Search results for 'Melody Isinger' (try it on Scholar)

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  1. Melody Isinger (2002). The State of Graduate Education: One Student's View. American Journal of Bioethics 2 (4):1-2.
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  2.  7
    Psyche Loui (2012). Learning and Liking of Melody and Harmony: Further Studies in Artificial Grammar Learning. Topics in Cognitive Science 4 (4):554-567.
    Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...)
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  3.  11
    Gerald J. Postema (2004). Melody and Law's Mindfulness of Time. Ratio Juris 17 (2):203-226.
    . A structured awareness of time lies at the core of the law's distinctive normativity. Melody is offered as a rough model of this mindfulness of time, since some important features of this awareness are also present in a hearer's grasp of melody. The model of melody is used, first, to identify some temporal dimensions of intentional action and then to highlight law's mindfulness of time. Its role in the structure of legal thinking, and especially in precedent‐sensitive (...)
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  4.  10
    Carl Thomen (2010). Sublime Kinetic Melody: Kelly Slater and the Extreme Spectator. Sport, Ethics and Philosophy 4 (3):319-331.
    This paper aims to examine the awesome, almost spiritual feeling I experience as an?extreme spectator? while watching Kelly Slater ride the monstrous waves of Pipeline. Drawing on the aesthetics of Kant and Schopenhauer, I examine the experience of the sublime and how it, in conjunction with the perceived kinetic melody of Slater's movements and his karmic connection to the environment in which he thrives, gives rise to the deeply felt awe of the extreme spectator. My intention is to use (...)
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  5.  54
    Rafael De Clercq (2007). Melody and Metaphorical Movement. British Journal of Aesthetics 47 (2):156-168.
    In recent issues of this journal, Roger Scruton and Malcolm Budd have debated the question whether hearing a melody in a sequence of sounds necessarily involves an ‘unasserted thought’ about spatial movement. According to Scruton, the answer is ‘yes’; according to Budd, the answer is ‘no’. The conclusion of this paper is that, while Budd may have underestimated the viability of Scruton's thesis in one of its possible interpretations, there is no good reason to assume that the thesis is (...)
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  6.  10
    Kathleen Wermke & Werner Mende (2006). Melody as a Primordial Legacy From Early Roots of Language. Behavioral and Brain Sciences 29 (3):300-300.
    The stormy development of vocal production during the first postnatal weeks is generally underestimated. Our longitudinal studies revealed an amazingly fast unfolding and combinatorial complexification of pre-speech melodies. We argue that relying on “melody” could provide for the immature brain a kind of filter to extract life-relevant information from the complex speech stream.
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  7.  4
    Charles H. Cosgrove & Mary C. Meyer (2006). Melody and Word Accent Relationships in Ancient Greek Musical Documents: The Pitch Height Rule. Journal of Hellenic Studies 126:66-81.
    It has long been known from the extant ancient Greek musical documents that some composers correlated melodic contour with word accents. Up to now, the evidence of this compositional technique has been judged impressionistically. In this article a statistical method of interpretation through computer simulation is set forth and applied to the musical texts, focusing on the convention of correlating a word¿s accent with the highest pitch level in the melody for that word: the Pitch Height Rule. The results (...)
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  8. Benedict Taylor (2016). The Melody of Time: Music and Temporality in the Romantic Era. Oxford University Press Usa.
    Music has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. The Melody of Time explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.
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  9.  98
    Richard L. Moreland & Sascha Topolinski (2010). The Mere Exposure Phenomenon: A Lingering Melody by Robert Zajonc. Emotion Review 2 (4):329-339.
    The mere exposure phenomenon (repeated exposure to a stimulus is sufficient to improve attitudes toward that stimulus) is one of the most inspiring phenomena associated with Robert Zajonc’s long and productive career in social psychology. In the first part of this article, Richard Moreland (who was trained by Zajonc in graduate school) describes his own work on exposure and learning, and on the relationships among familiarity, similarity, and attraction in person perception. In the second part, Sascha Topolinski (a recent graduate (...)
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  10.  10
    Judy Plantinga & Laurel J. Trainor (2005). Memory for Melody: Infants Use a Relative Pitch Code. Cognition 98 (1):1-11.
