Search Results for grammar
1-20 of 130 Search Results for
Music Perception. 1984; 2152–77 doi: https://doi.org/10.2307/40285282
Published: 01 October 1984
...Mark J. Steedman The recursive character of musical chord sequences makes generative grammar a suitable formalism for describing the rules that constrain such sequences. A small number of rules are presented which generate the members of a large class of complex chord sequences that are generally...
Music Perception. 1983; 1184–122 doi: https://doi.org/10.2307/40285251
Published: 01 October 1983
..., 84-122 university of California Toward a Grammar of Singing: Tune-Text Association in Gregorian Chant MATTHEW Y. CHEN University of California, San Diego The main objective of this paper is to discover some of the general but precise principles which determine the setting of words to music. This...
Music Perception. 2017; 352165–192 doi: https://doi.org/10.1525/mp.2017.35.2.165
Published: 01 December 2017
... described using a mixture model intermediate in complexity between a bigram and full trigram model; and (3) the difference between occurring and non-occurring chords is more efficiently modeled with a hierarchical, recursive context-free grammar than it is as a Markov chain. The results have implications...
Includes: Supplementary data
Music Perception. 2017; 345557–568 doi: https://doi.org/10.1525/mp.2017.34.5.557
Published: 01 June 2017
...Andrea Ravignani Structure in musical rhythm can be measured using a number of analytical techniques. While some techniques—like circular statistics or grammar induction—rely on strong top-down assumptions, assumption-free techniques can only provide limited insights on higher-order rhythmic...
Music Perception. 2007; 245417–432 doi: https://doi.org/10.1525/mp.2007.24.5.417
Published: 01 June 2007
...Mariateresa Storino; Rossana Dalmonte; Mario Baroni THIS STUDY FOCUSES ON THE PROCESSING of Italian Baroque composer Giovanni Legrenzi's musical style. In a previous work, Baroni, Dalmonte, and Jacoboni (2003) elaborated a generative grammar and implemented it in a computer program called LEGRE...
Music Perception. 2010; 275377–388 doi: https://doi.org/10.1525/mp.2010.27.5.377
Published: 01 June 2010
... preferences for music remains unknown. The present study shows that humans rapidly develop knowledge and preferences when given limited exposure to a new musical system. Using a nontraditional, unfamiliar musical scale (Bohlen-Pierce scale), we created finite-state musical grammars from which we composed sets...
Music Perception. 2020; 375373–391 doi: https://doi.org/10.1525/mp.2020.37.5.373
Published: 10 June 2020
... . Galand , J. ( 1995 ). Form, genre, and style in the eighteenth-century rondo . Music Theory Spectrum , 17 , 27 – 52 . Gjerdingen , R. O. , & Bourne , J. ( 2015 ). Schema theory as a construction grammar . Music Theory Online , 21 ( 2 ). Retrieved from http...
Music Perception. 2020; 373225–239 doi: https://doi.org/10.1525/mp.2020.37.3.225
Published: 01 February 2020
... can be interpreted as mono-musical listeners of Western music (e.g., Demorest, Morrison, Beken, & Jungbluth, 2008 ; Wong, Roy, & Margulis, 2009 ). In bilingual studies, simultaneous and unbalanced bilingual children show a delay in non-dominant language (L2) acquisition, such as grammar...
Music Perception. 2019; 364353–370 doi: https://doi.org/10.1525/mp.2019.36.4.353
Published: 01 April 2019
... ). The prosodic structure of function words . In J. L. Morgan & K. Demuth (Eds.), Signal to syntax: Bootstrapping from speech to grammar in early acquisition (pp. 187 – 214 ). New York : Psychology Press . Smith, L.M. , & Honing, H. ( 2006 ). Evaluating and extending computational...
