Australasia's Biggest Online Store

Shop over a million Toys in our Huge New Range

Music and Schema Theory
By

Rating
Product Details

Table of Contents

1. Introduction.- 2. Tone Semantics.- 2.1 The Problem of Tone Semantics.- 2.2 Historical Background.- 2.3 Consonance Theory.- 2.4 Cognitive Structuralism.- 2.5 The Static vs. Dynamic Approach.- 2.6 Conclusion.- 3. Pitch as an Emerging Percept.- 3.1 The Two-Component Theory of Revesz.- 3.2 Attribute Theory Reconsidered.- 3.3 The Shepard-Tone.- 3.4 Paradoxes of Pitch Perception.- 3.5 The Shepard-Illusion.- 3.6 Ambiguous Stimuli.- 3.7 Conclusion.- 4. Defining the Framework.- 4.1 The Computer Model.- 4.2 Representational Categories.- 4.2.1 Signals.- 4.2.2 Images.- 4.2.3 Schemata.- 4.2.4 Mental Representations.- 4.3 Conclusion.- 5. Auditory Models of Pitch Perception.- 5.1 The Missing Fundamental.- 5.2 Auditory Models.- 5.3 SAM: A Simple Model.- 5.3.1 SAM - The Acoustical Representation.- 5.3.2 SAM - The Synthetic Part.- 5.4 TAM: A Place Model.- 5.4.1 TAM - The Analytic Part.- 5.4.2 TAM - The Synthetic Part.- 5.4.3 TAM - Examples.- 5.5 VAM: A Place-Time Model 53.- 5.5.1 VAM - The Analytic Part.- 5.5.2 VAM - The Synthetic Part.- 5.5.3 VAM - Examples.- 5.6 Conclusion.- 6. Schema and Learning.- 6.1 Gestalt Perception.- 6.2 Tone Semantics and Self-Organization.- 6.2.1 Self-Organization as Learning.- 6.2.2 Self-Organization as Association.- 6.3 SOM: The Self-Organizing Map.- 6.3.1 Reduction of Dimensionality.- 6.3.2 Analogical and Topological Representations.- 6.3.3 Statistical Modeling.- 6.4 Architecture.- 6.5 Dynamics.- 6.6 Implementation.- 6.7 Conclusion.- 7. Learning Images-out-of-Time.- 7.1 SAMSOM.- 7.1.1 Selection of Data.- 7.1.2 Preprocessing.- 7.1.3 Network Specifications.- 7.1.4 Aspects of Learning.- 7.1.5 Ordering and Emergence.- 7.1.6 Conclusion.- 7.2 TAMSOM.- 7.2.1 Selection of Data and Preprocessing.- 7.2.2 Network Specifications.- 7.2.3 Ordering and Emergence.- 7.3 VAMSOM.- 7.3.1 Selection of Data and Preprocessing.- 7.3.2 Network Specifications.- 7.3.3 Ordering and Emergence.- 7.3.4 Tone Center Relationships.- 7.4 Conclusion.- 8. Learning Images-in-Time.- 8.1 Temporal Constraints in Tonality Perception.- 8.2 Tone Images-in-Time.- 8.3 Tone Context Images.- 8.4 Determination of the Integration Period.- 8.5 TAMSOM.- 8.5.1 Selection of Data and Preprocessing.- 8.5.2 Network Specifications.- 8.5.3 Aspects of Learning.- 8.5.4 Aspects of Ordering and Emergence.- 8.6 VAMSOM.- 8.6.1 Selection of Data and Preprocessing.- 8.6.2 Network Specifications and Aspects of Learning.- 8.6.3 Aspects of Ordering and Emergence.- 8.7 Conclusion.- 9. Schema and Control.- 9.1 Schema-Based Dynamics.- 9.2 TCAD: Tone Center Attraction Dynamics.- 9.2.1 Schema Responses as Semantic Images.- 9.2.2 Images as States.- 9.3 TCAD - Stable States.- 9.4 TCAD - Recognition.- 9.5 TCAD - Interpretation.- 9.6 The TCAD Model.- 9.6.1 Definitions.- 9.6.2 Dynamics.- 9.7 TCAD - At Work.- 9.8 Conclusion.- 10. Evaluation of the Tone Center Recognition Model.- 10.1 Overview of Other Models.- 10.2 TCAD-Based Tone Center Analysis.- 10.3 The Evaluation Method.- 10.4 Bartok - Through the Keys.- 10.4.1 Analysis.- 10.4.2 Discussion.- 10.5 Brahms - Sextet No. 2.- 10.5.1 Analysis.- 10.5.2 Discussion.- 10.6 Chopin - Prelude No. 20.- 10.6.1 Analysis.- 10.6.2 Discussion.- 10.7 The Effect of Phrase - Re-evaluation of Through the Keys.- 10.8 Conclusion.- 11. Rhythm and Timbre Imagery.- 11.1 Models of Rhythm Perception.- 11.2 VRAM: A Rhythm Analysis Model.- 11.2.1 Detection of Periodicities.- 11.2.2 VRAM - Analysis.- 11.2.3 VRAM - Examples.- 11.2.4 VRAM - Discussion.- 11.3 The Analysis of Timbre.- 11.4 Conclusion.- 12. Epistemological Foundations.- 12.1 Epistemological Relevance.- 12.2 Neurophysiological Foundations.- 12.2.1 Foundations of Images.- 12.2.2 Foundations of Schemata.- 12.3 Modular Organization.- 12.4 Relevance for a Theory of Meaning.- 12.4.1 Expressive Meaning and Analogical Thinking.- 12.4.2 Expressive Meaning and Virtual Self-movement.- 12.5 Music Semantics and Meaning Formation.- 12.6 Epistemological Principles.- 12.6.1 Atomism vs. Continuity.- 12.6.2 Cartesian Dualism vs. Monism.- 12.6.3 Computational Formalism vs. Complex System Dynamics.- 12.6.4 Representational Realism vs. Naturalism.- 12.6.5 Methodological Solipsism vs. Methodological Ecologism.- 12.6.6 Cognitivism vs. Materialism.- 12.7 Conclusion.- 13. Cognitive Foundations of Systematic Musicology.- 13.1 Cognitive Musicology, AI and Music, and Systematic Musicology.- 13.2 Historical-Scientific Background.- 13.3 New Developments in the 1960s.- 13.4 A Discipline of Musical Imagery.- 13.5 A Psycho-morphological Account of Musical Imagery.- 13.6 Interdisciplinary Foundations.- 13.7 General Conclusion.- A. Orchestra Score in CSOUND.- A.l The Orchestra File.- A. 2 The Score File.- B. Physiological Foundations of the Auditory Periphery.- B.1 The Ear.- B.1.1 The Outer Ear.- B.1.2 The Middle Ear.- B.1.3 The Inner Ear.- B.2 The Neuron.- B.2.1 Architecture.- B.2.2 Analysis of Neuronal Activity.- B.3 Coding.- B.3.1 Spatial Coding.- B.3.2 Temporal Coding.- B.3.3 Intensity.- B. 4 The Brain Stem and Cortex.- C. Normalization and Similarity Measures.- C. l Similarity Measures.- C.2 Towards a Psychoacoustic-Based Similarity Measure.- References.

Ask a Question About this Product More...
Write your question below:
Look for similar items by category
People also searched for
This title is unavailable for purchase as none of our regular suppliers have stock available. If you are the publisher, author or distributor for this item, please visit this link.
Back to top