When the sudden drop to a pianissimo occurred towards the ending of the piece, the perceived arousal responses of CHM and WM dropped slightly but rose again immediately to end on a high arousal. These two groups of listeners appear to have anticipated a return to a loud and majestic close and therefore kept their arousal responses higher than those of the NM.

CHM, who are more experienced with the instruments and compositional techniques used in Chinese orchestral music, might have had an idea of which features figure more prominently in the communication of particular intentions, and therefore would have more information available for their judgments.

The perception of affective intentions in music is influenced by the degree of familiarity listeners have with a musical tradition, the content implicated in the music, and the complex sonic environment created by the composer's creation and the musicians' interpretation.

The version that participants heard was a premier of the work by the Taipei Chinese orchestra.

The communication of emotions or affect takes place when listeners perceive emotional meaning that is expressed by performers in music (Juslin, 2013a, 2013b).

An understanding of a tonal schema with its associations to happiness and sadness has been consistently found to influence listeners who have grown up in a culture of Western music.

Its mirmode function estimates the modal strength of the music in terms of ''majorness'' and ''minorness.''

The perception of consonance also plays an important role in the music listening process—combinations of tones that are consonant are perceived as more positively valenced than dissonant ones (Harrison & Pearce, 2020).

Musical structures such as pitch relations are perceptually salient and provide important information for listeners (e.g., Gabrielsson & Lindstrom, 2010; Krumhansl, 1998; Krumhansl & Kessler, 1982).

Iqa' (plural iqa'at) is used to describe a rhythmic cycle. Iqa'at are made up of two different basic building blocks, the dum and tak, onomatopoeias derived from the sound produced on membranophones such as the darabuka.

H5. Being more culturally bound, musical cues that are learned, such as modal structures, metrical relations, and so on, will exert a greater influence on listeners' perceived valence ratings than on their arousal ratings.

quite frankly a lot of artists and 00:21:16 producers are probably using it just for that they come up with something inspiration they go they make something new

what if a band decides to take one of the udio generated songs and re-record it entirely will they own the full copy rate to that very new recording now if I 00:21:03 was udio the answer probably be like no you made that thing using our platform

the AI created Music learned from got inspiration from the hit songs and came up with a great new hit song for you and then kind of you 00:13:21 know what we'll call those those artifacts or the little similarities here and there might get picked up by Content ID on YouTube

here's a way to do direct to 00:16:46 Consumer sell and can make some money and don't just be like so worried about being on the music platform streaming and now you're diluted because the AI

now there's going to be even more AI music pouring 00:09:04 into platforms which saturated Market in an already oversaturated Market

these conversations are having daily people are scrambling trying to like we're trying to keep up 00:07:32 with AI in real time scrambling to find out what we're going to do think about all the different businesses that are affected from this

Google deep mind they're coming up their new Google AI sound boox that and it is making Loops from prompts and they have wav Jean

backstory of udio like I didn't know that willim IM and United Masters were like investors in udio

deluding the general royalty pool

the volume of how much music is being created over 800,000 00:01:56 tracks a day are being created using udio

terms of service which is the contract that you sign when you get on their platform does say that you can monetize what you make so meaning you can put into distribution 00:00:41 the music that you make

I think that Noam chsky said exactly a year ago in New York Times around a year ago that generative AI is not any 00:18:37 intelligence it's just a plagiarism software that learned stealing human uh work transform it and sell it as much as possible as cheap as possible