ORCID Profile
0000-0002-4688-8004
Current Organisation
Western Sydney University
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Simulation and Modelling | Musicology and Ethnomusicology | Sensory Processes, Perception and Performance | Performing Arts and Creative Writing
Expanding Knowledge through Studies of the Creative Arts and Writing | Communication Across Languages and Culture | Music |
Publisher: Public Library of Science (PLoS)
Date: 20-09-2023
Publisher: Informa UK Limited
Date: 02-09-2017
Publisher: MIT Press - Journals
Date: 03-2012
DOI: 10.1162/COMJ_A_00104
Publisher: MIT Press - Journals
Date: 03-2016
DOI: 10.1162/COMJ_A_00343
Abstract: We present an algorithm, instantiated in a freeware application called MeanTimes, that permits the parameterized production and transformation of a hierarchy of well-formed rhythms. Each “higher” rhythmic level fills in the gaps of all “lower” levels, and up to six such levels can be simultaneously sounded. MeanTimes has a slider enabling continuous variation of the ratios of the intervals between the beats (onsets) of the lowest level. This consequently changes—in a straightforward manner—the evenness of this level it also changes—in a more complex, but still highly patterned manner—the evennesses of all higher levels. This specific parameter, and others used in MeanTimes, are novel: We describe their mathematical formulation, demonstrate their utility for generating rhythms, and show how they differ from those typically used for pitch-based scales. Some of the compositional possibilities continue the tradition of Cowell and Nancarrow, proceeding further into metahuman performance, and have perceptual and cognitive implications that deserve further attention.
Publisher: Informa UK Limited
Date: 02-01-2016
Publisher: MIT Press - Journals
Date: 12-2007
Publisher: Springer International Publishing
Date: 2019
Publisher: Center for Open Science
Date: 23-04-2022
Abstract: We provide evidence that the roughness of chords – a psychoacoustic property resulting from unresolved frequency components – is associated with perceived dissonance (operationalized as stability) in participants with differing levels and types of exposure to Western or Western-like music. Three groups of participants were tested in a remote cloud forest region of Papua New Guinea (PNG), and two groups in Sydney, Australia (musicians and non-musicians). We find a negative relationship between roughness and musical stability in every group including the PNG community with minimal experience of musical harmony. The effect of roughness is stronger for the Sydney participants, particularly musicians. We find an effect of harmonicity – a psychoacoustic property resulting from chords having a spectral structure resembling a single pitched tone (such as produced by human vowel sounds) – only in the Sydney musician group, which indicates this feature’s effect is medi- ated via a culture-dependent mechanism. In sum, these results underline the importance of both universal and cultural mechanisms in music cognition, and they suggest powerful implications for understanding the origin of pitch structures in Western tonal music as well as on possibilities for new musical forms that align with humans’ perceptual and cognitive biases.
Publisher: Public Library of Science (PLoS)
Date: 29-06-2022
DOI: 10.1371/JOURNAL.PONE.0269597
Abstract: Music is a vital part of most cultures and has a strong impact on emotions [1–5]. In Western cultures, emotive valence is strongly influenced by major and minor melodies and harmony (chords and their progressions) [6–13]. Yet, how pitch and harmony affect our emotions, and to what extent these effects are culturally mediated or universal, is hotly debated [2, 5, 14–20]. Here, we report an experiment conducted in a remote cloud forest region of Papua New Guinea, across several communities with similar traditional music but differing levels of exposure to Western-influenced tonal music. One hundred and seventy participants were presented with pairs of major and minor cadences (chord progressions) and melodies, and chose which of them made them happier. The experiment was repeated by 60 non-musicians and 19 musicians in Sydney, Australia. Bayesian analyses show that, for cadences, there is strong evidence that greater happiness was reported for major than minor in every community except one: the community with minimal exposure to Western-like music. For melodies, there is strong evidence that greater happiness was reported for those with higher mean pitch (major melodies) than those with lower mean pitch (minor melodies) in only one of the three PNG communities and in both Sydney groups. The results show that the emotive valence of major and minor is strongly associated with exposure to Western-influenced music and culture, although we cannot exclude the possibility of universality.
