Music and Schema Theory: Cognitive Foundations of Systematic by Marc Leman

By Marc Leman

Music and Schema Theory song is a crucial area of software for schema conception. The perceptual constructions for pitch and timbre were mapped through schemata, with effects that experience contributed to a greater knowing of tune belief. but we nonetheless want to know how a schema comes into lifestyles, or the way it capabilities in a specific belief job. This publication presents a origin for the certainty of the emergance and performance of schemata through computer-based simulations of tone heart conception. it truly is approximately how reminiscence constructions self-organize and the way they use contextual details to steer perception.

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By Marc Leman

Music and Schema Theory song is a crucial area of software for schema conception. The perceptual constructions for pitch and timbre were mapped through schemata, with effects that experience contributed to a greater knowing of tune belief. but we nonetheless want to know how a schema comes into lifestyles, or the way it capabilities in a specific belief job. This publication presents a origin for the certainty of the emergance and performance of schemata through computer-based simulations of tone heart conception. it truly is approximately how reminiscence constructions self-organize and the way they use contextual details to steer perception.

Show description

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Extra info for Music and Schema Theory: Cognitive Foundations of Systematic Musicology

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Then it becomes possible to represent the Shepard-tone signal by a 12-dimensional pattern and name the frequency components (that rest further unspecified) as notes: DO, DOn, RE, MIP, MI, etc ... The S-representation (or Simple representation) of the Shepard-tone DO is given by: 1 0 0 0 0 0 0 0 0 0 0 0 I)() The last element of the pattern is the label (which is optional). Shepardchords are represented by patterns such as: 1 0 0 1 0 0 0 1 0 0 0 0 Cm 1 0 0 1 0 0 1 0 0 1 0 0 Co7 The chord Cm,comprises the tones DO, MI17, and SOL, whereas the chord Co7 comprises the tones DO, MI17, FA~, LA.

Shepard who in 1964 built a tone which, since then, has been called the Shepard-tone. Shepard was inspired by the supposed orthogonality of height and toneness (Sect. 1) and wanted to study the effects of reducing the linear component in favour of the cyclic component. By projecting the helix (Fig. 1) onto a circle, it would be possible to hear pure toneness. The relationships between the pitches would then become relative in that there would be no highest or lowest tone but only tones in a relative position to each other.

This refers to the Gestalt principle of common fate - probably an effect of some perceptive principle rather than a sensorial one. 6 shows how the dynamic pitch can be obtained from chord sequences. People are often impressed when they hear the difference between a piano interpretation and a Shepard-tone interpretation. The latter indeed seems to contain pitches which sound higher than the actual notes in the score. The common fate of spectral components is apparent at the chords 3 and 4 and at the cycle point (from chord 7 to chord 1).

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