Properties of individual differences scaling and its interpretation

Author(s):  
John C. Gower ◽  
Niël J. Le Roux ◽  
Sugnet Gardner-Lubbe
1997 ◽  
Vol 17 (3) ◽  
pp. 243-252 ◽  
Author(s):  
Ricardo Garcı́a-Mira ◽  
Constantino Arce ◽  
José M. Sabucedo

Vegetatio ◽  
1989 ◽  
Vol 83 (1-2) ◽  
pp. 137-145 ◽  
Author(s):  
Jari Oksanen ◽  
Pertti Huttunen

1976 ◽  
Vol 8 (7) ◽  
pp. 823-828 ◽  
Author(s):  
R Q Hanham

An experiment conducted by Taylor and Parkes (1975) to investigate the factorial ecology of a city within a time—space framework is reexamined by means of an alternative method. The original experiment used common-factor analysis (a two-mode procedure) in a three-mode problem. Using the published data of this experiment, the new method, Individual Differences Scaling (INDSCAL), identifies two major dimensions and defines their importance for each of the time periods being considered. INDSCAL has a greater potential as such a method, since it is capable of analyzing problems of up to seven-mode in nature.


1991 ◽  
Vol 8 (4) ◽  
pp. 369-404 ◽  
Author(s):  
Roger A. Kendall ◽  
Edward C. Carterette

Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.


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