The Cognition of Basic Musical Structures

By Robert O. Gjerdingen. 2004

495 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/8e469ffe74bd707a6cc3b4781c038ee44a225d0f

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Citations in the corpus

A corpus analysis of rock harmony (2011, background): “It has been suggested (Temperley 2001; Everett 2004) that rock reflects a strong preference for the placement of tonic harmony in metrically strong positions and that this is an important cue for tonal orientation; our data could be used to examine this claim.”
Perceived complexity of western and African folk melodies by western and African listeners (2006, background): “…supported by empirical findings on western listeners (e.g. Palmer and Krumhansl, 1990), the idea of similar metrical hierarchy in African music has been explicitly taken into African musical context by Temperley (2001), although opposing views exist in the literature (Koetting, 1970; Arom, 1991).”
Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (2005, background): “But at the same time, this perceptual theory does not rely solely upon the bottom-up processing hierarchy emphasized by most music cognition theories such as Narmour (1999) and Temperley (2001). As Clarke explains it, “perception must be understood as a relationship between environmentally available”
Tempo and Rhythm (2010, background): “Both the repetition of melodic fragments and rhythmic patterns contribute to the perception of metrical structure (Steedman 1977; Temperley 2001).”
Imposing higher-level Structure in Polyphonic Music Generation using Convolutional Restricted Boltzmann Machines and Constraints (2016, background): “In (Temperley 2001), key profiles for major mode u maj and minor mode u min are defined as u maj = ( 5 , 2 , 3 .”
A Theory of Tonal Hierarchies in Music (2010, background): “Temperley (2001) describes additional theoretical concerns, model modifications, and tests of the model.”
Perception and Production of Syncopated Rhythms (2007, background): “Analogously, rhythmic dissonance in the form of syncopation and rhythmic complexity may also create tension that is resolved by a return to unsyncopated, simpler rhythms and the original accent structure (Krebs 1987, Temperley 2001, p 314).”
Deep Learning Techniques for Music Generation - A Survey (2017, background): “paradigmatic relative pitch-class strengths for specific scales and modes [168], in practice the major and minor modes).”
FUNDAMENTAL ISSUES IN THE EVOLUTIONARY PSYCHOLOGY OF MUSIC: Assessing Innateness and Domain Specificity (2005, background): “In music, the dimensions along which the principles operate include frequency, amplitude, temporal position, spatial location, or timbre, and the principles include proximity, similarity, good continuation, and common fate, just as in vision and other aspects of audition (see Deutsch, 1999a; Handel,”