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.  23
    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.  79
    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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  4.  13
    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.  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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  6.  14
    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. 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.  14
    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. Daniel L. Bowling (2013). A Vocal Basis for the Affective Character of Musical Mode in Melody. Frontiers in Psychology 4.
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  12.  7
    E. Schellenberg (1996). Expectancy in Melody: Tests of the Implication-Realization Model. Cognition 58 (1):75-125.
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  13.  3
    David Temperley (2008). A Probabilistic Model of Melody Perception. Cognitive Science 32 (2):418-444.
  14.  19
    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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  15.  10
    Helen Huss Parkhurst (1931). The Melody of Chaos. [REVIEW] Journal of Philosophy 28 (10):275-277.
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  16.  48
    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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  17.  8
    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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  18.  1
    Sachiko Deguchi & Katsuhiko Shirai (2003). Knowledge Representation of the Melody and Rhythm in Koto Songs. Transactions of the Japanese Society for Artificial Intelligence 18:153-160.
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  19.  12
    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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  20.  6
    Ted Toadvine (2005). The Melody of Life and the Motif of Philosophy. Chiasmi International 7:263-278.
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  21.  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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  22.  5
    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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  23.  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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  24.  16
    Andrew Barker (2005). The Journeying Voice: Melody and Metaphysics in Aristoxenian Science. Apeiron 38 (3):161 - 184.
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  25. M. Serafine (1984). Integration of Melody and Text in Memory for Songs. Cognition 16 (3):285-303.
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  26. David Temperley (2008). A Probabilistic Model of Melody Perception. Cognitive Science: A Multidisciplinary Journal 32 (2):418-444.
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  27.  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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  28.  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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  29. E. Glenn Schellenberg, Mayumi Adachi, Kelly T. Purdy & Margaret C. McKinnon (2002). Expectancy in Melody: Tests of Children and Adults. Journal of Experimental Psychology: General 131 (4):511-537.
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  30. Crinuţa Popescu (2011). Knowledge in Music Theory by Logical Constants of Melody. Analysis and Metaphysics 10:144-149.
     
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  31. Stahl Benjamin (2014). Efficacy of Melody-Based Aphasia Therapy May Strongly Depend on Rhythm and Conversational Speech Formulas. Frontiers in Psychology 5.
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  32. T. L. Bolton (1911). Ingham's Studies in Melody. [REVIEW] Journal of Philosophy 8 (2):48.
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  33. Leon Y. Deouell (2008). No Disillusions in Auditory Extinction: Perceiving a Melody Comprised of Unperceived Notes. Frontiers in Human Neuroscience 1.
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  34. Raymond Geuss (2009). XI. Melody as Death. In Politics and the Imagination. Princeton University Press 164-166.
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  35. I. Guaitella (1995). Is the Melody of Gesture a Vocal Mimic. Semiotica 103 (3-4):253-276.
     
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  36. K. Lycos (1988). Hecuba's Newly-Learned Melody: Nussbaum on Philosophy Learning From Euripides. Critical Philosophy 4:161.
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  37. Max Meyer (1900). Elements of Psychological Theory of Melody. Psychological Review 7 (3):241-273.
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  38. James Burt Miner (1903). Studies of Melody in English Speech. Psychological Review 10 (2):216-217.
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  39. 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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  40. Jacob Neusner (1995). Judaism's Theological Voice the Melody of the Talmud. Monograph Collection (Matt - Pseudo).
     
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  41. Conor Cruise O'Brien (forthcoming). The Great Melody (London. Minerva.
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  42. Helen H. Parkhurst (1931). Peterson's The Melody of Chaos. Journal of Philosophy 28:275.
     
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  43. Houston Peterson (1931). The Melody of Chaos. Journal of Philosophy 28 (10):275-277.
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  44. 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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  45. S. A. J. Stuart, Conscious Machines: Memory, Melody and Muscular Imagination.
    A great deal of effort has been, and continues to be, devoted to developing consciousness artificially, Haikonen, Aleksander and Dunmall, Sloman, Aleksander, Holland and Knight, and Chella and Manzotti ), and yet a similar amount of effort has gone in to demonstrating the infeasibility of the whole enterprise, Searle, Harnad, and Sternberg, but there are a great many others). My concern in this paper is to steer some navigable channel between the two positions, laying out the necessary pre-conditions for consciousness (...)
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  46. Charles K. Wead (1900). Dr. Meyer's 'Elements of a Psychological Theory of Melody.'. Psychological Review 7 (4):400-405.
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  47.  17
    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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  48.  40
    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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  49.  4
    André Charrak (2001). Rousseau et la musique : passivité et activité dans l'agrément. Archives de Philosophie 2:325-342.
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  50.  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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