Bibliografie tematiche / Musical pitch

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Letteratura scientifica selezionata sul tema "Musical pitch"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "Musical pitch"

Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design

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Miyazaki, Ken’ichi. "Musical pitch identification by absolute pitch possessors." Perception & Psychophysics 44, no. 6 (November 1988): 501–12. http://dx.doi.org/10.3758/bf03207484.

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Deutsch, Diana. "Paradoxes of Musical Pitch." Scientific American 267, no. 2 (August 1992): 88–95. http://dx.doi.org/10.1038/scientificamerican0892-88.

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Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3172. http://dx.doi.org/10.1121/1.419195.

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Miyazaki, Ken'ichi. "Absolute Pitch as an Inability: Identification of Musical Intervals in a Tonal Context." Music Perception 11, no. 1 (1993): 55–71. http://dx.doi.org/10.2307/40285599.

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Absolute pitch is generally believed to be a remarkable ability, whose possessors can quite accurately identify musical pitch characteristics (pitch classes) of single tones presented in isolation. However, identifying pitch out of context is irrelevant and even meaningless to music. It is unclear how listeners with absolute pitch process musical pitch information in more meaningful musical situations. The present experiment was done to examine how listeners with absolute pitch perform in a relative pitch task. Listeners tried to identify melodic intervals of various sizes (260–540 cents) pres

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Creel, Sarah C., Reina Mizrahi, Alicia G. Escobedo, Li Zhao, and Gail D. Heyman. "No Heightened Musical Pitch Weighting For Tone Language Speakers in Early Childhood." Music Perception 40, no. 3 (February 1, 2023): 193–201. http://dx.doi.org/10.1525/mp.2023.40.3.193.

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Numerous studies suggest that speakers of some tone languages show advantages in musical pitch processing compared to non-tone language speakers. A recent study in adults (Jasmin et al., 2021) suggests that in addition to heightened pitch sensitivity, tone language speakers weight pitch information more strongly than other auditory cues (amplitude, duration) in both linguistic and nonlinguistic settings compared to non-tone language speakers. The current study asks whether pitch upweighting is evident in early childhood. To test this, two groups of 3- to 5-year-old children—tone-language speak

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Aruffo, Christopher, Robert L. Goldstone, and David J. D. Earn. "Absolute Judgment of Musical Interval Width." Music Perception 32, no. 2 (December 1, 2014): 186–200. http://dx.doi.org/10.1525/mp.2014.32.2.186.

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When a musical tone is sounded, most listeners are unable to identify its pitch by name. Those listeners who can identify pitches are said to have absolute pitch perception (AP). A limited subset of musicians possesses AP, and it has been debated whether musicians’ AP interferes with their ability to perceive tonal relationships between pitches, or relative pitch (RP). The present study tested musicians’ discrimination of relative pitch categories, or intervals, by placing absolute pitch values in conflict with relative pitch categories. AP listeners perceived intervals categorically, and thei

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Gribenski, Fanny. "Nature's “Disturbing Influence”: Sound and Temperature in the Age of Empire." 19th-Century Music 45, no. 1 (2021): 23–36. http://dx.doi.org/10.1525/ncm.2021.45.1.23.

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Today, knowledge concerning the relationship between temperature and musical pitch shapes many dimensions of Western musical practice, from the ambient conditions of performance sites to the design of musical instruments, and performers’ routines and techniques. But the history of how temperature came to play such a defining role in musical cultures remains unexamined. This article lays the foundations for such work by approaching musical instruments as sites of negotiation between acousticians, instrument makers, and players on the one hand, and music's variegated environments on the other. F

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Cai, Jieqing, Yimeng Liu, Minyun Yao, Muqing Xu, and Hongzheng Zhang. "A Neurophysiological Study of Musical Pitch Identification in Mandarin-Speaking Cochlear Implant Users." Neural Plasticity 2020 (July 22, 2020): 1–11. http://dx.doi.org/10.1155/2020/4576729.

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Music perception in cochlear implant (CI) users is far from satisfactory, not only because of the technological limitations of current CI devices but also due to the neurophysiological alterations that generally accompany deafness. Early behavioral studies revealed that similar mechanisms underlie musical and lexical pitch perception in CI-based electric hearing. Although neurophysiological studies of the musical pitch perception of English-speaking CI users are actively ongoing, little such research has been conducted with Mandarin-speaking CI users; as Mandarin is a tonal language, these ind

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Repp, Bruno H., and Carol L. Krumhansl. "Cognitive Foundations of Musical Pitch." American Journal of Psychology 104, no. 4 (1991): 612. http://dx.doi.org/10.2307/1422945.

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Tesi sul tema "Musical pitch"

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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Cross, Ian. "The cognitive organisation of musical pitch." Thesis, City University London, 1989. http://openaccess.city.ac.uk/7663/.

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This thesis takes as its initial Premise the idea that the rationales for the forms of pitch organisation employed within tonal music which have been adopted by music theorists have strongly affected those theorists` conceptions of music, and that it is of critical importance to music theory to investigate the potential origination of such rationales within the human sciences. Recent studies of musical pitch perception and cognition are examined, and an attempt is made to assess their capacity to provide sustainable rationales for pitch organisation in tonal music. Theoretical and experimental

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Descombes, Valérie. "Discrimination of pitch direction : a developmental study." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.

