Composing by Listening: A Computer-Assisted System for Creating Emotional Music
暂无分享,去创建一个
[1] C. Davies. Listen to my song: a study of songs invented by children aged 5 to 7 years , 1992, British Journal of Music Education.
[2] W. Thompson,et al. A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues , 1999 .
[3] Martin Fautley. A new model of the group composing process of lower secondary school students , 2005 .
[4] C. Seashore. Measurements on the Expression of Emotion in Music. , 1923, Proceedings of the National Academy of Sciences of the United States of America.
[5] W. Thompson,et al. Can Composers Express Emotions through Music? , 1992 .
[6] D. Campbell. Blind variation and selective retention in creative thought as in other knowledge processes. , 1960, Psychological review.
[7] Edward Iglesias. Robots in Academic Libraries: Advancements in Library Automation , 2013 .
[8] M. Terwogt,et al. Musical Expression of Moodstates , 1991 .
[9] C. Krumhansl. Cognitive Foundations of Musical Pitch , 1990 .
[10] D. Simonton. REJOINDER: Picasso's Guernica Creativity as a Darwinian Process: Definitions, Clarifications, Misconceptions, and Applications , 2007 .
[11] R. G. Crowder. Perception of the major/minor distinction: I. Historical and theoretical foundations. , 1984 .
[12] Andreas C. Lehmann,et al. The Cambridge Handbook of Expertise and Expert Performance: Music , 2006 .
[13] P. Juslin,et al. Cue Utilization in Communication of Emotion in Music Performance: Relating Performance to Perception Studies of Music Performance , 2022 .
[14] Kate Hevner,et al. The affective character of the major and minor mode in music , 1935 .
[15] Sergej Fatikow,et al. Nanorobot-Based Handling and Transfer of Individual Silicon Nanowires , 2012, Int. J. Intell. Mechatronics Robotics.
[16] P. Juslin,et al. Expression and communication of emotion in music performance. , 2010 .
[17] Patrik N. Juslin,et al. Musical expression of emotions : Modeling listeners´ judgements of composed and performed features , 2010 .
[18] J. Russell,et al. Concept of Emotion Viewed From a Prototype Perspective , 1984 .
[19] E. Bigand,et al. Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training , 2006, Cognition.
[20] P. Laukka,et al. Communication of emotions in vocal expression and music performance: different channels, same code? , 2003, Psychological bulletin.
[21] B. Tillmann. Implicit Investigations of Tonal Knowledge in Nonmusician Listeners , 2005, Annals of the New York Academy of Sciences.
[22] A. Gabrielsson,et al. The role of structure in the musical expression of emotions , 2010 .
[23] P. Juslin,et al. Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience , 1996 .
[24] D. Simonton. Creativity as Blind Variation and Selective Retention : Is the Creative Process Darwinian ? , 2022 .
[25] A. Clark,et al. The Extended Mind , 1998, Analysis.
[26] M. P. Kastner. Perception of major/minor : IV. Emotional connotations in young children , 1990 .
[27] I. Peretz,et al. A developmental study of the affective value of tempo and mode in music , 2001, Cognition.
[28] J. Russell. A circumplex model of affect. , 1980 .
[29] D. Simonton. Creativity and Discovery as Blind Variation: Campbell's (1960) BVSR Model after the Half-Century Mark , 2011 .
[30] C. Robazza,et al. Emotional Reactions to Music by Gender, Age, and Expertise , 1994, Perceptual and motor skills.
[31] I. Peretz,et al. Universal Recognition of Three Basic Emotions in Music , 2009, Current Biology.
[32] Paul J. Feltovich,et al. The Cambridge handbook of expertise and expert performance , 2006 .
[33] Kristin Precoda,et al. Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages , 2006 .
[34] K. Scherer,et al. Cue utilization in emotion attribution from auditory stimuli , 1977 .
[35] Betty Anne Younker,et al. Comparing and Modeling Musical Thought Processes of Expert and Novice Composers , 1996 .
[36] Gary Cziko,et al. Without Miracles: Universal Selection Theory and the Second Darwinian Revolution , 1995 .
[37] Tim Cain,et al. Theory, technology and the music curriculum , 2004, British Journal of Music Education.
[38] Kari Kallinen,et al. Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network , 2005 .
[39] W. Thompson,et al. The contributions of compositional structure and performance expression to the communication of emotion in music , 2014 .
[40] Peter Johnson,et al. An Exploration of Constraints and End User Development in Environments for Creative Tasks , 2008, Int. J. Hum. Comput. Interact..
[41] R. G. Crowder,et al. Perception of the Major/Minor Distinction: IV. Emotional Connotations in Young Children , 1990 .
[42] Roger A. Kendall,et al. The Communication of Musical Expression , 1990 .
[43] P. Juslin,et al. The Role of Timing Patterns in Recognition of Emotional Expression from Musical Performance , 1999 .
[44] Janet Mills,et al. Music technology inspected: good teaching in Key Stage 3 , 2000, British Journal of Music Education.
[45] Edward Iglesias. The Inevitability of Library Automation , 2013 .
[46] P. Herrero,et al. A Cognitive Appraisal Based Approach for Emotional Representation , 2009 .