Publisher: SAGE Publications
Date: 2020
Abstract: Harmonic cadences are chord progressions that play an important structural role in Western classical music – they demarcate musical phrases and contribute to the tonality. This study examines participants’ ratings of the perceived arousal and valence of a variety of harmonic cadences. Manipulations included the type of cadence (authentic, plagal, half, and deceptive), its mode (major or minor), its average pitch height (the transposition of the cadence), the presence of a single tetrad (a dissonant four-tone chord), and the mode (major or minor) of the cadence’s final chord. With the exception of average pitch height, the manipulations had only small effects on arousal. However, the perceived valence of major cadences was substantially higher than for minor cadences, and average pitch had a medium-sized positive effect. Plagal cadences, the inclusion of a tetrad, and ending on a minor chord all had weak negative effects for valence. The present findings are discussed in light of contemporary music theory and music psychology, as knowledge of how specific acoustic components and musical structures impact emotion perception in music is important for performance practice, and music-based therapies.
Publisher: MIT Press - Journals
Date: 06-2009
Publisher: SAGE Publications
Date: 27-08-2022
Abstract: Affective responses to music have been shown to be influenced by the psychoacoustic features of the acoustic signal, learned associations between musical features and emotions, and familiarity with a musical system through exposure. The present article reports two experiments investigating whether short-term exposure has an effect on valence and consonance ratings of unfamiliar musical chords from the Bohlen-Pierce system, which are not based on a traditional Western musical scale. In a pre- and post-test design, exposure to positive, negative and neutral chord types was manipulated to test for an effect of exposure on liking. In this paradigm, short-term (“mere”) exposure to unfamiliar chords produced an increase only in valence ratings for negative chords. In neither experiment did it produce an increase in valence or pleasantness ratings for other chord types. Contrast effects for some chord types were found in both experiments, suggesting that a chord’s affect (i.e., affective response to the chord) might be emphasised when the chord is preceded by a stimulus with a contrasting affect. The results confirmed those of a previous study showing that psychoacoustic features play an important role in the perception of music. The findings are discussed in light of their psychological and musical implications.
Publisher: Society for Neuroscience
Date: 25-06-2020
DOI: 10.1523/ENEURO.0413-19.2020
Abstract: Rhythmic auditory stimuli are known to elicit matching activity patterns in neural populations. Furthermore, recent research has established the particular importance of high-gamma brain activity in auditory processing by showing its involvement in auditory phrase segmentation and envelope tracking. Here, we use electrocorticographic (ECoG) recordings from eight human listeners to see whether periodicities in high-gamma activity track the periodicities in the envelope of musical rhythms during rhythm perception and imagination. Rhythm imagination was elicited by instructing participants to imagine the rhythm to continue during pauses of several repetitions. To identify electrodes whose periodicities in high-gamma activity track the periodicities in the musical rhythms, we compute the correlation between the autocorrelations (ACCs) of both the musical rhythms and the neural signals. A condition in which participants listened to white noise was used to establish a baseline. High-gamma autocorrelations in auditory areas in the superior temporal gyrus and in frontal areas on both hemispheres significantly matched the autocorrelations of the musical rhythms. Overall, numerous significant electrodes are observed on the right hemisphere. Of particular interest is a large cluster of electrodes in the right prefrontal cortex that is active during both rhythm perception and imagination. This indicates conscious processing of the rhythms’ structure as opposed to mere auditory phenomena. The autocorrelation approach clearly highlights that high-gamma activity measured from cortical electrodes tracks both attended and imagined rhythms.
Publisher: University of California Press
Date: 04-2015
Abstract: In this paper, we introduce a small family of novel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and tonic triad. Cross-validation tests of a wide selection of models show ours to have amongst the highest fits to the data. We then extend one of our models to predict the tonics of a variety of different scales such as the harmonic minor, melodic minor, and harmonic major. The model produces sensible predictions for these scales. Furthermore, we also predict the tonics of a small selection of microtonal scales—scales that do not form part of any musical culture. These latter predictions may be tested when suitable empirical data have been collected.
