Digital Da Vinci
暂无分享,去创建一个
[1] Juan Pablo Bello,et al. On the Relative Importance of Individual Components of Chord Recognition Systems , 2014, IEEE/ACM Transactions on Audio, Speech, and Language Processing.
[2] Shlomo Dubnov,et al. Universal Prediction Applied to Stylistic Music Generation , 2002 .
[3] Mark B. Sandler,et al. Symbolic Representation of Musical Chords: A Proposed Syntax for Text Annotations , 2005, ISMIR.
[4] James H. Watt,et al. Entropy and Structure , 1977 .
[5] Matthias M. Müller,et al. Processing of affective pictures modulates right-hemispheric gamma band EEG activity , 1999, Clinical Neurophysiology.
[6] Roger Shepard,et al. Pitch perception and measurement , 1999 .
[7] Gérard Assayag,et al. New computational paradigms for computer music , 2009 .
[8] Tijl De Bie,et al. An End-to-End Machine Learning System for Harmonic Analysis of Music , 2012, IEEE Transactions on Audio, Speech, and Language Processing.
[9] Gyuhwan Oh,et al. A Study on New Gameplay Based on Brain-Computer Interface , 2009, DiGRA Conference.
[10] Morwaread Farbood,et al. Hyperscore : a new approach to interactive, computer-generated music , 2001 .
[11] W. Schultz. Behavioral theories and the neurophysiology of reward. , 2006, Annual review of psychology.
[12] Stephen McAdams,et al. Structural and affective aspects of music from statistical audio signal analysis , 2006, J. Assoc. Inf. Sci. Technol..
[13] David Wessel,et al. Timbre Space as a Musical Control Structure , 1979 .
[14] François Pachet,et al. The bag-of-frames approach to audio pattern recognition: a sufficient model for urban soundscapes but not for polyphonic music. , 2007, The Journal of the Acoustical Society of America.
[15] Juan Pablo Bello,et al. Audio-Based Cover Song Retrieval Using Approximate Chord Sequences: Testing Shifts, Gaps, Swaps and Beats , 2007, ISMIR.
[16] Geoffroy Peeters,et al. Large-Scale Study of Chord Estimation Algorithms Based on Chroma Representation and HMM , 2007, 2007 International Workshop on Content-Based Multimedia Indexing.
[17] Matthias M. Müller,et al. Effects of emotional arousal in the cerebral hemispheres: a study of oscillatory brain activity and event-related potentials , 2001, Clinical Neurophysiology.
[18] Xavier Serra,et al. Chroma Binary Similarity and Local Alignment Applied to Cover Song Identification , 2008, IEEE Transactions on Audio, Speech, and Language Processing.
[19] John R. Smith,et al. Steady-State VEP-Based Brain-Computer Interface Control in an Immersive 3D Gaming Environment , 2005, EURASIP J. Adv. Signal Process..
[20] Darrell Conklin,et al. Music Generation from Statistical Models , 2003 .
[21] Agawu. Trends in African Musicology: A Review Article , 2012 .
[22] George Tzanetakis,et al. An experimental comparison of audio tempo induction algorithms , 2006, IEEE Transactions on Audio, Speech, and Language Processing.
[23] Daniel G. Brown,et al. BLAST for Audio Sequences Alignment: A Fast Scalable Cover Identification Tool , 2012, ISMIR.
[24] Leontios J. Hadjileontiadis,et al. Adaptive Emotional Information Retrieval From EEG Signals in the Time-Frequency Domain , 2012, IEEE Transactions on Signal Processing.
[25] Joan Serrà,et al. Music Mood Representations from Social Tags , 2009, ISMIR.
[26] Ben R. Newell,et al. Universal aesthetic of fractals , 2003, Comput. Graph..
[27] Jean-Julien Aucouturier,et al. Ten Experiments on the Modeling of Polyphonic Timbre. (Dix Expériences sur la Modélisation du Timbre Polyphonique) , 2006 .
[28] J. Russell. A circumplex model of affect. , 1980 .
[29] Ichiro Fujinaga,et al. An Expert Ground Truth Set for Audio Chord Recognition and Music Analysis , 2011, ISMIR.
