Timbre discrimination in musical patterns

1978 ◽  
Vol 64 (2) ◽  
pp. 467-472 ◽  
Author(s):  
John M. Grey
Keyword(s):  
Musical Patterns ◽  
Timbre Discrimination

Mining Musical Patterns: Identification of Transposed Motives

2009 ◽  
pp. 271-280 ◽  
Author(s):  
Fernando Berzal ◽  
Waldo Fajardo ◽  
Aída Jiménez ◽  
Miguel Molina-Solana
Keyword(s):  
Musical Patterns

The Feeling of Leading

Voice Leading ◽  
2016 ◽  
Author(s):  
David Huron
Keyword(s):  
Voice Leading ◽  
Musical Work ◽  
Musical Patterns ◽  
Melodic Expectation

A distinction is made between part-writing and voice leading. Even though music may exhibit correct part-writing, the music may nevertheless sounds like it is meandering aimlessly: voice leading adds the sense of tending, yearning, resolution, or momentum that contributes to the feeling of music “going somewhere.” Research on melodic expectation is summarized. When the music fails to conform to expected voice movements, the music is likely to evoke a wandering or purposeless quality. Predictability transforms good part-writing into good voice leading. Predictability is increased when musical patterns follow the norms and clichés of established styles. Familiarity with a given musical work also increases predictability. For unfamiliar works, predictability is increased when music makes use of recurring or imitative figures, themes, or motives.

Pitch and Duration in Recognition of Music-Like Structures

1974 ◽  
Vol 38 (2) ◽  
pp. 419-428 ◽  
Author(s):  
Philip J. Chamberlain
Keyword(s):  
Recognition Performance ◽  
Memory Task ◽  
Two Dimensions ◽  
Pattern Complexity ◽  
Pitch Information ◽  
Musical Patterns ◽  
Pattern Information ◽  
The Relationship ◽  
Average Information ◽  
Different Levels

To determine whether patterning of pitch or duration contributes most to the recognition of melodic structures, tone sequences resembling musical patterns or melodies were used in a recognition memory task. Nine categories of pattern complexity were produced by using three different levels of average information per tone in each of the two dimensions. These categories of tone sequences were presented to groups of Ss and their recognition performance measured. Only patterning of pitch was a significant factor in recognition. Performance was better with larger values of average information per tone, but behavior at maximum values of pitch information suggested that the relationship between performance and pattern information is nonmonotonic.

scholarly journals Timbre discrimination by 7‐month‐old infants

1985 ◽  
Vol 78 (S1) ◽  
pp. S64-S64
Author(s):  
Marsha G. Clarkson ◽  
Rachel K. Clifton ◽  
Eve E. Perris
Keyword(s):  
Timbre Discrimination

Musical Illusions and Phantom Words

2019 ◽  
Author(s):  
Diana Deutsch
Keyword(s):  
Music Perception ◽  
Musical Ability ◽  
Art And Science ◽  
Brain Organization ◽  
Early Form ◽  
The Real ◽  
Musical Patterns ◽  
Psychology Of Music ◽  
The Mind ◽  
The Brain

In this groundbreaking synthesis of art and science, Diana Deutsch, one of the world’s leading experts on the psychology of music, shows how illusions of music and speech – many of which she discovered - have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns - differences that reflect both variations in brain organization and influences of language on music perception. They lead Deutsch to examine questions such as: When an orchestra performs a symphony, what is the ‘real’ music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other rare responses to music and speech. Why is perfect pitch so rare? Why are some people unable to recognize simple tunes? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are most people subject to stuck tunes, or ‘earworms’? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described here are so striking and paradoxical that you need to hear them to believe them. So the book enables you to listen to the sounds that are described while reading about them.

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