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Cutting, Bruno, Brady, and Moore (1992) investigated the properties of Massaro's (1987) fuzzy-logical model of perception (FLMP) and other models. Among their results, they found that FLMP and an addi...
Traditionally, models are compared on the basis of their accuracy, their scope, and their simplicity. Simplicity is often represented by parameter counts; the fewer the parameters, the simpler the mod...
[1] In the past seventeen or so years since the publication of pioneering work by David Lewin (Lewin 1990) and Henry Klumpenhouwer (Klumpenhouwer 1991), the theory of Klumpenhouwer networks (hereafter...
Mashinter’s (2006) mathematical model of sensory dissonance neglects the dependence of roughness on waveform, the role of masking, the distribution of roughness across critical bands, the possible p...
The commentary asserts the importance of conducting additional research on additive dissonance, and points to the need for terminological precision in discussions of sensory versus systemic (i.e. le...
The phenomena of consonance and dissonance are thought to involve both learned and innate components. Work by Greenwood (1961) and Plomp and Levelt (1965) established that an aspect of dissonance pe...
Although mathematical models of the scale have always been characteristic of Western music theory, in the last 200 years they have not been very much improved (although some interesting properties...

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