Andrew Milne: Difference between revisions

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Dr '''Andrew J. Milne''' is Associate Professor of Music Cognition & Computation, MARCS Institute and School of Humanities and Communication Arts, Western Sydney University, Australia.

Some of my peer-reviewed articles where microtonality is a key component:

Some of my peer-reviewed articles where microtonality or pitch layouts are a key component:

* Smit, E. A., Milne, A. J., Dean, R. T., and Weidemann, G. (2022). Evaluative conditioning of responses to unfamiliar chords by exposure to valenced images. ''Psychology of Music'', 50(2):579–595.

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* Milne, A. J. (2018). ''Linking sonic aesthetics with mathematical theories'', pages 155–180. Oxford University Press, New York, NY, US.

* Milne, A. J., Bulger, D., and Herff, S. A. (2017). Exploring the space of perfectly balanced rhythms and scales. ''Journal of Mathematics and Music'', 11(2–3):101–133.

* MacRitchie, J. and Milne, A. J. (2017). Exploring the effects of pitch layout on learning a new musical instrument. ''Applied Sciences'', 7(12):1218.

* Milne, A. J. and Holland, S. (2016). Empirically testing voice-leading, Tonnetz, and spectral models of perceived triadic distance. ''Journal of Mathematics and Music'', 10(1):59–85.

* Milne, A. J., Laney, R., and Sharp, D. B. (2016). Testing a spectral model of tonal affinity with microtonal melodies and inharmonic spectra. ''Musicae Scientiae'', 20(4):465–494.

* Milne, A. J., Bulger, D., Herff, S. A., and Sethares, W. A. (2015). Perfect balance: A novel principle for the construction of musical scales and meters. In Collins, T., Meredith, D., and Volk, A., editors, ''Mathematics and Computation in Music'', volume 9110 of LNAI, pages 97–108, Berlin. Springer.

* Milne, A. J., Laney, R., and Sharp, D. B. (2015). A spectral pitch class model of the probe tone data and scalic tonality. ''Music Perception'', 32(4):364–393.

* Prechtl, A., Milne, A. J., Holland, S., Laney, R., and Sharp, D. B. (2012). A MIDI sequencer that widens access to the compositional possibilities of novel tunings. Computer Music Journal, 36(1):42–54.

* Milne, A. J., Sethares, W. A., Laney, R., and Sharp, D. B. (2011). Modelling the similarity of pitch collections with expectation tensors. ''Journal of Mathematics and Music'', 5(1):1–20.

@@ Line 1: / Line 1: @@
 Dr '''Andrew J. Milne''' is Associate Professor of Music Cognition & Computation, MARCS Institute and School of Humanities and Communication Arts, Western Sydney University, Australia.
-Some of my peer-reviewed articles where microtonality is a key component:
+Some of my peer-reviewed articles where microtonality or pitch layouts are a key component:
 * Smit, E. A., Milne, A. J., Dean, R. T., and Weidemann, G. (2022). Evaluative conditioning of responses to unfamiliar chords by exposure to valenced images. ''Psychology of Music'', 50(2):579–595.
@@ Line 10: / Line 10: @@
 * Milne, A. J. (2018). ''Linking sonic aesthetics with mathematical theories'', pages 155–180. Oxford University Press, New York, NY, US.
 * Milne, A. J., Bulger, D., and Herff, S. A. (2017). Exploring the space of perfectly balanced rhythms and scales. ''Journal of Mathematics and Music'', 11(2–3):101–133.
+* MacRitchie, J. and Milne, A. J. (2017). Exploring the effects of pitch layout on learning a new musical instrument. ''Applied Sciences'', 7(12):1218.
+* Milne, A. J. and Holland, S. (2016). Empirically testing voice-leading, Tonnetz, and spectral models of perceived triadic distance. ''Journal of Mathematics and Music'', 10(1):59–85.
 * Milne, A. J., Laney, R., and Sharp, D. B. (2016). Testing a spectral model of tonal affinity with microtonal melodies and inharmonic spectra. ''Musicae Scientiae'', 20(4):465–494.
 * Milne, A. J., Bulger, D., Herff, S. A., and Sethares, W. A. (2015). Perfect balance: A novel principle for the construction of musical scales and meters. In Collins, T., Meredith, D., and Volk, A., editors, ''Mathematics and Computation in Music'', volume 9110 of LNAI, pages 97–108, Berlin. Springer.
+* Milne, A. J., Laney, R., and Sharp, D. B. (2015). A spectral pitch class model of the probe tone data and scalic tonality. ''Music Perception'', 32(4):364–393.
 * Prechtl, A., Milne, A. J., Holland, S., Laney, R., and Sharp, D. B. (2012). A MIDI sequencer that widens access to the compositional possibilities of novel tunings. Computer Music Journal, 36(1):42–54.
 * Milne, A. J., Sethares, W. A., Laney, R., and Sharp, D. B. (2011). Modelling the similarity of pitch collections with expectation tensors. ''Journal of Mathematics and Music'', 5(1):1–20.