Add to ORKGWe describe a psychophysical model of 3-tone combina-tions that explains the relative sonority of the harmonic triads of diatonic music, as well as the positive and nega-tive valence of major and minor chords
The focus of this dissertation is to investigate the perception of single chords, both in terms of...
In two experiments, goodness-of-fit ratings of pairs of musical elements (triads, dyads, and octave-...
This paper attempts to establish a psychophysical basis for both stationary (tension in chord sonori...
ABSTRACT: In line with musical “common sense ” (but contrary to the century-old tradition of musical...
In line with musical “common sense” (but contrary to the century-old tradition of musical psychophys...
From the seventeenth century to the present day, tonal harmonic music has had a number of invariant ...
The relative consonance/dissonance of 2-tone intervals is well understood both experimentally and t...
This report presents a psychoacoustically derived computational model of the perceived distance betw...
Relations between music and color have long been debated, it seems inconclusively. I describe the th...
This report presents a psychoacoustically derived computational model of the perceived distance betw...
Composers often pick specific instruments to convey a given emotional tone in their music, partly du...
One of the most exciting areas in the field of musicology is attaining solid new insights into the c...
From the seventeenth century to the present day, tonal harmonic music has had a number of invariant ...
Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic models, the di...
We report the application of a psychophysical model of harmony perception to the analysis of speech ...
The focus of this dissertation is to investigate the perception of single chords, both in terms of...
In two experiments, goodness-of-fit ratings of pairs of musical elements (triads, dyads, and octave-...
This paper attempts to establish a psychophysical basis for both stationary (tension in chord sonori...
ABSTRACT: In line with musical “common sense ” (but contrary to the century-old tradition of musical...
In line with musical “common sense” (but contrary to the century-old tradition of musical psychophys...
From the seventeenth century to the present day, tonal harmonic music has had a number of invariant ...
The relative consonance/dissonance of 2-tone intervals is well understood both experimentally and t...
This report presents a psychoacoustically derived computational model of the perceived distance betw...
Relations between music and color have long been debated, it seems inconclusively. I describe the th...
This report presents a psychoacoustically derived computational model of the perceived distance betw...
Composers often pick specific instruments to convey a given emotional tone in their music, partly du...
One of the most exciting areas in the field of musicology is attaining solid new insights into the c...
From the seventeenth century to the present day, tonal harmonic music has had a number of invariant ...
Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic models, the di...
We report the application of a psychophysical model of harmony perception to the analysis of speech ...
The focus of this dissertation is to investigate the perception of single chords, both in terms of...
In two experiments, goodness-of-fit ratings of pairs of musical elements (triads, dyads, and octave-...
This paper attempts to establish a psychophysical basis for both stationary (tension in chord sonori...