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Journal Articles
Music Perception (2019) 36 (4): 353–370.
Published: 01 April 2019
... suggest that there is an underlying cognitive representation in which the accented notes and strong beats align. Syllabic stress is crucial to the identification of such syncopations; to facilitate this, we present a corpus of rock melodies annotated with lyrics and syllabic stress values. We propose a...
Images
Distribution of nPCs in each song in the MARG <b>corpus</b>, and the EEP <b>corpus</b>. T...
Published: 01 February 2019
FIGURE 9. Distribution of nPCs in each song in the MARG corpus, and the EEP corpus. The x-axis indicates nPCs. The height of each bar indicates the proportion of pairs in the corpus which form the nPCI represented by that position on the x-axis. Thinner darker bars indicate the distribution of More
Journal Articles
Music Perception (2017) 35 (2): 165–192.
Published: 01 December 2017
...Jonah Katz This paper describes the construction and analysis of a corpus of harmonic progressions from 12-bar blues forms included in the jazz repertoire collection The Real Book . A novel method of coding and analyzing such corpus data is developed, with a notion of “possible harmonic change...
Includes: Supplementary data
Journal Articles
Music Perception (2017) 34 (5): 531–540.
Published: 01 June 2017
... pieces and 596 minor-key pieces in the Yale-Classical Archives Corpus, we found that scale-degree distributions differ significantly from one key to another, and further analysis revealed that pieces keys with signatures having relatively more accidentals exhibit significantly more chromaticism than keys...
Images
Box plot summaries of numeric features of the full <b>corpus</b>. The box plot for...
Published: 10 June 2020
Figure 1. Box plot summaries of numeric features of the full corpus. The box plot for weighted average pitch height uses pitch numbers, where C4 = 40. More
Images
Bar graphs of the categorical features of pieces in our <b>corpus</b>. Note that C...
Published: 10 June 2020
Figure 2. Bar graphs of the categorical features of pieces in our corpus. Note that Composer, Instrumentation, and Beat Count were not included in the statistical modeling. More
Journal Articles
Music Perception (2014) 31 (3): 191.
Published: 01 February 2014
...Leigh VanHandel; David Temperley © 2014 by The Regents of the University of California 2014 INTRODUCTION TO THE SECOND SPECIAL ISSUE ON CORPUS METHODS LEIGH VANHANDEL Michigan State University DAVID TEMPERLEY Eastman School of Music, University of Rochester T HIS IS THE SECOND OF TWO SPECIAL...
Journal Articles
Music Perception (2014) 31 (3): 192–204.
Published: 01 February 2014
...Robert O. Gjerdingen Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements...
Journal Articles
Music Perception (2014) 31 (3): 254–270.
Published: 01 February 2014
... metrically stable positions in the measure preferentially feature tonally stable pitches, and do tonally stable pitches occur more often than not at metrically stable locations? To answer this question, we analyzed a corpus of compositions by Bach, Mozart, Beethoven, and Chopin, tabulating the frequency of...
Journal Articles
Music Perception (2014) 31 (3): 205–222.
Published: 01 February 2014
... the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two statistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch’s theory. In the works examined, the theory was strongly...
Journal Articles
Music Perception (2013) 31 (1): 1–3.
Published: 01 September 2013
...David Temperley; Leigh VanHandel © 2013 by The Regents of the University of California 2013 INTRODUCTION TO THE SPECIAL ISSUES ON CORPUS METHODS DAVID TEMPERLEY Eastman School of Music, University of Rochester LEIGH VANHANDEL Michigan State University T HIS IS THE FIRST OF TWO SPECIAL...
Journal Articles
Music Perception (2013) 31 (1): 68–90.
Published: 01 September 2013
...Justin London This paper presents an object lesson in the challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the “common practice period” (1700-1900), using both...
Journal Articles
Music Perception (2013) 31 (1): 46–58.
Published: 01 September 2013
...Ben Duane This study uses a corpus of excerpts from eighteenth- and early nineteenth-century string quartets to examine how four acoustic cues—onset and offset synchrony, pitch comodulation, and spectral overlap—help to afford the perception of auditory streams. Two types of streams are dealt with...
Images
Final output representation of the expanded RS <b>corpus</b>.   FIGURE 5. Final ou...
Published: 01 April 2019
FIGURE 5. Final output representation of the expanded RS corpus. FIGURE 5. Final output representation of the expanded RS corpus. More
Images
(A) 8th-level Syncopation Quotient as a function of tempo in the RS <b>corpus</b>....
Published: 01 April 2019
FIGURE 13. (A) 8th-level Syncopation Quotient as a function of tempo in the RS corpus. (B) 8th-level Syncopation Quotient over time in the RS corpus. (C) 16th-level Syncopation Quotient as a function of tempo in the RS corpus. (D) 16th-level Syncopation Quotient over time in the RS corpus More
Images
Tempo over time in the RS <b>corpus</b>.   FIGURE 14. Tempo over time in the RS co...
Published: 01 April 2019
FIGURE 14. Tempo over time in the RS corpus. FIGURE 14. Tempo over time in the RS corpus. More
Images
Count data of ending intervals by <b>corpus</b>. Note that the Meerten&#x27;s Vocal col...
Published: 01 February 2019
FIGURE 4. Count data of ending intervals by corpus. Note that the Meerten's Vocal collection has far more descending Major 2nd endings than the Meerten's Instrumental collection, but that this is reversed for ascending minor seconds. FIGURE 4. Count data of ending intervals by corpus. Note that More
Images
Distribution of pnPVI scores across three corpora—the Haydn <b>corpus</b> is exclu...
Published: 01 February 2019
FIGURE 8. Distribution of pnPVI scores across three corpora—the Haydn corpus is excluded because it lacks phrasing information. The overall average of each corpus is represented by the height of each bar. For each corpora, the distribution of larger subgroups are indicated by cross-hair symbols More
Images
Histograms of nPCs in the TEVOID <b>corpus</b> of spoken Swiss German. The x-axis ...
Published: 01 February 2019
FIGURE 7. Histograms of nPCs in the TEVOID corpus of spoken Swiss German. The x-axis indicates nPCs and equivalent pairwise ratios. The height of each bar indicates the proportion of pairs in the corpus which form the ratio (or nPC) represented by that position on the x-axis. The cross-hair More
Images
Histograms of nPCs in four songs drawn from the European <b>corpus</b>. The fours ...
Published: 01 February 2019
FIGURE 6. Histograms of nPCs in four songs drawn from the European corpus. The fours songs were selected based on the position of their nPVI within the distribution of nPVIs in the European corpus. The top left histogram describes a song with a relatively low nPVI, greater than only 20% of More