Music Perception. 2019; 363273–288 doi: https://doi.org/10.1525/mp.2019.36.3.273
Published: 01 February 2019
... (Unpublished doctoral dissertation). University of Amsterdam , Amsterdam, The Netherlands . Jespersen, O. ( 1921/2013 ). A modern English grammar on historical principles . London : Routledge . Kleeman, J. E. ( 1985 ). The parameters of musical transmission . The Journal of Musicology , 4 ( 1...
Music Perception. 2018; 36140–52 doi: https://doi.org/10.1525/mp.2018.36.1.40
Published: 01 September 2018
... & Trainor, 2010 ). Their reactions to consonant sounds are accelerated compared to dissonant sounds, and the same is found in modification of the closure of chord sequences (i.e., when the sequence ends on the subdominant). Such an implicit “grammar” may be understood and successfully used even in the...
Music Perception. 2018; 355579–593 doi: https://doi.org/10.1525/mp.2018.35.5.579
Published: 01 June 2018
..., & Schlaug, 2008; Moreno et al., 2011), better expressive grammar abilities (Gordon, Shivers, et al., 2015), better comprehension of emotional prosody (Thompson et al., 2004), second language learning ability (Patscheke, Dege´, & Schwarzer, 2016; Swaminathan & Gopinath, 2013), and better reading ability...
Music Perception. 2018; 354518–523 doi: https://doi.org/10.1525/mp.2018.35.4.518
Published: 01 April 2018
..., Wessel, and Hudson Kam (2010) to study musical grammar acquisition and which employs the 4th, 5th, 7th, 8th, and 11th B-P scale degrees (see Table 1). Eight distinct sequences using this standard gamut were created by randomly selecting (without replacement) pitches from a 7-tone set in which each B-P...
Music Perception. 2016; 34121–32 doi: https://doi.org/10.1525/mp.2016.34.1.21
Published: 01 September 2016
...., & OVERY, K. (2006). Music and mirror neurons. From motion to e motion. Social Cognitive and Affective Neuroscience, 1(3), 235-241. NOE¨, A. (2004). Action in perception. Cambridge, MA: MIT Press. NOVEMBRE, G., & KELLER, P. E. (2011). A grammar of action generates predictions in skilled musicians...
Music Perception. 2016; 335601–612 doi: https://doi.org/10.1525/mp.2016.33.5.601
Published: 01 June 2016
... 21 5 2014 16 7 2015 Erin E. Hannon, Department of Psychology, University of Nevada, Las Vegas, 4505 Maryland Parkway, Box 455030, Las Vegas, NV 89514-5030, E-mail: firstname.lastname@example.org artificial grammar language development sequential expectation syntax CUES TO PERCEIVING...
Music Perception. 2016; 334401–413 doi: https://doi.org/10.1525/mp.2016.33.4.401
Published: 01 April 2016
... tonality is the basis for the processing of chord and key structures (Patel, 2008; Processing of Musical Syntax and Tonality in Amusia 407 Schmuckler & Tomovski, 2005), and tonality reflects an important component of tonal music grammar (Steinke, Cuddy, & Holden, 1997), it is reasonable to expect that...
Music Perception. 2016; 333274–286 doi: https://doi.org/10.1525/mp.2016.33.3.274
Published: 01 February 2016
Music Perception. 2015; 33120–31 doi: https://doi.org/10.1525/mp.2015.33.1.20
Published: 01 September 2015
... Meyer (1956, 1957, 1967), who was strongly influ- enced by information theory in the 1950s and gave a great deal of thought to the relationship between music and probabilities. That musical styles are inter- nalized probability systems is demonstrated by the rules of musical grammar and syntax found...
Music Perception. 2015; 331110–128 doi: https://doi.org/10.1525/mp.2015.33.1.110
Published: 01 September 2015
... experiments on implicit learning operated with artificial grammar systems, designed according to complex rules. After a series of memoriza- tion tasks, listeners were able to distinguish between grammatical and nongrammatical strings that con- formed to or violated the rules. Reber understood the...