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ë23 \Computing the Psychological Similarity of Musical Compo-nents"
Makoto Muto, Ibuki Handa, Hirofumi Hibi, Shuichi Sakai,
Hidehiko Tanaka
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[1] * ,
ä%: á+ûùÊ¹¾Òf`gàiòâ, +û| ª¶¶ 1 ¡©:¨ÜyµÎ f t b c g ©
ù7 ,Vol.5, No.1, pp.22-43, 1999.
[2] 4ô, ,2, 9#ï, $$²%, ': á+û°ªÊ
H3¸ t = t+1 0 t §¦¥µÎ2 ¡©íÏ:P¹¾ÒüòË£fbiË"â, éåúõÜ 60 ö×"Ûõd f 1t g, f 2t g ©îFh¸ t f 1 j 1t0 2t j+(´ (2), pp.51-52, 2000.
2 jb1t 0 b2t j + 3 jc1t 0 c2tjg ¥µÎ¤Í n ª[3] ¦,±¤: ádghieacjà]Ô·ÃüòéË:0ÿ¨µ|AØ©P eîFh¨=µ5mðâ, §éêúõ¨, Vol.J82-D-II, No.4, pp.677©h1©S®¸5 Î684, 1999.
[4] ñ¥, íã, ! Ýã: á+ û¢Ê¹¾Ò­5\kb]_k^â, éåúõ !, 98-DBS-116(2), pp.117-124,a;

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1998.
[5] Fred Lerdahl: Tonal Pitch Space,

Music Perception, Vol.5,No.3, pp.315-350, 1988.

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