Haku
Aineistot 1-10 / 138
2006-2008 : Acknowledgements
(2008)
2008 Fall : Book reviews
(2008)
A comparison of automated methods for the analysis of style in fifteenth-century song intabulations
(2005)
Background in historical musicology. A repertory of several thousand secular songs survives from the fifteenth century. Much of it is not attributed to any particular author, and frequently, even the approximate place ...
A content-based music retrieval engine: JMIR-Mozart
(2009)
The rapid increase of storage capacity has brought along large-scale multimedia databases. To access such databases, content-based retrieval methods are needed in order to avoid the burden of handcraft involved in building ...
A different kind of similarity: the recognition of style in listening
(2009)
Recognising a musical style implies managing a number of similarities. However, the nature of such similarities and their organisation within a piece of music are radically different from those discussed in Forum A4, where ...
A general model for the dynamic functioning of musical systems
(2009)
This article presents an overview of a general model for the dynamic functioning of musical systems within an anthropological perspective. This theoretical approach is based on a set of conjectures: 1. Music fulfils an ...
A preliminary investigation into the association between body movement patterns and dynamic variation in western contemporary popular singing
(2010)
This study assessed the presence of body movements that may be common to all western contemporary popular (WCP) singers that may be integral to both the physical production of the sung sound and to acoustic output, in this ...
Aesthetic responses to music: A questionnaire study
(2009)
We explored the content and structure of the cognitive, knowledge-based concept underlying aesthetic responses to music. To this aim, we asked 290 Finnish students to verbally associate the aesthetic value of music ...
Alibis, and why performers don t have them
(2005)
Musical performers confront, deal with, and participate in musical "events". These musical events present the performer with a number of obligations to uphold. One particular kind of obligation precedes and overrides the ...