Gotowe bibliografie tematyczne / Musical perception

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Musical perception”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lipca 2025

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Artykuły w czasopismach na temat "Musical perception"

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Miller, Benjamin O. "Time perception in musical meter perception." Psychomusicology: A Journal of Research in Music Cognition 12, no. 2 (1993): 124–53. http://dx.doi.org/10.1037/h0094111.

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Çağrı, Çalışır, and Onuray Eğilmez Hatice. "Investigation of the Relationship Between Self-Perceptions of Fine Arts High School Students Towards Their Instruments and Their Music Performance Anxiety." Education Quarterly Reviews 5, no. 4 (2022): 489–503. https://doi.org/10.31014/aior.1993.05.04.680.

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, In the study, it was aimed to examine Fine Arts High School (FAHS) students’ self-perceptions for their musical instruments and their music performance anxiety according to some variables. Also it was aimed to reveal the relationship between their self-perceptions for musical instrument and music performance anxiety. The sample of the research consisted of 273 music department students studying at Malatya Abdulkadir Eriş FAHS, Konya Çimento FAHS, Balıkesir T.C. Ziraat Bankası FAHS and Ayvalık Sebahat-Cihan Şişman FAHS. The data for the research were obtained by using the "S
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Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (1997): 3172. http://dx.doi.org/10.1121/1.419195.

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Girgin, Demet. "Pre-service Music Teachers’ Metaphoric Perception for the Musical Instrument Education." Journal of Qualitative Research in Education 7, no. 1 (2019): 1–15. http://dx.doi.org/10.14689/issn.2148-2624.1.7c1s.7m.

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Swain, Joseph P. "Music Perception and Musical Communities." Music Perception 11, no. 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.

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Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to
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Tillmann, Barbara, and Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, no. 1 (1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.

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Zatorre, Robert J. "Brain Imaging Studies of Musical Perception and Musical Imagery." Journal of New Music Research 28, no. 3 (1999): 229–36. http://dx.doi.org/10.1076/jnmr.28.3.229.3112.

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Trehub, Sandra E. "Infants’ perception of musical patterns." Perception & Psychophysics 41, no. 6 (1987): 635–41. http://dx.doi.org/10.3758/bf03210495.

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Best, Harold M. "Musical Perception and Music Education." Arts Education Policy Review 96, no. 4 (1995): 2–9. http://dx.doi.org/10.1080/10632913.1995.9934551.

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Miller, Johanna L. "Musical pitch perception starts early." Physics Today 67, no. 10 (2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.

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Rozprawy doktorskie na temat "Musical perception"

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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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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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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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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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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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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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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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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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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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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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Książki na temat "Musical perception"

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Rita, Aiello, and Sloboda John A, eds. Musical perceptions. Oxford University Press, 1994.

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Israel, Anyahuru, and Ohiaraumunna Tom, eds. Musical sense and musical meaning: An indigenous African perception. Rozenberg, 2008.

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Peter, Desain, and Windsor Luke, eds. Rhythm perception and production. Swets & Zeitlinger Publishers, 2000.

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Beauchamp, James W., ed. Analysis, Synthesis, and Perception of Musical Sounds. Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-32576-7.

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Niall, Griffith, and Todd Peter M, eds. Musical networks: Parallel distributed perception and performace. MIT Press, 1999.

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Bamberger, Jeanne Shapiro. The art of listening: Developing musical perception. 5th ed. Harper & Row, 1988.

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J, Tafuri, ed. Didattica della musica e percezione musicale. Zanichelli, 1988.

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Christensen, Erik. The musical timespace. Aalborg University Press, 1996.

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Joos, Maxime. La perception du temps musical chez Henri Dutilleux. L'Harmattan, 1999.

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Bruce, Gregory. An investigation of duplex perception with musical triads. University of Birmingham, 1999.

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Części książek na temat "Musical perception"

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Moravcsik, Michael J. "Perception of Sound." In Musical Sound. Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_7.

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Bowling, Daniel, and Dale Purves. "A biological basis for musical tonality." In Sensory Perception. Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-211-99751-2_12.

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Hartmann, William M. "Loudness Perception." In Principles of Musical Acoustics. Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_12.

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Trainor, Laurel J., and Kathleen A. Corrigall. "Music Acquisition and Effects of Musical Experience." In Music Perception. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_4.

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Patterson, Roy D., Etienne Gaudrain, and Thomas C. Walters. "The Perception of Family and Register in Musical Tones." In Music Perception. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_2.

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Seznurkmez, Kivilcim Yildiz. "Time, Memory And The Musical Perception." In Memory in the Ontopoesis of Life. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2501-2_14.

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Krysko, Mariya D., Alexander V. Vartanov, Irine I. Vartanova, and Valentin V. Klimov. "Subjective Perception Space of Musical Passages." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25719-4_34.

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Davies, John Booth. "Some further aspects of musical perception." In The Psychology of Music. Routledge, 2024. http://dx.doi.org/10.4324/9781003570424-6.

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Haugen, Mari Romarheim. "Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves." In Current Research in Systematic Musicology. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_3.