Publisher: Informa UK Limited
Date: 05-06-2022
DOI: 10.1080/17483107.2022.2077461
Abstract: Engagement with arts, recreation and leisure is highly valued by older adults, with positive links to their continued wellbeing. Despite an availability of new music technology, these devices are rarely designed with older adults in mind. This project explores the needs and preferences of older adults in residential care as they interact with digital music interfaces in a group music-making context. Twenty participants at an Australian residential aged-care facility were involved in a user-centred design process (20 sessions across six months) to develop digital music interfaces suitable for group music-making. Participants' verbal comments were audio-recorded and transcribed, supported by further written observation notes made by the activity facilitators. A hybrid inductive and deductive approach to thematic analysis revealed three main themes: These findings suggest implications for rehabilitation in developing a range of musical devices for older adults to account for required flexibility, whilst maintaining an appropriate and satisfyingly "rich" musical outcome.Implications for rehabilitationOlder adults positively engage with music technology, showing distinct personal preferences for aspects of physical interaction, balance and quality of sound. Rehabilitation and/or wellbeing-based musical activities for older adults in residential care may benefit from considering tools that allow for personal adaptations such as these to be made.Preferences for musical interaction can be influenced by previous musical experiences, as well as physical and/or cognitive abilities. However, on any given day musical preferences can also be subject to change.Within a group music-making context, there is a significant capacity for older adults to feel agency in contributing to the overall sound rehabilitation activities and/or technologies could be designed where this in idual contribution to the group can be enhanced.Group music-making using new digital music interfaces has the potential to encourage interpersonal social connections that are most likely made over repeated sessions.
Publisher: Center for Open Science
Date: 19-06-2020
Abstract: There is an uncountable number of different ways of characterizing almost any given real-world stimulus. This necessitates finding stimulus features that are perceptually relevant – that is, they have distinct and independent effects on the perception and cognition of the stimulus. Here, we provide a theoretical framework for empirically testing the perceptual relevance of stimulus features through their association with recognition, memory bias, and aesthetic evaluation. We deploy this framework in the auditory domain to explore the perceptual relevance of three recently developed mathematical characterizations of periodic temporal patterns: balance, evenness, and interonset interval entropy. By modelling recognition responses and liking ratings from 177 participants listening to a total of 1,252 different musical rhythms, we obtain very strong evidence that all three features have distinct effects on the memory for, and the liking of, musical rhythms. Interonset interval entropy is a measure of the unpredictability of a rhythm derived from the distribution of its durations. Balance and evenness are both obtained from the discrete Fourier transform (DFT) of periodic patterns represented as points on the unit circle, and we introduce a teleological explanation for their perceptual relevance: the DFT coefficients representing balance and evenness are relatively robust to small random temporal perturbations and hence are coherent in noisy environments. This theory suggests further research to explore the meaning and relevance of robust coefficients such as these to the perception of patterns that are periodic in time and, possibly, space.
Publisher: SAGE Publications
Date: 2019
Abstract: Spectral pitch similarity (SPS) is a measure of the similarity between spectra of any pair of sounds. It has proved powerful in predicting perceived stability and fit of notes and chords in various tonal and microtonal instrumental contexts, that is, with discrete tones whose spectra are harmonic or close to harmonic. Here we assess the possible contribution of SPS to listeners’ continuous perceptions of change in music with fewer discrete events and with noisy or profoundly inharmonic sounds, such as electroacoustic music. Previous studies have shown that time series of perception of change in a range of music can be reasonably represented by time series models, whose predictors comprise autoregression together with series representing acoustic intensity and, usually, the timbral parameter spectral flatness. Here, we study possible roles for SPS in such models of continuous perceptions of change in a range of both instrumental (note-based) and sound-based music (generally containing more noise and fewer discrete events). In the first analysis, perceived change in three pieces of electroacoustic and one of piano music is modeled, to assess the possible contribution of (de-noised) SPS in cooperation with acoustic intensity and spectral flatness series. In the second analysis, a broad range of nine pieces is studied in relation to the wider range of distinctive spectral predictors useful in previous perceptual work, together with intensity and SPS. The second analysis uses cross-sectional (mixed-effects) time series analysis to take advantage of all the in idual response series in the dataset, and to assess the possible generality of a predictive role for SPS. SPS proves to be a useful feature, making a predictive contribution distinct from other spectral parameters. Because SPS is a psychoacoustic “bottom up” feature, it may have wide applicability across both the familiar and the unfamiliar in the music to which we are exposed.
