Computer Music Modeling and Retrieval. Genesis of Meaning in by Mitsuko Aramaki, Mireille Besson, Richard Kronland-Martinet,

By Mitsuko Aramaki, Mireille Besson, Richard Kronland-Martinet, Sølvi Ystad (auth.), Sølvi Ystad, Richard Kronland-Martinet, Kristoffer Jensen (eds.)

This booklet constitutes the completely refereed post-conference court cases of the fifth foreign Symposium on laptop tune Modeling and Retrieval, CMMR 2008 - Genesis of which means in Sound and song, held in Copenhagen, Denmark, in might 2008.

The 21 revised complete papers offered have been specifically reviewed and corrected for this court cases quantity. CMMR 2008 seeks to magnify upon the feel of Sounds-concept by means of making an allowance for the musical constitution as a complete. extra accurately, the workshop can have as its topic Genesis of that means in Sound and track. the aim is hereby to set up rigorous learn alliances among laptop and engineering sciences (information retrieval, programming, acoustics, sign processing) and parts in the humanities (in specific notion, cognition, musicology, philosophy), in addition to to globally handle the inspiration of sound that means and its implications in track, modeling and retrieval.

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Extra info for Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music: 5th International Symposium, CMMR 2008 Copenhagen, Denmark, May 19-23, 2008 Revised Papers

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Neural resources between music and language appear to be shared both in syntactic sequencing and also semantic processing of patterns reflecting tension and resolution [11-13], adding support for findings of linguistic and melodic components of songs being processed in interaction [14]. Similarly there appears to be an overlap between language regions in the brain and so-called mirror neurons, which transfer sensory information of what we perceive by re-enacting them on a motor level. Mediating the inputs across audiovisual modalities, the resulting sensory-motor integrations are represented in a similar form, whether they originate from actions we observe in others, only imagine or actually enact ourselves [15-16].

169–233 (2005) 14. : Acoustical information processing in the auditory thalamus and cerebral cortex. , Romand, R. ) The Central Auditory System, ch. 5, pp. 317–388. Oxford U. , Oxford (1997) 15. : The auditory midbrain, a “shunting yard” of acoustical information processing. , Romand, R. ) The Central Auditory System, ch. 4, pp. 259–316. Oxford U. , Oxford (1997) 16. : Listening. An Introduction to the perception of auditory events. , Cambridge (1989) 17. : Signals, Sound, and Sensation. Springer, New York (1998) 18.

The Judgment of musical intervals. In: Clynes, M. ) Music, mind and brain, pp. 217–225. , New York (1982) 21. : Pitch perception. In: Moore, B. , pp. 267–295. , London (1995) 22. : Biokybernetik des Menschen. Wiss. Buchges, Darmstadt (1989) 23. : Das Ph¨ anomen des H¨ orens. Ein interdisziplin¨ arer Diskurs. Naturwissenschaften 79, 300–310, 347–357 (1992) 24. : Analysis of transient musical sounds by auto-regressive modeling. In: Proc. 6th Intern. Conf. on Digital Audio Effects DAFx 2003, pp. 301–304.

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