[30] Jason M Haberman,et al. Sensorimotor coupling in music and the psychology of the groove. , 2012, Journal of experimental psychology. General.
[31] Lie Lu,et al. Automatic mood detection and tracking of music audio signals , 2006, IEEE Transactions on Audio, Speech, and Language Processing.
[32] R. Nagarajan,et al. Appraising human emotions using Time Frequency Analysis based EEG alpha band features , 2009, 2009 Innovative Technologies in Intelligent Systems and Industrial Applications.
[33] Peter Knees,et al. On Rhythm and General Music Similarity , 2009, ISMIR.
[34] Gerhard Widmer,et al. Improving tempo-sensitive and tempo-robust descriptors for rhythmic similarity , 2011 .
[35] P. Smaragdis,et al. Non-negative matrix factorization for polyphonic music transcription , 2003, 2003 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (IEEE Cat. No.03TH8684).
[36] Marc Leman,et al. The Cortical Topography of Tonal Structures Underlying Western Music , 2002, Science.
[37] Fred Lerdahl,et al. Tonal Pitch Space , 2001 .
[38] Elaine Chew,et al. Visual feedback in performer-machine interaction for musical improvisation , 2007, NIME '07.
[39] Max E. Valentinuzzi,et al. Artifact removal from EEG signals using adaptive filters in cascade , 2007 .
[40] Matthew E. P. Davies,et al. Context-Dependent Beat Tracking of Musical Audio , 2007, IEEE Transactions on Audio, Speech, and Language Processing.
[41] Christian Osendorfer,et al. Music Similarity Estimation with the Mean-Covariance Restricted Boltzmann Machine , 2011, 2011 10th International Conference on Machine Learning and Applications and Workshops.
[42] James Pritchett,et al. The Music of John Cage , 1993 .
[43] Ron J. Weiss,et al. Exploring common variations in state of the art chord recognition systems , 2010 .
[44] Justin London,et al. 音楽のリズム に関する最近の神経科学的研究について : 『Hearing in Time』第二版、 第三章「神経生物学とリズムの発達」より抜粋 , 2012 .
[45] L. Trainor,et al. Frontal brain electrical activity (EEG) distinguishes valence and intensity of musical emotions , 2001 .
[46] Juhan Nam,et al. Learning Sparse Feature Representations for Music Annotation and Retrieval , 2012, ISMIR.
[47] Yoshua. Bengio,et al. Learning Deep Architectures for AI , 2007, Found. Trends Mach. Learn..
[48] Jeanne Bamberger,et al. Developing musical intuitions : a project-based introduction to making and understanding music , 2000 .
[49] R.W. Schafer,et al. From frequency to quefrency: a history of the cepstrum , 2004, IEEE Signal Processing Magazine.
[50] Jean Gotman,et al. Automatic removal of eye movement artifacts from the EEG using ICA and the dipole model , 2009 .
[51] Colin Potts,et al. Design of Everyday Things , 1988 .
[52] Juan Pablo Bello,et al. Towards the automated analysis of simple polyphonic music: A knowledge-based approach (Ph.D. Thesis) , 2003 .
[53] R. Andrzejak,et al. Cross recurrence quantification for cover song identification , 2009 .
[54] Camilo Rueda,et al. Computer Assisted Composition at Ircam , 1999 .
[55] Peter A. Hancock,et al. Hedonomics: The Power of Positive and Pleasurable Ergonomics , 2005 .
[56] Simon Dixon,et al. Simultaneous Estimation of Chords and Musical Context From Audio , 2010, IEEE Transactions on Audio, Speech, and Language Processing.
[57] Xavier Serra,et al. Transmission Two: The Great Excursion (TT:TGE)—The Aesthetic, Art and Science of a Composition for Radio , 1991 .
[58] Juan Pablo Bello,et al. Non-Linear Semantic Embedding for Organizing Large Instrument Sample Libraries , 2011, 2011 10th International Conference on Machine Learning and Applications and Workshops.
[59] Yannis Stylianou,et al. A scale transform based method for rhythmic similarity of music , 2009, 2009 IEEE International Conference on Acoustics, Speech and Signal Processing.
[60] Yann LeCun,et al. Unsupervised Learning of Sparse Features for Scalable Audio Classification , 2011, ISMIR.
