LEADER 04346nam 2200685 450 001 9910456138803321 005 20200520144314.0 010 $a0-262-29397-8 010 $a1-4294-5537-3 010 $a1-282-09680-X 010 $a9786612096808 010 $a0-262-25707-6 035 $a(CKB)2420000000001205 035 $a(SSID)ssj0000207040 035 $a(PQKBManifestationID)11166718 035 $a(PQKBTitleCode)TC0000207040 035 $a(PQKBWorkID)10235542 035 $a(PQKB)10189405 035 $a(MiAaPQ)EBC3338579 035 $a(CaBNVSL)mat06267345 035 $a(IDAMS)0b000064818b4333 035 $a(IEEE)6267345 035 $a(OCoLC)82471528$z(OCoLC)290542074$z(OCoLC)475435868$z(OCoLC)614488344$z(OCoLC)648225233$z(OCoLC)815776336$z(OCoLC)961522784$z(OCoLC)962588440$z(OCoLC)988501438$z(OCoLC)990529579$z(OCoLC)992037302$z(OCoLC)992093295$z(OCoLC)1037933736$z(OCoLC)1038547450$z(OCoLC)1055339202 035 $a(OCoLC-P)82471528 035 $a(MaCbMITP)4807 035 $a(Au-PeEL)EBL3338579 035 $a(CaPaEBR)ebr10173637 035 $a(CaONFJC)MIL209680 035 $a(OCoLC)82471528 035 $a(EXLCZ)992420000000001205 100 $a20151223d2010 uy 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusic and probability /$fDavid Temperley 210 1$aCambridge, Massachusetts :$cMIT Press,$dc2007. 210 2$a[Piscataqay, New Jersey] :$cIEEE Xplore,$d[2010] 215 $axi, 244 p. $cill., music 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-262-51519-9 311 $a0-262-20166-6 320 $aIncludes bibliographical references (p. [225]-235) and indexes. 327 $aProbabilistic foundations and background -- Melody I : the rhythm model -- Melody II : the pitch model -- Melody III : expectation and error detection -- A polyphonic key-finding model -- Applications of the polyphonic key-finding model -- Bayesian models of other aspects of music -- Style and composition -- Communicative pressure. 330 $aIn Music and Probability, David Temperley explores issues in music perception and cognition from a probabilistic perspective. The application of probabilistic ideas to music has been pursued only sporadically over the past four decades, but the time is ripe, Temperley argues, for a reconsideration of how probabilities shape music perception and even music itself. Recent advances in the application of probability theory to other domains of cognitive modeling, coupled with new evidence and theoretical insights about the working of the musical mind, have laid the groundwork for more fruitful investigations. Temperley proposes computational models for two basic cognitive processes, the perception of key and the perception of meter, using techniques of Bayesian probabilistic modeling. Drawing on his own research and surveying recent work by others, Temperley explores a range of further issues in music and probability, including transcription, phrase perception, pattern perception, harmony, improvisation, and musical styles.Music and Probability--the first full-length book to explore the application of probabilistic techniques to musical issues--includes a concise survey of probability theory, with simple examples and a discussion of its application in other domains. Temperley relies most heavily on a Bayesian approach, which not only allows him to model the perception of meter and tonality but also sheds light on such perceptual processes as error detection, expectation, and pitch identification. Bayesian techniques also provide insights into such subtle and advanced issues as musical ambiguity, tension, and "grammaticality," and lead to interesting and novel predictions about compositional practice and differences between musical styles. 606 $aMusical perception$xMathematical models 606 $aMusic and probability 608 $aElectronic books. 615 0$aMusical perception$xMathematical models. 615 0$aMusic and probability. 676 $a781.2 700 $aTemperley$b David$0854357 801 0$bCaBNVSL 801 1$bCaBNVSL 801 2$bCaBNVSL 906 $aBOOK 912 $a9910456138803321 996 $aMusic and probability$91908000 997 $aUNINA