, com ênfase na utilização de timbres alternativos e no uso da palavra para uma turma de graduação em pedagogia - Goiânia - Go." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4827.

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Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-28T17:28:45Z No. of bitstreams: 2 Dissertação - Jairo Aurélio de Deus Sousa - 2015.pdf: 3896165 bytes, checksum: b5d0d634538d916590c51460fcbcde11 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-29T10:20:14Z (GMT) No. of bitstreams: 2 Dissertação - Jairo Aurélio de Deus Sousa - 2015.pdf: 3896165 bytes, checksum: b5d0d634538d916590c51460fcbcde11 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b
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Ebendorf, Brittany. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/996.

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14

Giffin, Carly. "Did you see what I just heard? auditory dominance in temporal judgments /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1425.

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15

Giorgetti, Luiz Rafael Moretto 1980. "Práticas pedagógicas de auxílio ao desenvolvimento da escuta musical na disciplina de percepção musical /." São Paulo, 2018. http://hdl.handle.net/11449/155935.

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Orientador(a): Sonia Regina Albano de Lima<br>Banca: Liliana Harb Bollos<br>Banca: Fábio Miguel<br>Resumo: A dissertação realizada investiga e reflete em que medida as variadas práticas pedagógicas podem auxiliar no refinamento da escuta musical no âmbito do ensino de percepção musical. A escuta musical apurada é uma das virtudes necessárias para que o músico se prepare para as demais disciplinas relacionadas à música e também atue de forma consistente no mercado profissional. Para tanto, foram traçados quatro objetivos: 1. Verificar nas publicações e nas práticas musicais, quais as diferentes
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16

McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.

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The perception of musical intervals by musicians can be envisaged as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians,
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17

Ragozzine, Frank. "Investigations of the tritone paradox and perception of octave-related complexes /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9907595.

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18

Boisbourdin, David. "Vers un nouvel humanisme musical : Perception et représentation de l’oeuvre musicale électroacoustique d’Elie-Paul Cohen. Un langage musical universel est-il possible aujourd’hui ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040231.

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Elie-Paul Cohen est un médecin et un compositeur encore inconnu du grand public. Ses œuvres électroacoustiques sont construites autour d’un matériau sonore physiologique, issu de la captation des vibrations du corps humain. L’étude de ces pièces pose la question de la relation entre le corps et la musique, notion déjà abordée par les humanistes de la Renaissance. Il fait également partie d’un groupe de recherche médicale qui vient de mettre au point des modèles sonores de molécules d’ADN qu’il utilisera dans sa prochaine production musicale. Ces sons de provenance physiologique ont un impact é
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19

Mollison, Deborah. "Children's musical perception and creativity as a compositional model." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/13636/.

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The intention of this study was to understand more fully the process of creating musical composition. As a means to to this I created a compositional model, "Maya's Words", a conscious experiment which utilised the techniques I discovered and codified from children's compositions. By utilising rhe model as a working tool and the information extracted from the children's works I was able to draw together my own theories and observations concerning the process of musical composition and how it works. Within this study I have also examined my own process of musical composition and drawn, in a lim
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20

Durrant, Simon. "Modelling the perception of musical metre using neural networks." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247170.

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21

Smith, Jordan. "Explaining listener differences in the perception of musical structure." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27225.

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State-of-the-art models for the perception of grouping structure in music do not attempt to account for disagreements among listeners. But understanding these disagreements, sometimes regarded as noise in psychological studies, may be essential to fully understanding how listeners perceive grouping structure. Over the course of four studies in different disciplines, this thesis develops and presents evidence to support the hypothesis that attention is a key factor in accounting for listeners' perceptions of boundaries and groupings, and hence a key to explaining their disagreements. First, we
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22

Cong, Ning. "A multi-dimensional analytical model for musical harmony perception." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17330/.

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In this paper, a theoretical approach is presented to analyse music harmony perception under different tonal context. The purpose of this study is to account for the empirical perception rankings of musical chord structures. We believe the perception of a musical simultaneity depends on both its internal structure and external tonal context and the failure of previous psychoacoustic theories possibly comes from the ignorance of tonal context. The model prediction result reveals some important insights in line with empirical observations for music triads.
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23

Gudmundsdottir, Helga Rut. "Children's ability to identify two simultaneous melodies." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26735.

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The present study examined 1st, 3rd, and 5th graders' ability to hear two simultaneous melodies. Two familiar ("Frere Jacques" and "The Barney song") and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different registers and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster (df = 2, F = 12.803, p $<$.01) and more accurately (df = 2, F = 13.098, p $<$.01)
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24

Bartel, Christopher John. "The perception of music : an essay on musical understanding, phenomenology and the contents of musical experience." Thesis, King's College London (University of London), 2007. https://kclpure.kcl.ac.uk/portal/en/theses/the-perception-of-music--an-essay-on-musical-understanding-phenomenology-and-the-contents-of-musical-experience(7a57cb60-75ef-4780-9b1b-43d774d33c3c).html.