[61] Carlos Agon,et al. OpenMusic 5: A Cross-Platform Release of the Computer-Assisted Composition Environment , 2005 .
[62] Geoffroy Peeters. Spectral and Temporal Periodicity Representations of Rhythm for the Automatic Classification of Music Audio Signal , 2011, IEEE Transactions on Audio, Speech, and Language Processing.
[63] Miller S. Puckette. A divide between 'compositional' and 'performative' aspects of Pd ⁄ , 2004 .
[64] M. Pearce,et al. Sweet Anticipation : Music and the Psychology of Expectation , 2007 .
[65] T. Demiralp,et al. Comparative analysis of event-related potentials during Go/NoGo and CPT: Decomposition of electrophysiological markers of response inhibition and sustained attention , 2006, Brain Research.
[66] Shlomo Dubnov,et al. OMax brothers: a dynamic yopology of agents for improvization learning , 2006, AMCMM '06.
[67] Yoonseon Song,et al. A time-frequency analysis of the EEG evoked by negative and positive visual stimuli , 1998, Proceedings of the 20th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. Vol.20 Biomedical Engineering Towards the Year 2000 and Beyond (Cat. No.98CH36286).
[68] Kyogu Lee,et al. Identifying Cover Songs from Audio Using Harmonic Representation , 2006 .
[69] Jonathan R Wolpaw,et al. Brain–computer interface systems: progress and prospects , 2007, Expert review of medical devices.
[70] Barry Vercoe,et al. A Manual for the Audio Processing System and Supporting Programs with Tutorials , 2001 .
[71] Mieczyslaw Kolinski,et al. A Cross-Cultural Approach to Metro-Rhythmic Patterns , 1973 .
[72] Henkjan Honing,et al. Structure and Interpretation of Rhythm in Music , 2013 .
[73] Maxime Crochemore,et al. Factor Oracle: A New Structure for Pattern Matching , 1999, SOFSEM.
[74] Richard J. Davidson,et al. Now You Feel It, Now You Don't , 2003, Psychological science.
[75] David Wessel,et al. Analyzing Drum Patterns Using Conditional Deep Belief Networks , 2012, ISMIR.
[76] Gert R. G. Lanckriet,et al. Learning Content Similarity for Music Recommendation , 2011, IEEE Transactions on Audio, Speech, and Language Processing.
[77] J. Pineda,et al. Learning to control brain rhythms: making a brain-computer interface possible , 2003, IEEE Transactions on Neural Systems and Rehabilitation Engineering.
[78] Shlomo Dubnov,et al. Improvisation Planning and Jam Session Design using concepts of Sequence Variation and Flow Experience , 2005 .
[79] Laurent Daudet,et al. Sparse and structured decompositions of signals with the molecular matching pursuit , 2006, IEEE Transactions on Audio, Speech, and Language Processing.
[80] Daniel P. W. Ellis,et al. A Large-Scale Evaluation of Acoustic and Subjective Music-Similarity Measures , 2004, Computer Music Journal.
[81] Dirk Heylen,et al. Brain-Computer Interfacing and Games , 2010, Brain-Computer Interfaces.
[82] Honglak Lee,et al. Unsupervised feature learning for audio classification using convolutional deep belief networks , 2009, NIPS.
[83] Juan Pablo Bello,et al. Learning a robust Tonnetz-space transform for automatic chord recognition , 2012, 2012 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP).
[84] Ron J. Weiss,et al. Unsupervised Discovery of Temporal Structure in Music , 2011, IEEE Journal of Selected Topics in Signal Processing.
[85] Arnaud Lefebvre,et al. Compror: Compression with a Factor Oracle , 2001, Data Compression Conference.
[86] Daniel P. W. Ellis,et al. Chord Recognition and Segmentation Using EM-trained Hidden Markov Models , 2003 .
[87] François Pachet,et al. The Continuator: Musical Interaction With Style , 2003, ICMC.
[88] Ichiro Fujinaga,et al. A Cross-Validated Study of Modelling Strategies for Automatic Chord Recognition in Audio , 2007, ISMIR.
[89] Elaine Chew,et al. Performer-centered visual feedback for human-machine improvisation , 2011, CIE.
