The Cognitive Neuroscience of Music
class transition matrix is correlated with the matrices representing the perceived stability of two-tone transitions for each ke ...
new key of A major clarified with the E and A chords in the last two positions (which are V–I in the A major key). Conclusion Ex ...
11.Youngblood, J. E.(1958) Style as information.J. Music Theory2, 24–5. 12.Knopoff, L.and W. Hutchinson(1978) An index of melodi ...
8 LEARNING AND PERCEIVING MUSICAL STRUCTURES: FURTHER INSIGHTS FROM ARTIFICIAL NEURAL NETWORKS , ...
creating artificial lesions or suggesting biologically plausible networks (i.e. neurobiological models with autonomous and adapt ...
by the connections; these constraints can be learned by repeated exposure. This learning process is either supervised by an exte ...
maps in auditory cortex. The network architecture was constrained by properties observed in auditory cortex and which include th ...
implicit knowledge embodies the functions of tones and chords in a key,35,42–44the relations between different keys,45–48and the ...
linked to six chord units, chords that belong to the key. In addition, for the simulations using chord sequences, the strength o ...
organization of the detected key centres that reflects the harmonic distances between keys (as on the cycle of fifths) with the ...
unit, a tone unit) is activated, the more stable the musical event is in the corresponding context. For the experimental tasks, ...
simulates a large set of experimental data on perceived relations between tones, chords, and keys. These simulations proposed ac ...
(as in the HSOM^31 ) and time (as proposed in Ref. 102), followed by a later integration step in order to simulate the developme ...
6.Cohen, G., R. A. Johnston,and K. Plunkett(2000) Exploring Cognition: Damaged Brains and Neural Nets: Readings in Cognitive Neu ...
26.Kohonen, T.(1993) Physiological interpretation of the self-organizing map algorithm.Neural Net.6, 895–905. 27.Schyns, P. G.(1 ...
50.Bigand, E.(1993) The influence of implicit harmony, rhythm and musical training on the abstraction of ‘tension-relaxation sch ...
71.Parncutt, R.(1988) Revision of Terhardt’s psychoacoustical model of the roots of a musical chord.MP6, 65–94. 72.Leman, M.(199 ...
92.Jones, M. R.and M. Boltz(1989) Dynamic attending and responses to time.Psychol. Rev.96, 459–91. 93.Boltz, M.(1991) Some struc ...
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THE NEURONS OF MUSIC ...
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