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 Now online (1)big ...and 219 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613461 Today 4 Topics 127500 |
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Perhaps you see thinks in different way. |
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and it's only me? between the millions of people hit by electronic music? really? i must some kind of genius, or there's something going wrong then. |
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You said "math is thinking" sry but I dont get it. So maybe you see stuff I cant see. |
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the way you decide to proceed at doing something is the way in which you think your way of doing things is done the order, the tone, the moment in which you put some words into a phrase sounds like the one used to put notes into music phrases aaaaand.. any sense? |
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it's not the words, the numbers, the notes that make good talking, good music, or good calculations. |
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/rant |
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thread lacks a book i'll never read In Music and Probability, David Temperley explores issues in music perception and cognition from a probabilistic perspective. The application of probabilistic ideas to music has been pursued only sporadically over the past four decades, but the time is ripe, Temperley argues, for a reconsideration of how probabilities shape music perception and even music itself. Recent advances in the application of probability theory to other domains of cognitive modeling, coupled with new evidence and theoretical insights about the working of the musical mind, have laid the groundwork for more fruitful investigations. Temperley proposes computational models for two basic cognitive processes, the perception of key and the perception of meter, using techniques of Bayesian probabilistic modeling. Drawing on his own research and surveying recent work by others, Temperley explores a range of further issues in music and probability, including transcription, phrase perception, pattern perception, harmony, improvisation, and musical styles. Music and Probability—the first full-length book to explore the application of probabilistic techniques to musical issues—includes a concise survey of probability theory, with simple examples and a discussion of its application in other domains. Temperley relies most heavily on a Bayesian approach, which not only allows him to model the perception of meter and tonality but also sheds light on such perceptual processes as error detection, expectation, and pitch identification. Bayesian techniques also provide insights into such subtle and advanced issues as musical ambiguity, tension, and "grammaticality," and lead to interesting and novel predictions about compositional practice and differences between musical styles. |
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what does Bayesian mean |
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the thing you are ranting against |
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oh |
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well, so while we are here, i propose my model of things: when one learns a new language, with all its written and unwirtten rules, the latter being the emotional culture of a certain group of people upon which the language is founded, this process can be superimposed and used to perform any activity related to the aquisition, elaboration and distribution of data, therefore to any activity related to communication. i call this model 'mohamedian' |
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Logic. |
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Broccoli. |
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