Half note

Abstract: In an electronic organ, the actuation of keys in accordance with corresponding, audible tones to be reproduced effects the gating of pulses into time slots of a time decision multiplexed signal, the time slots of the multiplexed signal being structured in accordance with a desired assignment sequence to correspond to the keys and to be representative thereof for identifying each note capable of being generated by the organ. A set of note, or tone, generators with availability assignment control means for capturing a pulse in the multiplexed signal are each rendered responsive to a given captured pulse for generating the tone represented by that pulse. Automatic transposition of notes, by a specified number of half steps higher or lower than the note played, is selectively effected by a time shift of pulses in the multiplexed signal by one time slot per half note to be transposed. In this manner, when an organist plays a musical selection in an original musical key, the organ produces the audible musical output in the selected, transposed musical key.

Abstract: In recent years, psychological models of perception have undergone reevaluation due to a broadening of focus toward understanding not only how observers perceive stimuli but also how they subjectively evaluate stimuli. Here, we investigated the time course of such aesthetic evaluations using a gating paradigm. In a series of experiments, participants heard excerpts of classical, jazz, and electronica music. Excerpts were of different durations (250 ms, 500 ms, 750 ms, 1,000 ms, 2,000 ms, 10,000 ms) or note values (eighth note, quarter note, half note, dotted-half note, whole note, and entire 10,000 ms excerpt). After each excerpt, participants rated how much they liked the excerpt on a 9-point Likert scale. In Experiment 1, listeners made accurate aesthetic judgments within 750 ms for classical and jazz pieces, while electronic pieces were judged within 500 ms. When translated into note values (Experiment 2), electronica and jazz clips were judged more quickly than classical. In Experiment 3, we manipulated the familiarity of the musical excerpts. Unfamiliar clips were judged more quickly (500 ms) than familiar clips (750 ms), but there was overall higher accuracy for familiar pieces. Finally, we investigated listeners' aesthetic judgments continuously over the time course of more naturalistic (60 s) excerpts: Within 3 s, listeners' judgments differed between most- and least-liked pieces. We suggest that such rapid aesthetic judgments represent initial gut-level decisions that are made quickly, but that even these initial judgments are influenced by characteristics such as genre and familiarity. (PsycINFO Database Record (c) 2018 APA, all rights reserved).

Abstract: In this study we report on an experiment in which listeners were asked to tap in time with expressively performed music, and compare the results to two other experiments using the same stimuli which investigated beat and tempo perception through other modalities. Many computational models of beat tracking assume that beats correspond with the onset of musical notes; we consider the hypothesis that the beat times are rather given by a curve that is “smoother” than the tempo curve of the note onset times, which nevertheless can be derived from the onset times. The tapping results show a tendency to underestimate the tempo changes, which supports the smoothing hypothesis, and agrees with listening experiments and other tapping studies. Tempo and beat are well-defined in the abstract setting of a musical score, but not in the context of analysis of expressive musical performance. That is, the regular pulse, which is the basis of rhythmic notation in common music notation, is anything but regular when the timing of performed notes is measured. These micro-deviations from mechanical timing are an important part of musical expression, although they remain, for the most part, poorly understood. In this study we report on an experiment in which listeners were asked to tap in time with expressively performed music, and compare the results to two other experiments using the same stimuli which investigated beat and tempo perception through other modalities. In this paper, we define beat to be a perceived pulse consisting of a set of beat times (or beats) which are approximately equally spaced throughout a musical performance. Each pulse corresponds with one of the metrical levels of the musical notation, which is usually the quarter note, eighth note, half note or the dotted quarter note level. We refer to the time interval between two successive beats at a particular metrical level as the inter-beat interval (IBI), which is a measure of instantaneous tempo. A more general measure of tempo is given by averaging IBIs over some time period or number of beats. The IBI is expressed in units of time (per beat); the tempo is more often expressed as the reciprocal, beats per time unit (e.g. beats per minute). To distinguish the discussion of the timing of the participants’ taps from that of the timing of musical notes by the performer, we use the terms tapped IBI (t-IBI) and performed IBI (p-IBI). 1.1. Literature Review

Abstract: A method and system for transcribing musical information that allows a musician or composer to enter both rhythmic and melodic information directly from a musical instrument, such that the rhythmic information may be entered simultaneously with the entry of melodic information, during a subsequent pass after the entry of melodic information, or automatically either during or after the entry of melodic information using a companded approximation of a single unit of rhythmic information. Rhythmic information is entered as absolute and relative beat unit values from which relative note values (i.e. quarter note, half note) are assigned to the melodic information to create the proper graphic symbols to transcribe the musical information into musical notation or sheet music.