Publisher: Springer Berlin Heidelberg
Date: 2011
Publisher: Cold Spring Harbor Laboratory
Date: 30-09-2019
DOI: 10.1101/784991
Abstract: Rhythmic auditory stimuli are known to elicit matching activity patterns in neural populations. Furthermore, recent research has established the particular importance of high-gamma brain activity in auditory processing by showing its involvement in auditory phrase segmentation and envelope-tracking. Here, we use electrocorticographic (ECoG) recordings from eight human listeners, to see whether periodicities in high-gamma activity track the periodicities in the envelope of musical rhythms during rhythm perception and imagination. Rhythm imagination was elicited by instructing participants to imagine the rhythm to continue during pauses of several repetitions. To identify electrodes whose periodicities in high-gamma activity track the periodicities in the musical rhythms, we compute the correlation between the autocorrelations (ACC) of both the musical rhythms and the neural signals. A condition in which participants listened to white noise was used to establish a baseline. High-gamma autocorrelations in auditory areas in the superior temporal gyrus and in frontal areas on both hemispheres significantly matched the autocorrelation of the musical rhythms. Overall, numerous significant electrodes are observed on the right hemisphere. Of particular interest is a large cluster of electrodes in the right prefrontal cortex that is active during both rhythm perception and imagination. This indicates conscious processing of the rhythms’ structure as opposed to mere auditory phenomena. The ACC approach clearly highlights that high-gamma activity measured from cortical electrodes tracks both attended and imagined rhythms.
Publisher: Informa UK Limited
Date: 03-2008
Publisher: WORLD SCIENTIFIC
Date: 14-05-2018
DOI: 10.1142/10665
Publisher: Springer Science and Business Media LLC
Date: 10-10-2023
Publisher: MDPI AG
Date: 24-11-2017
DOI: 10.3390/APP7121218
Publisher: Springer International Publishing
Date: 2019
Publisher: Center for Open Science
Date: 12-07-2021
Abstract: Music is a vital part of most cultures and has a strong impact on emotions. In Western cultures, emotive valence (happiness and sadness) is strongly influenced by major and minor melodies and harmony (chords and their progressions). Yet, how pitch and harmony affect our emotions, and to what extent these effects are culturally mediated or universal, is hotly debated. Here, we report an experiment conducted in a remote cloud forest region of Papua New Guinea, across several communities with similar traditional music but differing levels of exposure to Western-influenced tonal music. One hundred and seventy participants were presented with pairs of major and minor cadences (chord progressions) and melodies, and chose which of them made them happier. The experiment was repeated by 60 non-musicians and 19 musicians in Sydney, Australia. Bayesian analyses show that, for cadences, there is strong evidence that major induced greater reported happiness than minor in every community except one: the community with minimal exposure to Western-like music. For melodies, there is strong evidence that those with higher mean pitch (major melodies) induced greater happiness than those with lower mean pitch (minor melodies) in only one of the three PNG communities and in both Sydney groups. The results show that the emotive valence of major and minor is strongly associated with exposure to Western-influenced music and culture, and there is no evidence for universality.
Publisher: Informa UK Limited
Date: 30-03-2023
Publisher: Public Library of Science (PLoS)
Date: 21-06-2019
Publisher: Elsevier BV
Date: 10-2020
Publisher: Elsevier BV
Date: 12-2022
Publisher: IEEE
Date: 12-2019
Publisher: Oxford University Press
Date: 05-02-2018
DOI: 10.1093/OXFORDHB/9780190226992.013.6
Abstract: Pure mathematics provides principles, procedures, and ways of thinking that can be fruitful starting points for music composition, performance, and algorithmic generation. In this chapter, a number of mathematical methods are suggested as useful ways to define and transform underlying musical structures such as metres and scales, and to realize these structures as finished pieces of music. The mathematical methods include the discrete Fourier transform, geometry, algebraic word theory, and tiling, and the chapter explains how these relate to musical features such as periodicity (or lack of periodicity), well-formedness, microtonality, canons, rhythmic hierarchies, and polyrhythms. The chapter closes with a detailed examination of a musical piece derived from the described processes.
