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Oded Ben‐Tal

Biographic Data

ID10856897
NAMEOded Ben‐Tal
GIVEN NAMESOded
FAMILY NAMEBen‐Tal
SIGNATUREBEN TAL O
AFFILIATIONSKingston University
ORCID0000-0003-2719-8152
VERIFIEDNo
TOTAL WORKS5
TOTAL CITATIONS3
WORKS AS AUTHOR5
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2004
LATEST PUBLICATION YEAR2021
H-INDEX1
  • How Music AI Is Useful

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2021•Cited by: 1•References: 10

    Critical but often overlooked research questions in artificial intelligence applied to music involve the impact of the results for music. How and to what extent does such research contribute to the domain of music? How are the resulting models useful for music practitioners? This article describes work arising from research engaging with composers, musicians and audiences to address such questions: two websites that make their AI models accessibl…

  • Machine learning research that matters for music creation

    Bob L Sturm, Oded Ben-Tal et al.•ARTICLE•Journal of New Music Research•2019•Cited by: 1•References: 23

    Research applying machine learning to music modelling and generation typically proposes model architectures, training methods and datasets, and gauges system performance using quantitative measures like sequence likelihoods and/or qualitative listening tests. Rarely does such work explicitly question and analyse its usefulness for and impact on real-world practitioners, and then build on those outcomes to inform the development and application of…

  • Characterising musical gestures

    Open Access•Oded Ben-Tal, Oded Ben‐Tal•ARTICLE•Musicae Scientiae•2012

    Despite the widespread use of the term gesture in writings about music, the term is not defined in most musical dictionaries. Moreover, as this paper shows, the term is employed by different writers in a wide variety of ways. One common use of the term refers to sonic instances that are close analogies of physical gestures. These could be termed expressive unit gestures which, like physical gestures, are perceived as a short, unified, expressive …

  • Reflections on Synesthesia, Perception, and Cognition

    Noam Sagiv, Alireza Ilbeigi et al.•ARTICLE•Intellectica Revue de l…•2011

    Réflexions sur la synesthésie, la perception et la cognition. Nous nous penchons dans cet article sur trois questions toujours actuelles : sur le rapport entre le monde physique et le monde perçu, sur la difficulté d’expliquer les différences individuelles dans la perception du monde environnant, et sur l’énigme de la compréhension de l’esprit d’autrui. En examinant la relation entre la synesthésie et les hallucinations, et entre les hallucinatio…

  • Creative Aspects of Sonification

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2004•Cited by: 1•References: 2

    Agoal of sonification research is the intuitive audio representation of complex, multidimensional data. The authors present two facets of this research that may provide insight into the creative process. First, they discuss aspects of categorical perception in nonverbal auditory scene analysis and propose that these characteristics are simplified models of creative engagement with sound. Second, they describe the use of sonified data in musical c…

  • How Music AI Is Useful

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2021•Cited by: 1•References: 10

    Critical but often overlooked research questions in artificial intelligence applied to music involve the impact of the results for music. How and to what extent does such research contribute to the domain of music? How are the resulting models useful for music practitioners? This article describes work arising from research engaging with composers, musicians and audiences to address such questions: two websites that make their AI models accessibl…

  • Machine learning research that matters for music creation

    Bob L Sturm, Oded Ben-Tal et al.•ARTICLE•Journal of New Music Research•2019•Cited by: 1•References: 23

    Research applying machine learning to music modelling and generation typically proposes model architectures, training methods and datasets, and gauges system performance using quantitative measures like sequence likelihoods and/or qualitative listening tests. Rarely does such work explicitly question and analyse its usefulness for and impact on real-world practitioners, and then build on those outcomes to inform the development and application of…

  • Creative Aspects of Sonification

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2004•Cited by: 1•References: 2

    Agoal of sonification research is the intuitive audio representation of complex, multidimensional data. The authors present two facets of this research that may provide insight into the creative process. First, they discuss aspects of categorical perception in nonverbal auditory scene analysis and propose that these characteristics are simplified models of creative engagement with sound. Second, they describe the use of sonified data in musical c…

  • Creative Aspects of Sonification

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2004•Cited by: 1•References: 2

    Agoal of sonification research is the intuitive audio representation of complex, multidimensional data. The authors present two facets of this research that may provide insight into the creative process. First, they discuss aspects of categorical perception in nonverbal auditory scene analysis and propose that these characteristics are simplified models of creative engagement with sound. Second, they describe the use of sonified data in musical c…

  • Reflections on Synesthesia, Perception, and Cognition

    Noam Sagiv, Alireza Ilbeigi et al.•ARTICLE•Intellectica Revue de l…•2011

    Réflexions sur la synesthésie, la perception et la cognition. Nous nous penchons dans cet article sur trois questions toujours actuelles : sur le rapport entre le monde physique et le monde perçu, sur la difficulté d’expliquer les différences individuelles dans la perception du monde environnant, et sur l’énigme de la compréhension de l’esprit d’autrui. En examinant la relation entre la synesthésie et les hallucinations, et entre les hallucinatio…

  • Characterising musical gestures

    Open Access•Oded Ben-Tal, Oded Ben‐Tal•ARTICLE•Musicae Scientiae•2012

    Despite the widespread use of the term gesture in writings about music, the term is not defined in most musical dictionaries. Moreover, as this paper shows, the term is employed by different writers in a wide variety of ways. One common use of the term refers to sonic instances that are close analogies of physical gestures. These could be termed expressive unit gestures which, like physical gestures, are perceived as a short, unified, expressive …

  • Machine learning research that matters for music creation

    Bob L Sturm, Oded Ben-Tal et al.•ARTICLE•Journal of New Music Research•2019•Cited by: 1•References: 23

    Research applying machine learning to music modelling and generation typically proposes model architectures, training methods and datasets, and gauges system performance using quantitative measures like sequence likelihoods and/or qualitative listening tests. Rarely does such work explicitly question and analyse its usefulness for and impact on real-world practitioners, and then build on those outcomes to inform the development and application of…

  • How Music AI Is Useful

    Oded Ben-Tal, Oded Ben‐Tal et al.•ARTICLE•Leonardo•2021•Cited by: 1•References: 10

    Critical but often overlooked research questions in artificial intelligence applied to music involve the impact of the results for music. How and to what extent does such research contribute to the domain of music? How are the resulting models useful for music practitioners? This article describes work arising from research engaging with composers, musicians and audiences to address such questions: two websites that make their AI models accessibl…

Computer Science (4 works) · Psychology (4 works) · Multisensory perception and integration (3 works) · Music and Audio Processing (3 works) · Neuroscience and Music Perception (3 works) · Visual arts (3 works) · Art (2 works) · Artificial Intelligence (2 works) · Cognitive psychology (2 works) · Cognitive science (2 works)

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