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modeling

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Journal Articles
Music Perception (2019) 37 (2): 165–178.
Published: 01 December 2019
...Sarah A. Sauvé; Marcus T. Pearce W hat makes a piece of music appear complex to a listener? This research extends previous work by Eerola (2016) , examining information content generated by a computational model of auditory expectation (IDyOM) based on statistical learning and probabilistic...
Journal Articles
Music Perception (2016) 34 (2): 192–217.
Published: 01 December 2016
... segmentations by musicians and nonmusicians from nine musical pieces. In a second experiment on non-real-time segmentation, musicians indicated boundaries and their strength for six examples. Kernel density estimation was used to develop multi-scale segmentation models. Contrary to previous research, no...
Journal Articles
Music Perception (2016) 34 (1): 104–117.
Published: 01 September 2016
...Roger T. Dean; Freya Bailes We investigate the roles of the acoustic parameters intensity and spectral flatness in the modeling of continuously measured perceptions of affect in nine diverse musical extracts. The extract sources range from Australian Aboriginal and Balinese music, to classical...
Journal Articles
Music Perception (2006) 23 (5): 365–376.
Published: 01 July 2006
...Henkjan Honing While the most common way of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This...
Journal Articles
Music Perception (2020) 37 (3): 208–224.
Published: 01 February 2020
...Peter M. C. Harrison; Marcus T. Pearce Voice leading is a common task in Western music composition whose conventions are consistent with fundamental principles of auditory perception. Here we introduce a computational cognitive model of voice leading, intended both for analyzing voice-leading...
Journal Articles
Music Perception (2019) 36 (4): 406–430.
Published: 01 April 2019
... trichords of octave-complex tones were determined. In Experiment 1, 40 musicians rated how well a tone went with a preceding chord; in Experiment 2, whether the tone was in the chord. Mean ratings for nine non-chord tones were compared with predictions of four models: MFs, diatonicity, 5th-interval...
Journal Articles
Music Perception (2011) 28 (4): 387–414.
Published: 01 April 2011
... previously) were determined for each pattern, such as the number of notes a pattern contained. A model useful for relating participants' ratings to the attributes was determined using variable selection and cross-validation. Individual participants were much poorer than the model at predicting the consensus...
Journal Articles
Music Perception (2010) 27 (5): 355–376.
Published: 01 June 2010
...David Temperley THIS STUDY EXPLORES WAYS OF MODELING the compositional processes involved in common-practice rhythm (as represented by European classical music and folk music). Six probabilistic models of rhythm were evaluated using the method of cross-entropy: according to this method, the best...
Journal Articles
Music Perception (2008) 26 (1): 75–94.
Published: 01 September 2008
... computational prototype is developed that splits a musical score (symbolic musical data) into different voices. A single 'voice' may consist of one or more synchronous notes that are perceived as belonging to the same auditory stream. The proposed model is tested against a small dataset that acts as ground...
Journal Articles
Music Perception (2017) 34 (4): 405–423.
Published: 01 April 2017
...Claire Arthur Probabilistic models have proved remarkably successful in modeling melodic organization (e.g., Huron, 2006a; Pearce, 2005; Temperley, 2008). However, the majority of these models rely on pitch information taken from melody alone. Given the prevalence of homophonic music in Western...
Journal Articles
Music Perception (2017) 35 (2): 165–192.
Published: 01 December 2017
...” derived from the corpus and logit mixed-effects regression models that describe the difference between actually occurring harmonic events and possible but non-occurring ones in terms of various sets of theoretical constructs. Models using different sets of constructs are compared using the Bayesian...
Includes: Supplementary data
Journal Articles
Music Perception (2017) 35 (2): 211–234.
Published: 01 December 2017
...@mus.auth.gr conceptual blending musical cadence computational creativity empirical evaluation harmony perception CREATING MUSICAL CADENCES VIA CONCEPTUAL BLENDING: EMPIRICAL EVALUATION AND ENHANCEMENT OF A FORMAL MODEL ASTERIOS ZACHARAKIS, MAXIMOS KALIAKATSOS-PAPAKOSTAS, COSTAS TSOUGRAS, & EMILIOS...
Journal Articles
Music Perception (2007) 24 (4): 329–366.
Published: 01 April 2007
...Fred Lerdahl; Carol L. Krumhansl THIS STUDY PRESENTS AND TESTS a theory of tonal tension (Lerdahl, 2001). The model has four components: prolongational structure, a pitch-space model, a surfacetension model, and an attraction model. These components combine to predict the rise and fall in tension...
Journal Articles
Music Perception (2017) 34 (5): 501–514.
Published: 01 June 2017
... resource for emotion regulation. The experience sampling method (ESM) is ideal for observing music listening behavior, as it assesses current subjective experience during natural everyday music episodes. The current study aimed to develop a comprehensive model of personal music listening, and to determine...
Journal Articles
Music Perception (2004) 21 (4): 561–585.
Published: 01 June 2004
... univariate linear regression models of valence and arousal for each of the four pieces. Further adjustments were made to the models to correct for serial correlation. The models explained from 33% to 73% of variation in univariate perceived emotion. Changes in loudness and tempo were associated positively...
Journal Articles
Music Perception (2016) 34 (2): 132–151.
Published: 01 December 2016
... processing: (1) the Serial Distance Hypothesis (SDH); (2) the Implication Realization (I-R) model; and (3) the mental organizing principle of the Schema Theory (SCH). An elite oboist formed the basis of a detailed case study where his sight reading, practice, and performance of a challenging excerpt of music...
Journal Articles
Music Perception (2003) 21 (1): 43–80.
Published: 01 September 2003
.... In addition, the degree to which participants tapped in consensus correlated positively with pulse-finding ability. We modeled participants' behavior by using a resonance equation to calculate the strength of all metrically appropriate periodicities. The summed activation strength across the...
Journal Articles
Music Perception (2016) 33 (5): 631–661.
Published: 01 June 2016
...Frédéric Bimbot; Emmanuel Deruty; Gabriel Sargent; Emmanuel Vincent This article introduces the System & Contrast (S&C) model, which aims at describing the inner organization of structural segments within music pieces as: (i) a carrier system , i.e., a sequence of morphological elements...
Journal Articles
Music Perception (2016) 33 (5): 662–678.
Published: 01 June 2016
... precision through the analysis of rating scale category structure across a set of raters and items within the context of large-group music performance assessment using a Multifaceted Rasch Partial Credit (MFR-PC) Measurement Model. Allowing for separate parameterization estimation of the rating scale for...
Journal Articles
Music Perception (2016) 33 (4): 472–492.
Published: 01 April 2016
... Western popular music using both categorical and dimensional models of emotion, and to examine the influence of individual listener differences on their emotion judgment. A total of 80 musical excerpts were randomly selected from an established dataset of 2,904 popular songs tagged with one of the four...