Publisher: Cambridge University Press (CUP)
Date: 04-2019
DOI: 10.1017/S1355771819000074
Abstract: Perceptual dimensions underlying timbre and sound-source identification have received considerable scientific attention. While these scholarly insights help us in understanding the nature of sound within a multidimensional timbral space, they carry little meaning for the majority of musicians. To help address this, we conducted two experiments to establish listeners’ perceptual thresholds (PT) for changes in sound using a staircase-procedure. Unlike most timbre perception research, these changes were sonic manipulations that are common in synthesisers, audio processors and instruments familiar to musicians and producers, and occurred within continuous sounds (rather than between discrete pairs of sounds). In experiment 1, two sounds (variants of a sawtooth oscillation) both with the same fundamental frequency (F1: 80 Hz, 240 Hz or 600 Hz) were played with no intervening gap. In each trial, the two sounds’ partials differed in litudes or frequencies to produce a timbre change. The sonic manipulations were varied in size to detect thresholds for the perceived timbre change – listeners were instructed to indicate whether or not they perceived a change within the sound. In experiment 2, we modified stimulus presentation to introduce the factor of transition time (TT). Rather than occurring instantaneously (as in experiment 1), the timbre manipulations were introduced gradually over the course of a 100 ms or a 1000 ms TT. Results revealed that PTs were significantly affected by the manipulations in experiment 1, and additionally by TT in experiment 2. Importantly, the data revealed an interaction between the F1 and the timbre manipulations, such that there were differential effects of timbre changes on the perceptual system depending on pitch height. Musicians ( n =11) showed significantly smaller PTs compared to non-musicians ( n =10). However, PTs for musicians and non-musicians were highly correlated ( r =.83) across different sonic manipulations, indicating similar perceptual patterns in both. We hope that by establishing PTs for commonly used timbre manipulations, we can provide musicians with a general perceptual unit, for each manipulation, that can guide music composition and assessment.
Publisher: SAGE Publications
Date: 07-05-2022
DOI: 10.1177/03057356211008972
Abstract: The extent to which emotional responses to musical elements are influenced by their past associations with specific emotional responses is largely unknown. To assess this possibility, the present study tested whether pairing positive, negative, or neutral chords from an unfamiliar musical system (a microtonal Bohlen–Pierce tuning) with positively or negatively valenced pictures would have an effect on subsequent liking ratings. The microtonal chords used in this experiment had been previously rated, independent of any other affective input, in an earlier experiment this allows us to class each chord as intrinsically positive, negative, or neutral. It was found that exposure with an image increases liking ratings independent of the valence of the images, compared with no exposure which supports a mere exposure effect but, interestingly, we did not find substantial evidence for evaluative conditioning. Results are discussed in light of theoretical accounts of evaluative conditioning and musical implications.
Publisher: Center for Open Science
Date: 23-01-2021
Abstract: Prior investigations of simple rhythms in familiar time signatures have shown the importance of several mechanisms notably, those related to metricization and grouping. But there has been limited study of complex rhythms, including those in unfamiliar time signatures, such as are found outside mainstream Western music. Here, we investigate how the structures of 91 rhythms with non-isochronous onsets (mostly complex, several in unfamiliar time signatures) influence the accuracy, velocity, and timing of taps made by participants attempting to synchronize with these onsets. The onsets were piano-tone cues sounded at a well-formed subset of isochronous cymbal pulses the latter occurring every 234 ms. We modelled tapping at both the rhythm level and the pulse level the latter provides insight into how rhythmic structure makes some cues easier to tap and why incorrect (uncued) taps may occur. In our models, we use a wide variety of quantifications of rhythmic features, several of which are novel and many of which are indicative of underlying mechanisms, strategies, or heuristics. The results show that, for these tricky rhythms, taps are disrupted by unfamiliar period lengths and are guided by crude encodings of each rhythm: the density of rhythmic cues, their circular mean and variance, and recognizing common small patterns and the approximate positions of groups of cues. These lossy encodings are often counterproductive for discriminating between cued and uncued pulses and are quite different to mechanisms – such as metricization and emphasizing group boundaries – thought to guide tapping behaviours in learned and familiar rhythms.
Publisher: Springer International Publishing
Date: 2019
Publisher: Unpublished
Date: 2013
Publisher: MIT Press - Journals
Date: 12-2019
DOI: 10.1162/LMJ_A_01066
Abstract: This paper describes the Rhythmotron: a percussion-centered robotic orchestrion, commissioned for the CoLABS festival in Sydney in 2017. The authors describe how they electronically reimagined the mechanical components of a cylinder piano by using a variant of the XronoMorph software, and they consider the synergy between algorithmically generated rhythms in a digital environment alongside its analogous mechanical counterpart. The authors detail the idiosyncratic behaviors of linear actuators when used to power drumming robots, and they discuss the aesthetic implications of the Rhythmotron.
