Aaron Ridley has recently attacked the study of musical ontology – an apparently fertile area in the philosophy of music. I argue here that Ridley’s arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and...

A B S T R AC T What forms the basis of musical expressivity? The Swiss composer and music educator, Emile Jaques-Dalcroze, believed that bodily processes, rhythm, and physical motion were the basis of musical expressivity and music pedagogy. We can rephrase his emphasis on the synergy between bodily and musical processes into a question: How does the body contribute to thought and musical under...

23 This article attempts to define and classify the aesthetic and technical principles of interconnected musical networks. It presents an historical overview of technological innovations that were instrumental for the development of the field and discusses a number of paradigmatic musical networks that are based on these technologies. A classification of online and local-area musical networks t...

In this paper, an implementation of an audio recognition system for personal computers is presented, combining methodologies of digital signal processing, machine perception, and statistical decision models. In particular, attention was given to musical tones, harmonics, and MIDI notes, that build the musical context to identify two musical instruments from their corresponding musical notes. Al...

Introduction The semiological spectrum that encompasses musical imagery is a very confusing field, as it often difficult to understand the nature of underlying psychopathological phenomenon from patient’s description. Objectives purpose authors explore reviewing, distinguishing and organizing concepts such Intrusive imagery, obsessions, hallucinations, pseudohallucinations palinacousis. Methods...

In sonification methodologies that aim to represent the underlying data accurately, musical or artistic approaches are often dismissed as being not transparent, likely to distort the data, not generalizable, or not reusable for different data types. Scientific applications for sonification have been, therefore, hesitant to use approaches guided by artistic aesthetics and musical expressivity. A...

This paper presents a statistical method that estimates a sequence of discrete musical notes from a temporal trajectory of vocal F0s. Since considerable effort has been devoted to estimate the frame-level F0s of singing voices from music audio signals, we tackle musical note estimation for those F0s to obtain a symbolic musical score. A naı̈ve approach to musical note estimation is to quantize t...

Recognizing a musical excerpt without necessarily retrieving its title typically reflects the existence of a memory system dedicated to the retrieval of musical knowledge. The functional distinction between musical and verbal semantic memory has seldom been investigated. In this fMRI study, we directly compared the musical and verbal memory of 20 nonmusicians, using a congruence task involving ...

In this paper, a function-oriented musical interface, named the sound wheel , is presented. This interface is designed to manipulate musical functions like pitch class sets, tonal centers and scale degrees, rather than the musical surface , i.e. the individual notes with concrete note heights. The sound wheel has an interface summarizing harmony theory, and the playing actions have explicit cor...