| Ensemble of deep learning, visual and acoustic features for music genre classification |
6 |
| Machine learning research that matters for music creation: A case study |
6 |
| Simulating melodic and harmonic expectations for tonal cadences using probabilistic models |
6 |
| Musical agents: A typology and state of the art towards Musical Metacreation |
5 |
| EDM and Ecstasy: the lived experiences of electronic dance music festival attendees |
5 |
| Annotator subjectivity in harmony annotations of popular music |
4 |
| Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity |
4 |
| Mutual proximity graphs for improved reachability in music recommendation |
4 |
| The leading sixth scale degree: A test of Day-O'Connell's theory |
2 |
| A review of manual and computational approaches for the study of world music corpora |
2 |
| Stylistic information in pitch-class distributions |
2 |
| Convolution-based classification of audio and symbolic representations of music |
2 |
| World cloud: A prototype data choralification of text documents |
2 |
| Analysing the pitch content of the rapping voice |
2 |
| Live coding helps to distinguish between embodied and propositional improvisation |
2 |
| A French translation of the Goldsmiths Musical Sophistication Index, an instrument to assess self-reported musical skills, abilities and behaviours |
2 |
| An ubiquitous smart guitar system for collaborative musical practice |
1 |
| Large vocabulary automatic chord estimation using bidirectional long short-term memory recurrent neural network with even chance training |
1 |
| Distribution and Popularity Patterns of Chinese Music on YouTube: A Case Study of Local Music's Representation on a Global Internet Platform |
1 |
| Supervised descriptive pattern discovery in Native American music |
1 |
| Tests of contrasting expressive content between first and second musical themes |
1 |
| A framework for computer-assisted sound design systems supported by modelling affective and perceptual properties of soundscape |
1 |
| Beyond documentation - The digital philology of interaction heritage |
1 |
| Preservation and technological obsolescence: Portuguese contemporary musical heritage in perspective |
1 |
| Dynamics and relativity: Practical implications of dynamic markings in the score |
1 |
| A generative model for the characterization of musical rhythms |
1 |
| Motion types of ancillary gestures in clarinet playing and their influence on the perception of musical performance |
1 |
| Learning a well-formed microtonal scale: Pitch intervals and event frequencies |
1 |
| Generative statistical models with self-emergent grammar of chord sequences |
1 |
| Playsound.space: Improvising in the browser with semantic sound objects |
1 |
| Natural language processing for music knowledge discovery |
1 |
| Knowledge transfer in ecologically grounded approaches to ubimus: InMesh 1.0 |
0 |
| Marimba, mallet and mind - enhancing the marimba sound by Ki-aikido approach |
0 |
| Listener preference towards a real and emulated violin |
0 |
| Violin mpulse esponse ength and erceptions of cceptability |
0 |
| A supervised classification approach for note tracking in polyphonic piano transcription |
0 |
| Reproducing musical instrument components from manufacturers' technical drawings using 3D printing: Boosey & Hawkes as a case study |
0 |
| Pitch-class prevalence in plainchant, scale-degree consonance, and the origin of the rising leading tone |
0 |
| Harmonic clusters and tonal cadences: Bayesian learning without chord identification |
0 |
| A swingogram representation for tracking micro-rhythmic variation in jazz performances |
0 |
| Understanding biomechanical constraints for modelling expressive performance: A guitar case study |
0 |
| Symbaline: An electromagnetically actuated wine glass instrument |
0 |
| Intuitive and efficient computer-aided music rearrangement with optimised processing of audio transitions |
0 |
| How often and why mode fails to predict mood in low-arousal classical piano music |
0 |
| The impact of 3-D sound spatialisation on listeners' understanding of human agency in acousmatic music |
0 |
| Between standards and arts: Digitisation and restoration of audio material - a balancing act between authenticity and manipulation? |
0 |
| Sound archive principles within an interdisciplinary sciences-based initiative |
0 |
| From the document to the work: Ontological reflections on the preservation and restoration of musical artefacts |
0 |
| Multiplicity in the documentation of performance-based artworks: Displaying multi-media documentation in Rebecca Horn's Body Sculptures at Tate |
0 |
| FAIR data principles and their application to speech and oral archives |
0 |
