Results 261 to 270 of about 36,080 (291)
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Annals of the New York Academy of Sciences, 2001
Abstract: This article presents a self‐organizing map (SOM) neural network model of tonality based on experimentally quantified tonal hierarchies. A toroidal representation of key distances is recovered in which keys are located near their neighbors on the circle of fifths, and both parallel and relative major/minor key pairs are proximal.
C L, Krumhansl, P, Toiviainen
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Abstract: This article presents a self‐organizing map (SOM) neural network model of tonality based on experimentally quantified tonal hierarchies. A toroidal representation of key distances is recovered in which keys are located near their neighbors on the circle of fifths, and both parallel and relative major/minor key pairs are proximal.
C L, Krumhansl, P, Toiviainen
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2012
This article focuses on the combinatory nature of Western music. What type of organization in the tonal pitch structure allows the production of so many different styles, and so many different pieces inside each style? In order to address this issue, the article starts start by considering the theoretical distinction between ‘tonal’ and ‘event ...
Bigand, Emmanuel +1 more
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This article focuses on the combinatory nature of Western music. What type of organization in the tonal pitch structure allows the production of so many different styles, and so many different pieces inside each style? In order to address this issue, the article starts start by considering the theoretical distinction between ‘tonal’ and ‘event ...
Bigand, Emmanuel +1 more
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British Journal of Audiology, 1984
The loudness of a continuous pure tone does not appear to change with time unless an interrupted tone is introduced at intervals during the course of the test; in consequence it is held that it is the interrupted tone which induces the loudness loss.
H, Barratt, J D, Hood
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The loudness of a continuous pure tone does not appear to change with time unless an interrupted tone is introduced at intervals during the course of the test; in consequence it is held that it is the interrupted tone which induces the loudness loss.
H, Barratt, J D, Hood
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Segmental intonation in tonal and non-tonal languages
The Journal of the Acoustical Society of America, 2017The nature of edge intonational contours as well as acoustics of fricatives have generally been independently discussed in the literature (Hughes & Halle 1956; Ladd 1996; Gussenhoven 2004 inter alia). Voiceless consonants were traditionally conceived as irrelevant to the study of utterance-level intonation and thought merely to interrupt pitch ...
Kaz Bamba, Maida Percival
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A NEW APPROACH FOR THE EVALUATION OF TONAL NOISE (TONALITY)
1999Tonal noise (DIN 45681 [1]) is an important parameter affecting sound quality and is substantial for the assessment of the annoyance of tonal components in environmental noises. For the measurement of time varying weak tonal components of complex technical and natural sounds none of the existing methods correspond to subjective ratings [2]. This is due
Volker Mellert +3 more
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The tonal phonology of mandarin
Cahiers de linguistique - Asie orientale, 1980Yip Moira. The tonal phonology of mandarin. In: Cahiers de linguistique - Asie orientale, vol. 7, 1980. pp. 47-57.
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Tonal and non-tonal intonation in Yichang dialect
2016 International Conference on Asian Language Processing (IALP), 2016The study of intonation in a tonal language presents a challenge. The challenge is to see how a language succeeds in encoding the functions which is shown by means of intonation in non-tonal languages. This paper demonstrates most of the intonational marking in tonal language in Yichang.
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Tonal Evolution and Tonal Reconstruction in Chinese
1996Modern Chinese is a tone language. Traditionally, tonality has also been considered to be a characteristic of Archaic Chinese, a view that has been challenged recently by some scholars. If indeed there were no tones in Archaic Chinese, the origin and evolution of modern tones would present a problem deserving further investigation.
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2013
The Tonal Game (Sect. 15.1) is a fallback strategy by which a transmitted score is processed as a major or minor key. The strategy consists of three main defaults, the order of which is motivated by the Economical Principle: a tonality (first major, then minor)—the only context-free default; a robust key; and finally, a key. Chopin’s Mazurka, Op. 24/2,
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The Tonal Game (Sect. 15.1) is a fallback strategy by which a transmitted score is processed as a major or minor key. The strategy consists of three main defaults, the order of which is motivated by the Economical Principle: a tonality (first major, then minor)—the only context-free default; a robust key; and finally, a key. Chopin’s Mazurka, Op. 24/2,
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The Musical Quarterly, 1943
ALL TRUE MUSICIANS who have ever attempted to impart the secrets of their art to ordinary mortals must have felt at one time or another something akin to despair and frustration. We know that music is as human as any of the arts, perhaps indeed the most human of them all. Yet we are hemmed in on every side by the unique quality of its language.
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ALL TRUE MUSICIANS who have ever attempted to impart the secrets of their art to ordinary mortals must have felt at one time or another something akin to despair and frustration. We know that music is as human as any of the arts, perhaps indeed the most human of them all. Yet we are hemmed in on every side by the unique quality of its language.
openaire +2 more sources