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  • 1
    Electronic Resource
    Electronic Resource
    Springer
    Theory of computing systems 11 (1977), S. 199-234 
    ISSN: 1433-0490
    Source: Springer Online Journal Archives 1860-2000
    Topics: Computer Science
    Notes: Abstract The initial five papers of this series on pattern perception treat first, the perception of pitch in musical contexts and then, the perception of timbre and speech. Each sound is considered to be embedded in a “context” consisting of those sounds which surround it or coincide with it. The apprehension of a musical pattern depends upon the perceptibility of certain relations between, and properties of, its parts (e.g. “motifA is similar to motifB“ or “G is the tonic”). It is hypothesized that, because of the limitations of short term memory, the perception of specific relations and properties requires that certain “mental reference frames” be extracted from the various contexts. However, a reference frame which supports the perception of any specified relation may be extracted from only very few of all possible contexts. The choices of musical materials in both Western and non-Western music are shown to avoid precisely such difficulties. When they are not avoided, distortions of perception are predicted and methods for experimental verification are suggested. This theory is then applied to suggest new materials for the composition of both “microtonal” and “tonecolor” music. This is done in a manner which exposes the correspondence between each choice of musical materials and those musical properties and relations whose perception is (or is not) thereby supported. This first paper discusses the relation between the ability to perceive relative sizes of musical intervals and the choice of reference frame from a given musical context.
    Type of Medium: Electronic Resource
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  • 2
    Electronic Resource
    Electronic Resource
    Springer
    Theory of computing systems 11 (1977), S. 353-372 
    ISSN: 1433-0490
    Source: Springer Online Journal Archives 1860-2000
    Topics: Computer Science
    Notes: Abstract This is the second paper of a series which begins by treating the perception of pitch relations in musical contexts and the perception of timbre and speech. The first paper discusses in some detail those properties of musical scales required in order for them to function as “reference frames” which provide for the “measurement” of intervals such that ([1], p. 270),Every melodic phrase, every chord, which can be executed at any pitch, can be also executed at any other pitch in such a way that we immediately perceive the characteristic marks of their similarity. Here we continue this discussion by developing quantitative measures of the degree to which different scales possess the above properties. Then that property of musical scales which permits a listener to code the pitches of which it is constituted into “degrees” is examined and a corresponding quantitative measure developed. Musical scales are shown to be optimal choices with respect to both the former and latter measures, and a theory limiting those scales which are musically useful to a small fraction of possible sets of pitches is proposed. Existing scales which have been examined fall within the theory, which links the techniques of composition which may be used (i.e., those which produce perceptible relations between musical segments) to the above properties of the scale structures. This paper is not self-contained—reading of the previous paper in this series is required.
    Type of Medium: Electronic Resource
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  • 3
    Electronic Resource
    Electronic Resource
    Springer
    Theory of computing systems 12 (1978), S. 73-101 
    ISSN: 1433-0490
    Source: Springer Online Journal Archives 1860-2000
    Topics: Computer Science
    Notes: Abstract This is the third paper of a series which begins by treating the perception of pitch relations in musical contexts and the perception of timbre and speech. The preceding papers dealt with those properties of musical scales which allow them to function as reference frames which provide both for the measurement of intervals and for the identification of their elements as scale degrees. The effect of these properties upon the perceptibility of various musical relations and properties has been discussed. Here we extend the treatment to systems of different scales (as exist in many musical cultures) where a listener's recognition of any one scale in the system interacts with his ability to recognize the others. Reading of the two previous papers is required.
    Type of Medium: Electronic Resource
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  • 4
    Electronic Resource
    Electronic Resource
    Springer
    The environmentalist 7 (1987), S. 185-190 
    ISSN: 1573-2991
    Source: Springer Online Journal Archives 1860-2000
    Topics: Biology , Energy, Environment Protection, Nuclear Power Engineering
    Notes: Summary What is the movement known as ‘deep ecology’? A point form summary of some of its more basic intuitions is presented, followed by some suggestions on how these basic beliefs can be elaborated and put into action. Basic references in the field are listed.
    Type of Medium: Electronic Resource
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  • 5
    Publication Date: 1992-05-01
    Print ISSN: 0963-2719
    Electronic ISSN: 1752-7015
    Topics: Energy, Environment Protection, Nuclear Power Engineering , Philosophy
    Published by White Horse Press
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  • 6
    Publication Date: 2016-01-01
    Print ISSN: 0006-3207
    Electronic ISSN: 1873-2917
    Topics: Biology
    Published by Elsevier
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  • 7
    Publication Date: 2016-09-01
    Description: Music maintains a characteristic balance between repetition and novelty. Here, we report a similar balance in singing performances of free-living Australian pied butcherbirds. Their songs include many phrase types. The more phrase types in a bird's repertoire, the more diverse the singing performance can be. However, without sufficient temporal organization, avian listeners may find diverse singing performances difficult to perceive and memorize. We tested for a correlation between the complexity of song repertoire and the temporal regularity of singing performance. We found that different phrase types often share motifs (notes or stereotyped groups of notes). These shared motifs reappeared in strikingly regular temporal intervals across different phrase types, over hundreds of phrases produced without interruption by each bird. We developed a statistical estimate to quantify the degree to which phrase transition structure is optimized for maximizing the regularity of shared motifs. We found that transition probabilities between phrase types tend to maximize regularity in the repetition of shared motifs, but only in birds of high repertoire complexity. Conversely, in birds of low repertoire complexity, shared motifs were produced with less regularity. The strong correlation between repertoire complexity and motif regularity suggests that birds possess a mechanism that regulates the temporal placement of shared motifs in a manner that takes repertoire complexity into account. We discuss alternative musical, mechanistic and ecological explanations to this effect.
    Electronic ISSN: 2054-5703
    Topics: Natural Sciences in General
    Published by The Royal Society
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