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  11.  10
    Helen Huss Parkhurst (1931). The Melody of Chaos. [REVIEW] Journal of Philosophy 28 (10):275-277.
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  12.  2
    David Temperley (2008). A Probabilistic Model of Melody Perception. Cognitive Science 32 (2):418-444.
  13.  4
    E. Schellenberg (1996). Expectancy in Melody: Tests of the Implication-Realization Model. Cognition 58 (1):75-125.
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  14.  45
    Susan A. J. Stuart (2010). Conscious Machines: Memory, Melody and Muscular Imagination. [REVIEW] Phenomenology and the Cognitive Sciences 9 (1):37-51.
    A great deal of effort has been, and continues to be, devoted to developing consciousness artificially (A small selection of the many authors writing in this area includes: Cotterill (J Conscious Stud 2:290–311, 1995 , 1998 ), Haikonen ( 2003 ), Aleksander and Dunmall (J Conscious Stud 10:7–18, 2003 ), Sloman ( 2004 , 2005 ), Aleksander ( 2005 ), Holland and Knight ( 2006 ), and Chella and Manzotti ( 2007 )), and yet a similar amount of effort has (...)
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  15.  8
    Mireille Besson, Cyrille Magne & Daniele Schön (2002). Emotional Prosody: Sex Differences in Sensitivity to Speech Melody. Trends in Cognitive Sciences 6 (10):405-407.
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  16.  5
    James J. Crile (2012). A Silent Melody. Newman Studies Journal 9 (2):79-90.
    Although Newman’s Fifteenth Oxford University Sermon is often considered a precursor to An Essay on the Development of Christian Doctrine (1845), the following essay views this Sermon as an expression of Newman’s personal struggle from 1839 to 1845: in the midst of confusion, he pondered; against the threat of liberal skepticism, he defended truth; in the face of doubt, he reaffirmed his relationship with God.
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  17. M. Serafine (1984). Integration of Melody and Text in Memory for Songs. Cognition 16 (3):285-303.
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  18.  10
    Oswald Hanfling (1990). 'I Heard a Plaintive Melody': ( Philosophical Investigations, P. 209). Royal Institute of Philosophy Supplement 28:117-133.
    Asked about Wittgenstein's contribution to aesthetics, one might think first of all of his discussion of ‘family resemblance’ concepts, in which he argued that the various instances of games, for example, need not have any feature or set of features in common, in virtue of which they are all called games; the concept of a game can function perfectly well without any such set of conditions. This insight was soon applied to the much debated quest for a definition of the (...)
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  19.  4
    Iain Morley (2011). A Grand Gesture: Vocal and Corporeal Control in Melody, Rhythm, and Emotion. In Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins & Ian Cross (eds.), Language and Music as Cognitive Systems. OUP Oxford 110.
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  20.  7
    Nobuaki Minematsu & Tazuko Nishimura (2008). Consideration of Infants' Vocal Imitation Through Modeling Speech as Timbre-Based Melody. In Satoh (ed.), New Frontiers in Artificial Intelligence. Springer 26--39.
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  21.  6
    Régine Kolinsky, Pascale Lidji, Isabelle Peretz, Mireille Besson & José Morais (2009). Processing Interactions Between Phonology and Melody: Vowels Sing but Consonants Speak. Cognition 112 (1):1-20.
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  22.  4
    John P. McCarthy (1995). The Great Melody: A Thematic Biography and Commented Anthology of Edmund Burke, by Conor Cruise O'Brien. The Chesterton Review 21 (1/2):139-147.
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  23.  2
    Ted Toadvine (2005). The Melody of Life and the Motif of Philosophy. Chiasmi International 7:263-278.
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  24.  13
    Andrew Barker (2005). The Journeying Voice: Melody and Metaphysics in Aristoxenian Science. Apeiron 38 (3):161 - 184.
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  25.  4
    Bruno H. Repp (2007). Hearing a Melody in Different Ways: Multistability of Metrical Interpretation, Reflected in Rate Limits of Sensorimotor Synchronization. Cognition 102 (3):434-454.
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  26.  1
    Crinuţa Popescu (2011). Knowledge in Music Theory by Logical Constants of Melody. Analysis and Metaphysics 10:144-149.
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  27. T. L. Bolton (1911). Ingham's Studies in Melody. [REVIEW] Journal of Philosophy 8 (2):48.
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  28. Raymond Geuss (2009). XI. Melody as Death. In Politics and the Imagination. Princeton University Press 164-166.
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  29. I. Guaitella (1995). Is the Melody of Gesture a Vocal Mimic. Semiotica 103 (3-4):253-276.
     