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25

Evers, Stefan. "Musikperzeption und visuelle Reizverarbeitung : eine Übersicht und experimentelle Beiträge aus dem Bereich der ereigniskorrelierten Potentiale /." Aachen : Shaker, 2003. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015038742&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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26

Ashby, Nicholas George. "A musical theory of experience metaphysics of experiential integration. /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56216.pdf.

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27

Field, Ben. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1015.

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Otutumi, Cristiane Hatsue Vital 1978. "Percepção musical : situação atual da disciplina nos cursos superiores de musica." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285030.

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Orientador: Ricardo Goldemberg<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T16:33:49Z (GMT). No. of bitstreams: 1 Otutumi_CristianeHatsueVital_M.pdf: 1501426 bytes, checksum: 2b2bc68b8099e4b66f07d7f496cd5c59 (MD5) Previous issue date: 2008<br>Resumo: O presente trabalho teve por finalidade investigar a situação atual em que se encontra a disciplina Percepção Musical no âmbito dos cursos superiores de música do Brasil. Através dos professores atuantes de todo país, foi possível observar a estrutura e o perfil da di
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Obrecht, Alexander Guy. "The dawning of musical aspect in process." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307165.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 286-294.
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Santos, Roderick Fonseca dos. "Cinco abordagens sobre a identidade da Rabeca." Universidade Federal da Paraí­ba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6578.

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Made available in DSpace on 2015-05-14T12:52:22Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3927411 bytes, checksum: b8bf8ad83fe8ee014d9114380688f167 (MD5) Previous issue date: 2011-05-06<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The rabeca is a cordophone played with a bow. The introduction of this instrument in Brazil is attributed to the Portuguese and the Spanish. Its farthest origins reach back to the medieval rabeca, which is derived from the Arabian raba. The present Master‟s thesis addresses aspects of the Brazialian Rabeca of the Northeast of Bra
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31

Edwards, S. L. "Pitch perception, production and musical development of hearing impaired children." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1416297/.

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Children with cochlear hearing loss are offered a range of intervention devices to manage their hearing impairment. The most common devices fitted are hearing aids, cochlear implants or a combination of both (bimodal stimulation with a cochlear implant on one ear and hearing aid on the other). The main goal of these devices is to improve listening and communication for speech and language development. However in more recent years additional focus has been given to non-speech sounds such as music. Pitch is an important aspect of music because it carries the melody; however it is represented dif
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Johnson, Randolph Burge. "Selected Topics in the Perception and Interpretation of Musical Tempo." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275412104.

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33

Arthurs, Yuko. "The creation of consonance : how musical context influences chord perception." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/12392/.

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This PhD study investigates how our perception of musical chords, both in isolation and in musical context, is influenced and shaped by our knowledge of the tonal hierarchy and tonal syntax in terms of consonance/dissonance, pleasantness/unpleasantness, stability/instability, and relaxation/tension. Six experiments were conducted to gather behavioural data on the perception of chords from listeners with varying levels of musical training and experience. The first study is principally concerned with the influence of frequency of occurrence on the perception of twelve types of chord in isolation
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Plazak, Joseph Stephen. "Listener Knowledge Gained from Brief Musical Excerpts." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250696592.

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35

Balkwill, Laura-Lee. "Perception of emotion in music a cross-cultural investigation /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27332.pdf.

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36

Mendoza, Jennifer. "Characterizing the Structure of Infants' Everyday Musical Input." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23763.

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Infants acculturate to their soundscape over the first year of life (e.g., Hannon & Trehub, 2005a; Werker & Tees, 1984). This perceptual tuning of early auditory skills requires integrating across experiences that repeat and vary in content and are distributed in time. Music is part of this soundscape, yet little is known about the real-world musical input available to infants as they begin learning sounds, melodies, rhythms, and words. In this dissertation, we collected and analyzed a first-of-its-kind corpus of music identified in day-long audio recordings of 6- to 12-month-old infants and t
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Harries, Timothy. "Programming Musical Experience: Programs' effects on responses to music." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18756.

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Program notes are ubiquitous at Western art music concerts, but their effects on listener experience remain unclear. While understanding and emotional response are positively affected by programs, positive and negative effects of programs have been observed for enjoyment. Across two studies, this thesis explores attitudes towards program notes, and their influences on responses to music. To identify differences between regular and new listeners, each study featured equal numbers of musician and music novice participants. The first study involved semi-structured interviews with 16 participants.
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Lima, Letícia Dias de 1989. "Percepção musical e cognição : abordagem de aspectos rítmicos no treinamento auditivo /." São Paulo, 2018. http://hdl.handle.net/11449/154736.

