Information Theory and Esthetic Perception |
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Page 92
... variations of loudness in music , if the signal varies quickly enough , could ex- ceed 3 dB ( 40 per cent ) , even though , after " static " laboratory ex- periments , we initially assumed thresholds of 0.4 dB . The question is greatly ...
... variations of loudness in music , if the signal varies quickly enough , could ex- ceed 3 dB ( 40 per cent ) , even though , after " static " laboratory ex- periments , we initially assumed thresholds of 0.4 dB . The question is greatly ...
Page 154
... variations due to the performance and , more generally , variations occur in the operating scheme , the score . We may classify several of these variations in order of complexity or increasing richness : ( a ) simple repetition of ...
... variations due to the performance and , more generally , variations occur in the operating scheme , the score . We may classify several of these variations in order of complexity or increasing richness : ( a ) simple repetition of ...
Page 166
... variations of the re- ceptor himself come into play : The receptor does not remain rigor- ously the same all the time , but undergoes little variations which , from a methodological and ideational viewpoint , are more conve- niently ...
... variations of the re- ceptor himself come into play : The receptor does not remain rigor- ously the same all the time , but undergoes little variations which , from a methodological and ideational viewpoint , are more conve- niently ...
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Common terms and phrases
analogous animated cartoons apperceptual limit apprehension approximately autocorrelation banal binary logarithm capacity cells cent channel Chap complexity composed concept Concerto considered defined determine difference thresholds dimensions duration elementary elements equiprobable essential esthetic information esthetic message example experimental experimental music experiments frequency function harmonic hence human receptor individual information theory instruments intelligibility interest interval inversion language laws length letters log₂ logical magnetic tape mation maximum measure mechanism melodic memory mental psychology method Moles multiple messages musical message musical theory n-gram orchestra organization originality over-all perceive perception periodicity phenomenon phonetic pitch precisely present priori probabilities psychology receptor redundancy repertoire of symbols repetition rhythm role rules scanning semantic and esthetic semantic information sensory signal sonic material sonic message sonic objects sound spatial speech statistical structure Symphony theory of form timbres tion tone transients transmission transmitted uncertainty principle variations viewpoint white noise