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  30. K. Lycos (1988). Hecuba's Newly-Learned Melody: Nussbaum on Philosophy Learning From Euripides. Critical Philosophy 4:161.
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  31. Letitia R. Naigles & Judit Druks (1996). E. Glenn Schellenberg (University of Windsor) Expectancy in Melody: Tests of the Implication-Realization Model, 75-125. Cognition 58:377-378.
     
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  32. Jacob Neusner (1995). Judaism's Theological Voice the Melody of the Talmud. Monograph Collection (Matt - Pseudo).
     
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  33. Conor Cruise O'Brien (forthcoming). The Great Melody (London. Minerva.
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  34. Helen H. Parkhurst (1931). Peterson's The Melody of Chaos. Journal of Philosophy 28:275.
     
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  35. Houston Peterson (1931). The Melody of Chaos. Journal of Philosophy 28 (10):275-277.
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  36. Andrea Staiti (2015). The Melody Unheard: Husserl on the Natural Attitude and its Discontinuation: Section II, Chapter 1, The Thesis of the Natural Attitude and its Suspension. In Commentary on Husserl's "Ideas I". De Gruyter 69-94.
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  37. David Temperley (2008). A Probabilistic Model of Melody Perception. Cognitive Science: A Multidisciplinary Journal 32 (2):418-444.
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  38.  13
    Joona Taipale (2015). Empathy and the Melodic Unity of the Other. Human Studies 38 (4):463-479.
    Current discussions on social cognition, empathy, and interpersonal understanding are largely built on the question of how we recognize and access particular mental states of others. Mental states have been treated as temporally individuated, momentary or temporally narrow unities that can be grasped at one go. Drawing on the phenomenological tradition—on Stein and Husserl in particular—I will problematize this approach, and argue that the other’s experiential states can appear meaningful to us only they are viewed in connection with further, non-simultaneous (...)
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  39.  25
    Marcus T. Pearce & Geraint A. Wiggins (2012). Auditory Expectation: The Information Dynamics of Music Perception and Cognition. Topics in Cognitive Science 4 (4):625-652.
    Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.
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  40.  1
    Ubirajara Rancan de Azevedo Marques (2011). Kant e as analogias musicais. Revista de Filosofía (Madrid) 36 (2):25-42.
    Ademais do glossário filosófico, Kant emprega muitos outros repertórios linguísticos; dentre eles, por exemplo, o musical. O presente estudo, considerando o léxico musical kantiano, não tem como objetivo a promoção estética da música no cenário da filosofia crítica, mas o reconhecimento e a análise preliminar de um recurso argumentativo utilizado pelo filósofo, a saber, a analogia musical.
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  41.  2
    André Charrak (2001). Rousseau et la musique : passivité et activité dans l'agrément. Archives de Philosophie 2:325-342.
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  42. R. P. Carroll (1931). Practice in Rating. Journal of Experimental Psychology 14 (3):299.
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  43. Andreas Dorschel (2012). Einführung zu den Schriften [Richard Wagners]. In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical (...)
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  44. Raghunath Ghosh (1994). Sura, Man, and Society: Philosophy of Harmony in Indian Tradition. Academic Enterprise.
     
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  45. Roger Scruton (1999). The Aesthetics of Music. Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling (...)
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  46.  33
    Raymond Geuss (2010). Politics and the Imagination. Princeton University Press.
    Political judgment in its historical context -- The politics of managing decline -- Moralism and realpolitik -- On the very idea of a metaphysics of right -- The actual and another modernity : order and imagination in Don Quixote -- Culture as ideal and as boundary -- On museums -- Celan's Meridian -- Heidegger and his brother -- Richard Rorty at Princeton : personal recollections -- Melody as death -- On bourgeois philosophy and the concept of "criticism".
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  47.  9
    Ted Toadvine (2009). Merleau-Ponty's Philosophy of Nature. Northwestern University Press.
    Nature as gestalt and melody -- Radical reflection and the resistance of things -- Animality -- The space of intentionality and the orientation of being -- The human-nature chiasm.
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  48.  14
    Michael Ramscar, Daniel Yarlett, Melody Dye, Katie Denny & Kirsten Thorpe (2010). The Effects of Feature-Label-Order and Their Implications for Symbolic Learning. Cognitive Science 34 (6):909-957.
    Symbols enable people to organize and communicate about the world. However, the ways in which symbolic knowledge is learned and then represented in the mind are poorly understood. We present a formal analysis of symbolic learning—in particular, word learning—in terms of prediction and cue competition, and we consider two possible ways in which symbols might be learned: by learning to predict a label from the features of objects and events in the world, and by learning to predict features from a (...)
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  49.  4
    Michael Ramscar, Daniel Yarlett, Melody Dye & Nal Kalchbrenner (2010). The Feature-Label-Order Effect in Symbolic Learning. Cognitive Science 34 (7).
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  50. Rick Grush (2005). Brain Time and Phenomenological Time. In A. Brooks & Kathleen Akins (eds.), Philosophy and the Neurosciences. Cambridge
    ... there are cases in which on the basis of a temporally extended content of consciousness a unitary apprehension takes place which is spread out over a temporal interval (the so-called specious present). ... That several successive tones yield a melody is possible only in this way, that the succession of psychical processes are united "forthwith" in a common structure.
     
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