马赛克
发表于 2025-3-26 23:56:09
http://reply.papertrans.cn/67/6678/667785/667785_31.png
bifurcate
发表于 2025-3-27 01:55:02
http://reply.papertrans.cn/67/6678/667785/667785_32.png
INERT
发表于 2025-3-27 05:18:22
https://doi.org/10.1007/978-3-642-36098-5Music Psychology; Musical Acoustics; Nonlinearities; Selforganization; Synchronization; complexity
不透气
发表于 2025-3-27 12:26:15
Finite-Element SimulationThe Finite-Element formulation of Musical instruments has the advantage, that the definition of elements is very sophisticated. So we may define elements to be very small or to cover small sections of the geometry which is more difficult in the Finite-Difference formulation when not applying virtual points within the structure.
逗留
发表于 2025-3-27 16:03:53
http://reply.papertrans.cn/67/6678/667785/667785_35.png
游行
发表于 2025-3-27 18:35:14
http://reply.papertrans.cn/67/6678/667785/667785_36.png
相信
发表于 2025-3-28 01:24:30
http://reply.papertrans.cn/67/6678/667785/667785_37.png
死亡
发表于 2025-3-28 02:16:48
Psychoacousticsal unit most often present in interval order. So e.g. pitch perception is related to frequency, loudness to sound pressure, or brightness to the spectral centroid. We may ask for the logic of this relation, is it necessarily or possibly so, always or sometimes, partial or complete.
阻碍
发表于 2025-3-28 07:37:07
http://reply.papertrans.cn/67/6678/667785/667785_39.png
FUSC
发表于 2025-3-28 12:39:51
Pitch, Melody, Tonalityterval scale. When relating pitch to frequency, a perceived tone can be associated to a frequency number. Comparing two tones can then be done by comparing the ratios of their frequencies, and we arrive at the well known harmonic relations of the octave (2:1), fifth (3:2), forth (4:3) etc.