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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.<br>The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.<br>The results showed a subsequent increase in mean score

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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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Kim, Jinho. "Automatic Pitch Detection and Shifting of Musical Tones in Real Time." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3057.

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Thesis advisor: Sergio Alvarez<br>Musical notes are acoustic stimuli with specific properties that trigger a psychological perception of pitch. Pitch is directly associated with the fundamental frequency of a sound wave, which is typically the lowest frequency of a periodic waveform. Shifting the perceived pitch of a sound wave is most easily done by changing the playback speed, but this method warps some of the characteristics and changes the time scale. This thesis aims to accurately shift the pitch of musical notes while preserving its other characteristics, and it implements this in real t

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McLeod, Philip, and n/a. "Fast, accurate pitch detection tools for music analysis." University of Otago. Department of Computer Science, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090220.090438.

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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame wit

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Ho, Kit-chun. "Development of pitch discrimination in preschool children." Hong Kong : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035723.

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Lamont, Alexandra Mary. "The development of cognitive representations of musical pitch." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624265.

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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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Weaver, Aurora J. "The Influence of Musical Training and Maturation on Pitch Perception and Memory." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420490879.

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Libri sul tema "Musical pitch"

Kopytman, Mark Ruvimovich. Pitch graph. 2nd ed. Jerusalem, Israel: Jerusalem Academy of Music and Dance, Oscar Brietbart Research Center, 2002.

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Saishō, Hazuki. Zettai onkan =: Absolute pitch. Tōkyō: Shōgakkan, 1998.

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Lucy, Charles E. H. Pitch, pi and other musical paradoxes: A practical guide to natural microtonality. London: Lucy Scale Developments, 1987.

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Sprowles, Michael. Geometric pitch structure and form in Déserts by Edgar Varèse. Saarbrücken: VDM Verlag Dr. Müller, 2008.

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Kınıklı, Nuriye Esra. Analiz yöntemlerine genel bakiş ve analizde SPT yöntemi. Eskişehir: Anadolu Üniversitesi yayınları, 2008.

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1945-, Barlow Klarenz, ed. The Ratio book: A documentation of The Ratio Symposium, Royal Conservatory, The Hague, 14-16 December 1992. Köln, Germany: Feedback Studio, 2001.

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Čharœ̄nsuk, Sukrī. Sīang læ rabop sīang dontrī Thai. Nakhon Pathom]: Witthayālai Duriyāngkhasin, Mahāwitthayālai Mahidon, 2003.

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Martin, Feierabend John, ed. The book of pitch exploration. Chicago: GIA Publications, 2000.

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Vurma, Allan. Voice quality and pitch in singing: Some aspects of perception and production = Häälekvaliteet ja helikõrgus laulmisel : mõningad taju ja moodustusega seotud aspektid. Tallinn: Estonian Academy of Music and Theater, Department of Musicology, 2007.

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Śuklā, Madhurānī. "Kāku" kā sāṅgītika vivecana. Ilāhābāda: Pāṭhaka Pablikeśana, 2003.

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Capitoli di libri sul tema "Musical pitch"

Hartmann, William M. "Pitch." In Principles of Musical Acoustics, 137–44. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_13.

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Mazzola, Guerino, Joomi Park, and Florian Thalmann. "The Pitch Aspect." In Musical Creativity, 37–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24517-6_8.

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Moravcsik, Michael J. "Pitch and Musical Scales." In Musical Sound, 115–26. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_9.

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Bader, Rolf. "Pitch, Melody, Tonality." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 403–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_13.

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Ruditsa, Roman. "Relative Musical Pitch in Formal Definition." In Current Research in Systematic Musicology, 3–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85886-5_1.

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Gockel, Hedwig E., and Robert P. Carlyon. "Do Zwicker Tones Evoke a Musical Pitch?" In Advances in Experimental Medicine and Biology, 419–26. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25474-6_44.

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Järveläinen, Hanna, Stefano Papetti, and Eric Larrieux. "Accuracy of Musical Pitch Control Through Finger Pushing and Pulling." In Haptic and Audio Interaction Design, 125–34. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15019-7_12.

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Eitan, Zohar. "Cross-modal experience of musical pitch as space and motion." In Body, Sound and Space in Music and Beyond: Multimodal Explorations, 49–68. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-4.

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Devine, A. M., and Laurence D. Stephens. "Pitch." In The Prosody of Greek Speech, 157–94. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195085464.003.0004.