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AbstractThe perception of musical rhythm includes not only the sonic rhythm but also the endogenous reference structures, such as meter. Musical meter is often described and understood as points in time or durations between such points. In this chapter, I argue that musical meter also has a shape. I propose that we perceive and make sense of musical meter based on our previous musical experiences involving meter-related bodily motion. In other words, the meter-related motion is integral to the perceived meter—they are the same. Meter thus has a shape that relates to the embodied sensations of
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Petsche, H., H. Pockberger, and P. Rappelsberger. "EEG-Studies in Musical Perception and Performances." In Musik in der Medizin / Music in Medicine. Springer Berlin Heidelberg, 1987. http://dx.doi.org/10.1007/978-3-642-71697-3_6.

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Streszczenia konferencji na temat "Musical perception"

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Satkunarajah, Praveena, Sarah D. Power, and Benjamin Rich Zendel. "Decoding Musical Timbre Perception from Single-Trial EEG Data." In 2024 IEEE International Conference on Systems, Man, and Cybernetics (SMC). IEEE, 2024. https://doi.org/10.1109/smc54092.2024.10831757.

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Xu, Duo, Ai-Jing Fan, Xingyu Liao, Guo Yu, and Wei-Hui Dai. "Machine Recognition and Subconscious Perception Characteristics of Musical Emotions." In 2024 China Automation Congress (CAC). IEEE, 2024. https://doi.org/10.1109/cac63892.2024.10865611.

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Deiana, Davide, Alessandro Ansani, Giovanni Di Pino, Domenico Formica, Charles Spence, and Nicola Di Stefano. "Auditory and Tactile Perception of Musical Intervals: A Pilot Study." In 2025 IEEE Medical Measurements & Applications (MeMeA). IEEE, 2025. https://doi.org/10.1109/memea65319.2025.11068071.

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Sharma, Megha, Muhammad Taimoor Haseeb, Gus Xia, and Yoshimasa Tsuruoka. "Musical Scene Detection in Comics: Comparing Perception of Humans and GPT-4." In 2024 IEEE International Conference on Big Data (BigData). IEEE, 2024. https://doi.org/10.1109/bigdata62323.2024.10825527.

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Pascal, Barbara, and Mathieu Lagrange. "On the Robustness of Musical Timbre Perception Models: From Perceptual to Learned Approaches." In 2024 32nd European Signal Processing Conference (EUSIPCO). IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715149.

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Biletska, Maryna, Tatiana Pidvarko, Lina Kotova, and Tetyana Stratan-Artyshkova. "METHODICAL APPROACHES TO THE STUDY OF STUDENTS` MUSICAL ABILITIES IN THE PROCESS OF PEDAGOGICAL COMMUNICATION." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/s08/59.

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The purpose of the research is the improvement of the socio-perceptive skills of the teachers for the correlation of the study and understanding of students� musical abilities. For the achievement of the set of goal, the general scientific methodological approaches (systemic, competent) and the research methods as abstract-logical, analysis and synthesis have been used to study, to generalize and to systematize the obtained information with the purpose of the comparison of the different views of the scientists on the problems of the pedagogical communication and the teaching of students� music
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Botticelli, Cosimo, Roberto De Prisco, Nicola Lettieri, Luigi Lomasto, Delfina Malandrino, and Rocco Zaccagnino. "Visual Music Perception for Stochastic Music Composition." In 2024 28th International Conference Information Visualisation (IV). IEEE, 2024. http://dx.doi.org/10.1109/iv64223.2024.00060.

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Karystinaios, Emmanouil, Francesco Foscarin, and Gerhard Widmer. "Perception-Inspired Graph Convolution for Music Understanding Tasks." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/850.

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We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification
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Chen, Oscal T. C., Jhen Jhan Gu, Chih-Chang Chen, and Ping-Tsung Lu. "Affective perception of Musical Television." In 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469597.

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Ronnberg, Niklas. "Musical Elements in Sonification Support Visual Perception." In ECCE 2019: 31st European Conference on Cognitive Ergonomics. ACM, 2019. http://dx.doi.org/10.1145/3335082.3335097.

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Raporty organizacyjne na temat "Musical perception"

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Maia, Maercio, Abrahão Baptista, Patricia Vanzella, Pedro Montoya, and Henrique Lima. Neural correlates of the perception of emotions elicited by dance movements. A scope review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2023. http://dx.doi.org/10.37766/inplasy2023.2.0086.

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Review question / Objective: The main question of the study is "how do dance neuroscience studies define and assess emotions?" The main objective is to establish, through the available literature, a scientific overview of studies in dance neuroscience that address the perception of emotions in the context of neuroaesthetics. Specifically, it is expected to verify if there is methodological homogeneity in studies involving the evaluation of emotions within the context of dance neuroscience; whether the definition of emotion is shared in these studies and, furthermore, whether in multimodal stud
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Józsa, Viven. Hallyu as Soft Power : The Success Story of the Korean Wave and its Use in South Korea’s Foreign Policy. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.75.

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The Korean Wave is taking over the world, achieving great success in areas such as music and cinematography, and making Korean culture increasingly attractive. Culture being a crucial resource of soft power, which in turn serves as a powerful tool in international relations, the South Korean government is trying to take advantage of its improved national image and international influence. This analysis provides an overview of the relationship between the Korean government and the Korean Wave, how the perception of Korea has changed thanks to its cultural outflow, and how the government tries t
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Vurkaç, Mehmet. Prestructuring Multilayer Perceptrons based on Information-Theoretic Modeling of a Partido-Alto-based Grammar for Afro-Brazilian Music: Enhanced Generalization and Principles of Parsimony, including an Investigation of Statistical Paradigms. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.384.

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