[90] Simon Dixon,et al. Approximate Note Transcription for the Improved Identification of Difficult Chords , 2010, ISMIR.
[91] Wolfgang E. Kuhn,et al. Computer-Assisted Teaching: A New Approach to Research in Music , 1967 .
[92] Youngmoo E. Kim,et al. Learning emotion-based acoustic features with deep belief networks , 2011, 2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA).
[93] Tzyy-Ping Jung,et al. Independent Component Analysis of Electroencephalographic Data , 1995, NIPS.
[94] Douglas Eck,et al. Learning Features from Music Audio with Deep Belief Networks , 2010, ISMIR.
[95] D. Ruelle,et al. Recurrence Plots of Dynamical Systems , 1987 .
[96] Pedro Guerra,et al. [The International Affective Digitized Sounds (IADS): Spanish norms]. , 2008, Psicothema.
[97] Anssi Klapuri,et al. Sound onset detection by applying psychoacoustic knowledge , 1999, 1999 IEEE International Conference on Acoustics, Speech, and Signal Processing. Proceedings. ICASSP99 (Cat. No.99CH36258).
[98] Belinda Thom,et al. Interactive Improvisational Music Companionship: A User-Modeling Approach , 2003, User Modeling and User-Adapted Interaction.
[99] Ursula Dresdner,et al. Music Cognition And Computerized Sound An Introduction To Psychoacoustics , 2016 .
[100] Markus Schedl,et al. Local and global scaling reduce hubs in space , 2012, J. Mach. Learn. Res..
[101] Thierry Pun,et al. A channel selection method for EEG classification in emotion assessment based on synchronization likelihood , 2007, 2007 15th European Signal Processing Conference.
[102] George E. Lewis. Too Many Notes: Computers, Complexity and Culture in Voyager , 2000, Leonardo Music Journal.
[103] Gert R. G. Lanckriet,et al. Semantic Annotation and Retrieval of Music and Sound Effects , 2008, IEEE Transactions on Audio, Speech, and Language Processing.
[104] Godfried T. Toussaint. The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good? , 2013 .
[105] Belinda Thom,et al. Unsupervised Learning and Interactive Jazz/Blues Improvisation , 2000, AAAI/IAAI.
[106] Judith C. Brown. Calculation of a constant Q spectral transform , 1991 .
[107] Thierry Bertin-Mahieux,et al. The Million Song Dataset , 2011, ISMIR.
[108] Mark B. Sandler,et al. Automatic Rhythm Modification of Drum Loops , 2007, IEEE Signal Processing Letters.
[109] Maurizio Omologo,et al. Use of Hidden Markov Models and Factored Language Models for Automatic Chord Recognition , 2009, ISMIR.
[110] Anssi Klapuri,et al. Automatic Classification of Pitched Musical Instrument Sounds , 2006 .
[111] William F. Walker,et al. A computer participant in musical improvisation , 1997, CHI.
[112] Nathan A. Fox,et al. Conceptual, biological, and behavioral distinctions among different categories of shy children. , 1999 .
[113] Thierry Bertin-Mahieux,et al. Large-Scale Cover Song Recognition Using the 2D Fourier Transform Magnitude , 2012, ISMIR.
[114] Shlomo Dubnov,et al. Using Factor Oracles for Machine Improvisation , 2004, Soft Comput..
[115] Peter Grosche,et al. Extracting Predominant Local Pulse Information From Music Recordings , 2011, IEEE Transactions on Audio, Speech, and Language Processing.
[116] C. Krumhansl. Cognitive Foundations of Musical Pitch , 1990 .
[117] Geraint A. Wiggins,et al. Towards Greater Objectivity in Music Theory: Information-Dynamic Analysis of Minimalist Music , 2007 .
[118] Juan Pablo Bello,et al. A Feature Smoothing Method for Chord Recognition Using Recurrence Plots , 2011, ISMIR.
[119] Daniel P. W. Ellis,et al. Structured Prediction Models for Chord Transcription of Music Audio , 2009, 2009 International Conference on Machine Learning and Applications.
[120] Enzo Pasquale Scilingo,et al. The Role of Nonlinear Dynamics in Affective Valence and Arousal Recognition , 2012, IEEE Transactions on Affective Computing.