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Abstract Our sensation of pitch is a function of the fundamental frequency of a periodic sound, that is the number of cycles per second of sound pressure variation generated in the fundamental mode of vibration. Frequency is therefore a property of the sound stimulus, pitch a prop erty of auditory sensation; in this and many other works, the term pitch is often used informally to refer to fundamental frequency. There are various measures of frequency and pitch, each of which has its own appropriate application. The Hertz (Hz), a linear scale, is used for the physical properties of sound; semitones, a logarithmic scale, are used for music; psychoacoustics uses various subjective measures: the Mel scale, the Bark scale, and more recently the socalled ERB scale which is derived from the frequency selectivity of the auditory system and which, for frequencies below 500 Hz, is neither linear nor logarithmic. For accen tual excursions in speech, the ERB scale has been found to be most appropriate: excursions that are equal in Hertz or equal in semitones are not perceived as having the same prominence when presented in different registers. Furthermore, speakers of Dutch found it difficult to analyze accentual excursions in terms of musical intervals, which suggests that the perception of linguistic tone at least in a stress language and the perception of musical pitch are in principle different tasks for the human perceptual mechanism (Hermes et al. 1991). Given the musical nature of the Greek evidence, the ensuing analysis of accent and into nation in Greek will operate mainly in terms of semitones.

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Auerbach, Brent. "A Universal Nomenclature for Pitch and Rhythm Motives." In Musical Motives, 105–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0004.

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Chapter 4 proposes a universal nomenclature for pitch (and pitch-class) and rhythm motives. The system eschews nicknames and abstract letter variables in favor of more objective labels. In the domain of pitch and pitch-class, motives are characterized according to their interval content and their length in terms of “number of notes” (as opposed to their duration in time). These symbols may be supplemented by reference to certain iconic pitch shapes, such as “arpeggiation” and “neighbor” gestures. Altered typescripts are used to indicate pitch ascent versus descent, leaping or “gapped” motives, and chromatically filled motives. Two kinds of addition signs, signaling simple and elided addition, are prescribed for naming composite motives. In the domain of rhythm, a motive is first labeled according to its durations, which are assessed locally in relative terms as long (L), short (S), and medium (M). Sounding (note) events must always be accounted for; rest (silent) durations may be specified by parentheses or disregarded as the analyst sees fit. Extensions to the nomenclature exist to handle cases of subdivided rhythms and composite motives. Demonstrations of proper application of the nomenclature are provided throughout the chapter.

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Atti di convegni sul tema "Musical pitch"

Shono, Takeshi, Takahiro Emoto, Udantha R. Abeyratne, Masatake Akutagawa, and Yohsuke Kinouchi. "A Human Absolute Pitch Model for Identifying Musical Pitch." In Biomedical Engineering. Calgary,AB,Canada: ACTAPRESS, 2016. http://dx.doi.org/10.2316/p.2016.832-050.

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Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen, and Yi-Hsuan Yang. "Musical Composition Style Transfer via Disentangled Timbre Representations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.

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Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversaria

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Jensen, K. "Pitch independent prototyping of musical sounds." In 1999 IEEE Third Workshop on Multimedia Signal Processing (Cat. No.99TH8451). IEEE, 1999. http://dx.doi.org/10.1109/mmsp.1999.793823.

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Bharathi, V., Asaph Abraham A., and R. Ramya. "Vocal pitch detection for musical transcription." In 2011 International Conference on Signal Processing, Communication, Computing and Networking Technologies (ICSCCN 2011). IEEE, 2011. http://dx.doi.org/10.1109/icsccn.2011.6024645.

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LUCY, CEH, T. OAKES та MK HOBDEN. "PITCH, π, AND OTHER MUSICAL PARADOXES". У Acoustics '88. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/21759.

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Marques, Lucas. "A chord distance metric based on the Tonal Pitch Space and a key-finding method for chord annotation sequences." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10435.

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Music Information Retrieval (MIR) is a growing field of research concerned about recovering and generating useful information about music in general. One classic problem of MIR is key-finding, which could be described as the activity of finding the most stable tone and mode of a determined musical piece or a fragment of it. This problem, however, is usually modeled for audio as an input, sometimes MIDI, but little attention seems to be given to approaches considering musical notations and musictheory. This paper will present a method of key-finding that has chord annotations as its only input.

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Lostanlen, Vincent, Sripathi Sridhar, Brian McFee, Andrew Farnsworth, and Juan Pablo Bello. "Learning the Helix Topology of Musical Pitch." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9053644.

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Bhumichitr, Kiratijuta, Menh Keo, and Aung Khant Oo. "Musical Pitch Alphabets Generator Using Haar-like Feature." In 2021 18th International Joint Conference on Computer Science and Software Engineering (JCSSE). IEEE, 2021. http://dx.doi.org/10.1109/jcsse53117.2021.9493818.

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Lu Qin, Qiang Li, and Xin Guan. "Pitch extraction for musical signals with modified AMDF." In 2011 International Conference on Multimedia Technology (ICMT). IEEE, 2011. http://dx.doi.org/10.1109/icmt.2011.6001799.

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Ning, Li-Hsin. "Musical Memory and Pitch Discrimination Abilities as Correlates of Vocal Pitch Control for Speakers with Different Tone and Musical Experiences." In 10th International Conference on Speech Prosody 2020. ISCA: ISCA, 2020. http://dx.doi.org/10.21437/speechprosody.2020-125.

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Rapporti di organizzazioni sul tema "Musical pitch"

Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The

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