Aimed at the problem that the traditional ART-2 neural network can not recognize a gradually changing course, an eternal term memory (ETM) vector is introduced into ART-2 to simulate the function of human brain, i.e. ...Aimed at the problem that the traditional ART-2 neural network can not recognize a gradually changing course, an eternal term memory (ETM) vector is introduced into ART-2 to simulate the function of human brain, i.e. the deep remembrance for the initial impression.. The eternal term memory vector is determined only by the initial vector that establishes category neuron node and is used to keep the remembrance for this vector for ever. Two times of vigilance algorithm are put forward, and the posterior input vector must first pass the first vigilance of this eternal term memory vector, only succeeded has it the qualification to begin the second vigilance of long term memory vector. The long term memory vector can be revised only when both of the vigilances are passed. Results of recognition examples show that the improved ART-2 overcomes the defect of traditional ART-2 and can recognize a gradually changing course effectively.展开更多
Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation...Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.展开更多
基金Sponsored by the National Natural Science Foundation of China (Grant No. 50305005)
文摘Aimed at the problem that the traditional ART-2 neural network can not recognize a gradually changing course, an eternal term memory (ETM) vector is introduced into ART-2 to simulate the function of human brain, i.e. the deep remembrance for the initial impression.. The eternal term memory vector is determined only by the initial vector that establishes category neuron node and is used to keep the remembrance for this vector for ever. Two times of vigilance algorithm are put forward, and the posterior input vector must first pass the first vigilance of this eternal term memory vector, only succeeded has it the qualification to begin the second vigilance of long term memory vector. The long term memory vector can be revised only when both of the vigilances are passed. Results of recognition examples show that the improved ART-2 overcomes the defect of traditional ART-2 and can recognize a gradually changing course effectively.
文摘Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.