Publisher: SAGE Publications
Date: 08-2016
Abstract: Tonal affinity is the perceived goodness of fit of successive tones. It is important because a preference for certain intervals over others would likely influence preferences for, and prevalences of, “higher-order” musical structures such as scales and chord progressions. We hypothesize that two psychoacoustic (spectral) factors—harmonicity and spectral pitch similarity—have an impact on affinity. The harmonicity of a single tone is the extent to which its partials (frequency components) correspond to those of a harmonic complex tone (whose partials are a multiple of a single fundamental frequency). The spectral pitch similarity of two tones is the extent to which they have partials with corresponding, or close, frequencies. To ascertain the unique effect sizes of harmonicity and spectral pitch similarity, we constructed a computational model to numerically quantify them. The model was tested against data obtained from 44 participants who ranked the overall affinity of tones in melodies played in a variety of tunings (some microtonal) with a variety of spectra (some inharmonic). The data indicate the two factors have similar, but independent, effect sizes: in combination, they explain a sizeable portion of the variance in the data (the model-data squared correlation is r 2 = .64). Neither harmonicity nor spectral pitch similarity require prior knowledge of musical structure, so they provide a potentially universal bottom-up explanation for tonal affinity. We show how the model—as optimized to these data—can explain scale structures commonly found in music, both historical and contemporary, and we discuss its implications for experimental microtonal and spectral music.
Publisher: MDPI AG
Date: 06-12-2018
DOI: 10.3390/APP8122514
Abstract: The physical arrangement of pitches in most traditional musical instruments—including the piano and guitar—is non-isomorphic, which means that a given spatial relationship between two keys, buttons, or fretted strings can produce differing musical pitch intervals. Recently, a number of new musical interfaces have been developed with isomorphic pitch layouts where these relationships are consistent. Since the nineteenth century, it has been widely considered that isomorphic pitch layouts facilitate the learnability and playability of instruments, particularly when a piece is transposed into a different key however, prior to this paper, this has not been experimentally tested. To address this, we investigated four different pitch layouts to examine whether isomorphism facilitates retention and transfer of musical learning within and across keys. Both non-musicians and musicians were tested on two training tasks: two immediate retention tasks and a transfer task. Each participant played every task on two distinct layouts—one being an isomorphic layout (Wicki or Bosanquet), the other being a minimally adjusted non-isomorphic version. For musicians, isomorphism was found to facilitate transfer of learning to a novel task for non-musicians, the results were mixed. This study provides insight into features that are important to music instrument design.
Publisher: Informa UK Limited
Date: 03-2011
Publisher: MDPI AG
Date: 24-04-2019
DOI: 10.3390/APP9081695
Abstract: Mixing music is a highly complex task. This is exacerbated by the fact that timbre perception is still poorly understood. As a result, few studies have been able to pinpoint listeners’ preferences in terms of timbre. In order to investigate timbre preference in a music production context, we let participants mix multiple in idual parts of musical pieces (bassline, harmony, and arpeggio parts, all sounded with a synthesizer) by adjusting four specific timbral attributes of the synthesizer (lowpass, sawtooth/square wave oscillation blend, distortion, and inharmonicity). After participants mixed all parts of a musical piece, they were asked to rate multiple mixes of the same musical piece. Listeners showed preferences for their own mixes over random, fixed sawtooth, or expert mixes. However, participants were unable to identify their own mixes. Despite not being able to accurately identify their own mixes, participants consistently preferred the mix they thought to be their own, regardless of whether or not this mix was indeed their own. Correlations and cluster analysis of the participants’ mixing settings show most participants behaving independently in their mixing approaches and one moderate sized cluster of participants who are actually rather similar. In reference to the starting-settings, participants applied the biggest changes to the sound with the inharmonicity manipulation (measured in the perceptual distance) despite often mentioning that they do not find this manipulation particularly useful. The results show that listeners have a consistent, yet in idual timbre preference and are able to reliably evoke changes in timbre towards their own preferences.
Publisher: Springer International Publishing
Date: 2015
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
Start Date: 2017
End Date: 2020
Funder: Australian Research Council
View Funded ActivityStart Date: 02-2017
End Date: 10-2022
Amount: $369,000.00
Funder: Australian Research Council
View Funded Activity