Perceptual Grouping of Musical Sounds : A Computational Model
暂无分享,去创建一个
[1] J. Grey. Multidimensional perceptual scaling of musical timbres. , 1977, The Journal of the Acoustical Society of America.
[2] K. Koffka. Principles Of Gestalt Psychology , 1936 .
[3] Ray Meddis,et al. Virtual pitch and phase sensitivity of a computer model of the auditory periphery , 1991 .
[4] John Strawn,et al. Lexicon of Analyzed Tones. Part 2: Clarinet and Oboe Tones , 1977 .
[5] Guy J. Brown,et al. Computational auditory scene analysis: Exploiting principles of perceived continuity , 1993, Speech Commun..
[6] David Wessel,et al. Timbre Space as a Musical Control Structure , 1979 .
[7] J. F. Corso,et al. Timbre Cues and the Identification of Musical Instruments , 1962 .
[8] W. S. Rhode,et al. Physiological studies on neurons in the dorsal cochlear nucleus of cat. , 1986, Journal of neurophysiology.
[9] Jean-Claude Risset,et al. Timbre analysis by synthesis: representations, imitations, and variants for musical composition , 1991 .
[10] M. Riley. Speech Time-Frequency Representations , 1989 .
[11] R Meddis,et al. Simulation of auditory-neural transduction: further studies. , 1988, The Journal of the Acoustical Society of America.
[12] C. Darwin. Perceiving vowels in the presence of another sound: constraints on formant perception. , 1984, The Journal of the Acoustical Society of America.
[13] Reinier Plomp,et al. Aspects of tone sensation , 1976 .
[14] Teuvo Kohonen,et al. Self-Organization and Associative Memory , 1988 .
[15] Bernhard Feiten,et al. A Sound-Retrieval Index Based on Two-Dimensional Similarity Maps , 1993 .
[16] Robert Erickson,et al. 18 – New Music and Psychology , 1982 .
[17] David K. Mellinger,et al. Event formation and separation in musical sound , 1992 .
[18] Anil K. Jain,et al. Algorithms for Clustering Data , 1988 .
[19] J. W. Gordon,et al. Perceptual effects of spectral modifications on musical timbres , 1978 .
[20] A S Bregman,et al. Perceived continuity of gliding and steady-state tones through interrupting noise , 1987, Perception & psychophysics.
[21] M. Mathews,et al. Analysis of musical‐instrument tones , 1969 .
[22] Martin Cooke,et al. Modelling auditory processing and organisation , 1993, Distinguished dissertations in computer science.
[23] P G Singh. Perceptual organization of complex-tone sequences: a tradeoff between pitch and timbre? , 1987, The Journal of the Acoustical Society of America.
[24] A. Slawson. Vowel quality and musical timbre as functions of spectrum envelope and fundamental frequency. , 1968, The Journal of the Acoustical Society of America.
[25] Martin Cooke,et al. Interactive computational auditory scene analysis: An environment for exploring auditory representations and groups , 1993 .
[26] R Meddis,et al. Modeling the identification of concurrent vowels with different fundamental frequencies. , 1992, The Journal of the Acoustical Society of America.
[27] Brian R Glasberg,et al. Derivation of auditory filter shapes from notched-noise data , 1990, Hearing Research.
[28] Guy J. Brown. Computational auditory scene analysis : a representational approach , 1993 .
[29] Edward C. Carterette,et al. Perceptual space for musical structures. , 1974, The Journal of the Acoustical Society of America.
[30] Chris Chafe,et al. Toward an Intelligent Editor of Digital Audio: Recognition of Musical Constructs , 1982 .
[31] Victor R. Lesser,et al. A Multi-Level Organization For Problem Solving Using Many, Diverse, Cooperating Sources Of Knowledge , 1975, IJCAI.
[32] Q. Summerfield,et al. Modeling the perception of concurrent vowels: vowels with different fundamental frequencies. , 1990, The Journal of the Acoustical Society of America.
[33] B C Moore,et al. Co-modulation masking release: spectro-temporal pattern analysis in hearing. , 1990, British journal of audiology.
[34] D. Moore,et al. Physiology of higher auditory system. , 1987, British Medical Bulletin.