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Intrinsic dynamic shapes responses to external stimulation in the human brain. [PDF]
ElifeNentwich M +4 more
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Beyond cortical geometry: brain dynamics shaped by rare long-range connections
Vohryzek J +4 more
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Evolutionary Music Composer integrating Formal Grammar
Proceedings of the 9th annual conference companion on Genetic and evolutionary computation, 2007In this paper, an autonomous music composition tool is developed using Genetic Algorithms. The production is enhanced by integrating formal grammar rules. A formal grammar is a collection of either or both descriptive or prescriptive rules for analyzing or generating sequences of symbols. In music, these symbols are musical parameters such as notes and
Yaser M. A. Khalifa +4 more
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University of Toronto Law Journal, 2011
Though apparently dead and buried for decades, formalist approaches to law appear to be gaining ground within the academy. This advance, however, has been strongly resisted by proponents of the alternative, functionalist, view. To many of them, formalism seems open to devastating, and indeed obvious, criticisms.
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Though apparently dead and buried for decades, formalist approaches to law appear to be gaining ground within the academy. This advance, however, has been strongly resisted by proponents of the alternative, functionalist, view. To many of them, formalism seems open to devastating, and indeed obvious, criticisms.
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Wittgenstein and Musical Formalism
Philosophy, 2006I argue that Wittgenstein was no lifelong musical formalist. I further contend that the attribution of musical formalism obscures, while the break with it I propose explains, the role that music played in the development of his philosophy of language.
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Does Formal Musical Structure Affect Perception of Musical Expressiveness?
Psychology of Music, 1996The aim of the study was to assess the effect of systematic modifications in global musical structures on perceived expressiveness. Recorded performances of piano pieces of Bach, Mozart and Schonberg were segmented into short chunks of six seconds in average. These chunks were linked either in a forward order (Original version) or in a backward order (
Barbara Tillmann, Emmanuel Bigand
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The Values of Musical "Formalism"
Journal of Aesthetic Education, 1991speak of musical expression, he reasoned; two ways in which feeling terms are commonly applied to musical experience. One construes expression as a designative or associative affair, and insofar as the feelings with which it is concerned are not strictly implicated by perception of the musical object, it is not truly musical.
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