Musical style, psychoaesthetics, and prospects for entropy as an analytic tool

Computer Music Journal

Volumn 32, Issue 4, 2008, Pages 64-78

  Margulis, Elizabeth Hellmuth ^a   Beatty, Andrew P ^b  

^a UNIVERSITY OF ARKANSAS   (United States)

^b PIONEER HI BRED INTERNATIONAL INC   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

ANALYTIC TOOLS; MELODIC INTERVALS;

ENTROPY;

EID: 63349092317     PISSN: 01489267     EISSN: 15315169     Source Type: Journal    
DOI: 10.1162/comj.2008.32.4.64     Document Type: Article

References (35)

1. Attneave, F. D. 1954. "Some Informational Aspects of Visual Perception." Psychological Review 61(3):183-193.
2. Berlyne, D. E. 1960. Conflict, Arousal, and Curiosity. New York: McGraw-Hill.
3. Berlyne, D. E. 1971. Aesthetics and Psychobiology. New York: Appleton-Century-Crofts.
4. Cohen, J. E. 1962. "Information Theory and Music." Behavioral Science 7(2):137-163.
5. Conklin, D., and I. H. Witten. 1995. "Multiple Viewpoint Systems for Music Prediction." Journal of New Music Research 24(1):51-73.
6. Eerola, T., and P. Toiviainen. 2004. "MIDI Toolbox: MATLAB Tools for Music Research." Kopijyvä, Jyväskylä, Finland: University of Jyväskylä. Available online at www.jyu.fi/musica /miditoolbox.
7. Fiser, J., and R. N. Aslin. 2002. "Statistical Learning of New Visual Feature Combinations by Infants." Proceedings of the National Academy of Sciences 99(24):15822-15826.
8. Hiller, L., and R. Fuller. 1967. "Structure and Information in Webern's Symphonie, Op. 21." Journal of Music Theory 11(1):60-115.
9. Huron, D. 1993. "The Humdrum Toolkit." Available online at music-cog.ohio-state.edu/Humdrum/index.html.
10. Huron, D. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, Massachusetts: MIT Press.
11. Knopoff, L., and W. Hutchinson. 1981. "Information Theory for Musical Continua." Journal of Music Theory 25(1):17-44.
12. Knopoff, L., and W. Hutchinson. 1983. "Entropy as a Measure of Style: The Influence of Sample Length." Journal of Music Theory 27(1):75-97.
13. Krahenbuehl, D., and E. Coons. 1959. "Information as a Measure of Experience in Music." Journal of Aesthetics and Art Criticism 17(4):510-522.
14. Krumhansl, C. L., and E. J. Kessler. 1982. "Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys." Psychological Review 89(4):334-368.
15. Lerdahl, F. 1988. "Cognitive Constraints on Compositional Systems." In J. Sloboda, ed. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford: Oxford University Press, pp. 231-259.
16. Margulis, E. H. 2005. "A Model of Melodic Expectation." Music Perception 22(4):663-714.
17. Meyer, L. 1957. "Meaning in Music and Information Theory." Journal of Aesthetics and Art Criticism 15(4):412-424.
18. Meyer, L. 1989. Style and Music: Theory, History, and Ideology. Philadelphia: University of Pennsylvania Press.
19. Narmour, E. 1990. The Analysis and Cognition of Basic Melodic Structures. Chicago, Illinois: University of Chicago Press.
20. Nettelheim, N. 1997. "A Bibliography of Statistical Applications in Musicology." Musicology Australia 20:94-106.
21. Pearce, M. T., and G. A. Wiggins. 2006. "Expectation in Melody: The Influence of Context and Learning." Music Perception 23(5):477-405.
22. Pinkerton, R. C. 1956. "Information Theory and Melody." Scientific American 194(2):77-86.
23. Poliner, G. E., et al. (2007). "Melody Transcription from Music Audio: Approaches and Evaluation." IEEE Transactions on Audio, Speech, and Language Processing 15:1247-1256.
24. Ratner, L. 1980. Classic Music: Expression, Form, and Style. New York: Schirmer.
25. Sadakata, M., P. W. M. Desain, and H. Honing. 2006. "The Bayesian Way to Relate Rhythm Perception and Production." Music Perception 23(3):267-286.
26. Saffran, J. 2003. "Statistical Language Learning: Mechanisms and Constraints." Current Directions in Psychological Science 12(4):110-113.
27. Saffran, J., R. N. Aslin, and E. L. Newport. 1996. "Statistical Learning by 8-Month-Old Infants." Science 274:1926-1928.
28. Saffran, J., et al. 1999. "Statistical Learning of Tone Sequences by Human Infants and Adults." Cognition 70(1):27-52.
29. Shannon, C. E. 1948. "A Mathematical Theory of Communication." Bell Systems Technical Journal 27:379-423.
30. Smets, G. 1973. Aesthetic Judgment and Arousal. Leuven, Belgium: Leuven University Press.
31. Snyder, J. L. 1990. "Entropy as a Measure of Musical Style: The Influence of A Priori Assumptions." Music Theory Spectrum 12(1):121-160.
32. Temperley, D. 2004. "Communicative Pressure and the Evolution of Musical Styles." Music Perception 21(3):313-337.
33. Temperley, D. 2007. Music and Probability. Cambridge, Massachusetts: MIT Press.
34. Wundt, W. M. 1874. Grundzüge der Physiologischen Psychologie [Foundations of Physiological Psychology]. Leipzig: Engelmann.
35. Youngblood, J. E. 1958. "Style as Information." Journal of Music Theory 2(1):24-35.