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Orientador(a): Marcos José Cruz Mesquita<br>Banca: Graziela Bortz<br>Banca: Marcos Vinício Cunha Nogueira<br>Resumo: O objetivo deste trabalho é investigar as relações entre a percepção do ritmo musical e os métodos de treinamento auditivo utilizados na graduação em música das universidades estaduais de São Paulo. A ferramenta principal desta pesquisa são teorias e experimentos na área da cognição musical. Este é um campo que investiga as formas de aquisição, processamento e organização de informações; ou seja, atividades cognitivas relacionadas ao conhecimento. Abordamos, sob este ponto de vi
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Stervinou, Adeline. "La perception structurelle et temporelle d'extraits de musiques contemporaines par les adolescents musiciens et non-musiciens." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00664451.

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Ce travail propose d'observer l'effet de différentes structures musicales, extraites du courant musical minimaliste, sur la perception auditive temporelle d'adolescents musiciens et non-musiciens. Pour entreprendre cette recherche, nous avons dû d'abord définir notre conception du temps musical ainsi que son impact supposé sur la perception auditive.Une fois le corpus d'œuvres minimalistes sélectionné, une analyse musicale des extraits sonores retenus pour l'élaboration de deux expérimentations a été réalisée. Elle est destinée à justifier le choix de ces extraits et à définir les procédés d'é
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Johnston, Heather Moynihan. "The influence of frequency and intensity patterns on the perception of pitch." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116257540.

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Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 180 p.; also includes graphics. Includes bibliographical references (p. 169-172). Available online via OhioLINK's ETD Center
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Chinburg, Jenna. "The Perception of Trust Between Athletic Trainers and Musical Performing Artists." Thesis, San Jose State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634918.

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<p> Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps
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Henriksen, Frank Ekeberg. "Space in electroacoustic music : composition, performance and perception of musical space." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7653/.

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This thesis concerns space as an essential element of expression and communication in electroacoustic music. It shows that musical space is a complex term which refers to many different aspects of composition, performance and perception of electroacoustic music. It is argued that space is a compound musical element which can be integrated into the compositional structure to a degree where space becomes the primary canier of meaning in the work, and that the creation and interpretation of this meaning is a result of learned cultural aspects of interpersonal communication in terms of personal sp
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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.

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44

Barbosa, Maria Flávia Silveira. "Percepção musical como compreensão da obra musical: contribuições a partir da perspectiva histórico-cultural." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-09092009-162831/.

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Este trabalho toma como objeto de estudo a percepção musical. Apresenta uma análise crítica de ementas, programas e livros usados na disciplina Percepção Musical, em cursos brasileiros de graduação em Música, através da qual busca desvelar as concepções sobre a percepção musical e seu desenvolvimento que servem de fundamento a esse material. O referencial teórico adotado, a perspectiva histórico-cultural que postula a natureza social e histórica do desenvolvimento humano e a percepção humana como um processo estrutural e semiótico , permitiu identificar, através dessa análise, um entendimento
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Auhagen, Wolfgang. "Experimentelle Untersuchungen zur auditiven Tonalitätsbestimmung in Melodien." Kassel : G. Bosse, 1994. http://books.google.com/books?id=4tBFAAAAMAAJ.

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46

Papadopoulos, Hélène. "Joint estimation of musical content information[ from an audio signal]." Paris 6, 2010. http://www.theses.fr/2010PA066224.

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Dans cette thèse, nous nous intéressons au problème de l'extraction automatique d'information de contenu d'un signal audio de musique. L'originalité de notre travail est que nous proposons un modèle qui permet d'estimer de manière conjointe plusieurs attributs musicaux (accords, premiers temps et tonalité). Nous examinons plusieurs représentations typiques du signal audio afin de choisir celle qui est la plus appropriée à l'analyse de son contenu harmonique. En utilisant les chromas comme observations du signal, nous proposons d’abord plusieurs méthodes basées sur les modèles de Markov cachés
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47

Henry, Robert E. "Judgment of Intonation in the Context of Three-Part Woodwind Ensemble Performances." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331444/.

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The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.
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48

Vincent, Dennis Richard. "Ensemble pitch and rhythm error discrimination : the identification and selection of predictors." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/32443.

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This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-scor
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49

MacKenzie, Noah Aaron. "The kappa effect in pitch/time context." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173114654.

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50

Wile, Daryl J. "On the electrophysiological correlates of missing fundamental pitch perception and nonlinear distortion in the frequency-following response." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99212.

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The frequency-following response (FFR) is a scalp-recorded evoked potential which faithfully mimics an auditory stimulus waveform. Some research has attempted to relate the FFR to pitch perception based on FFR spectral peaks which correspond to the perceived pitch of the evoking stimulus, but these explanations are not definitive because the pitch of the evoking stimulus is often equal to the waveform envelope frequency or nonlinear distortion products also represented in the FFR. The experiments herein attempt to clarify the relevance of the FFR to pitch perception and as an assay of nonlinea
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