Computer Aided Design System for Developing Musical Fountain Programs

Institute of Scientific and Technical Information of China (English)

刘丹; 张乃尧; 朱汉城

2003-01-01

A computer aided design system for developing musical fountain programs was developed with multiple functions such as intelligent design, 3-D animation, manual modification and synchronized motion to make the development process more efficient. The system first analyzed the music form and sentiment using many basic features of the music to select a basic fountain program. Then, this program is simulated with 3-D animation and modified manually to achieve the desired results. Finally, the program is transformed to a computer control program to control the musical fountain in time with the music. A prototype system for the musical fountain was also developed. It was tested with many styles of music and users were quite satisfied with its performance. By integrating various functions, the proposed computer aided design system for developing musical fountain programs greatly simplified the design of the musical fountain programs.

DISTRIBUTED GENERATION OF COMPUTER MUSIC IN THE INTERNET OF THINGS

Directory of Open Access Journals (Sweden)

G. G. Rogozinsky

2015-07-01

Full Text Available Problem Statement. The paper deals with distributed intelligent multi-agent system for computer music generation. A mathematical model for data extraction from the environment and their application in the music generation process is proposed. Methods. We use Resource Description Framework for representation of timbre data. A special musical programming language Csound is used for subsystem of synthesis and sound processing. Sound generation occurs according to the parameters of compositional model, getting data from the outworld. Results. We propose architecture of a potential distributed system for computer music generation. An example of core sound synthesis is presented. We also propose a method for mapping real world parameters to the plane of compositional model, in an attempt to imitate elements and aspects of creative inspiration. Music generation system has been represented as an artifact in the Central Museum of Communication n.a. A.S. Popov in the framework of «Night of Museums» action. In the course of public experiment it was stated that, in the whole, the system tends to a quick settling of neutral state with no musical events generation. This proves the necessity of algorithms design for active condition support of agents’ network, in the whole. Practical Relevance. Realization of the proposed system will give the possibility for creation of a technological platform for a whole new class of applications, including augmented acoustic reality and algorithmic composition.

An affective music player: Methods and models for physiological computing

NARCIS (Netherlands)

Janssen, J.H.; Westerink, J.H.D.M.; van den Broek, Egon

2009-01-01

Affective computing is embraced by many to create more intelligent systems and smart environments. In this thesis, a specific affective application is envisioned: an affective physiological music player (APMP), which should be able to direct its user's mood. In a first study, the relationship

Proceedings of the 2007 International Computer Music Conference

DEFF Research Database (Denmark)

John Chowning, pioneer on digital music, and Barbara Tillmann, researcher in music cognition as our keynote speakers. This years' theme, 'Immersed Music', will be covered by numerous sessions related to perception and cognition, and by Barbara Tillmanns' keynote. In addition, we have planned two......It is a pleasure to welcome everyone to the 2007 International Computer Music Conference, hosted in Copenhagen from the 27th to the 31st of August. ICMC2007 is organized by Re:New - Digital arts forum, in collaboration with the International Computer Music Association and Medialogy at Aalborg...... efficient in providing feedback and comments on the numerous papers submitted. The response to the call for participation was very positive. We received 290 paper submissions and 554 music submissions. We are extremely grateful for the interest and support from around the world. It is an honor to welcome...

Markov source model for printed music decoding

Science.gov (United States)

Kopec, Gary E.; Chou, Philip A.; Maltz, David A.

1995-03-01

This paper describes a Markov source model for a simple subset of printed music notation. The model is based on the Adobe Sonata music symbol set and a message language of our own design. Chord imaging is the most complex part of the model. Much of the complexity follows from a rule of music typography that requires the noteheads for adjacent pitches to be placed on opposite sides of the chord stem. This rule leads to a proliferation of cases for other typographic details such as dot placement. We describe the language of message strings accepted by the model and discuss some of the imaging issues associated with various aspects of the message language. We also point out some aspects of music notation that appear problematic for a finite-state representation. Development of the model was greatly facilitated by the duality between image synthesis and image decoding. Although our ultimate objective was a music image model for use in decoding, most of the development proceeded by using the evolving model for image synthesis, since it is computationally far less costly to image a message than to decode an image.

Organizing Mass-Interaction Physical Models: the CORDIS-ANIMA Musical Instrumentarium

OpenAIRE

Tache , Olivier; Cadoz , Claude

2009-01-01

International audience; Practicing physical modeling leads to reconsider the relationship with the musical computer, at a conceptual and practical level. This calls for specific learning tools, which fully take into account the specificities of this activity and go further than the traditional concepts of libraries of models and tutorials used in computer music environments. This paper presents a framework, called the Instrumentarium, which addresses this issue in the context of the CORDIS-AN...

Music Teachers' Experiences in One-to-One Computing Environments

Science.gov (United States)

Dorfman, Jay

2016-01-01

Ubiquitous computing scenarios such as the one-to-one model, in which every student is issued a device that is to be used across all subjects, have increased in popularity and have shown both positive and negative influences on education. Music teachers in schools that adopt one-to-one models may be inadequately equipped to integrate this kind of…

ComPLuS Model: A New Insight in Pupils' Collaborative Talk, Actions and Balance during a Computer-Mediated Music Task

Science.gov (United States)

Nikolaidou, Georgia N.

2012-01-01

This exploratory work describes and analyses the collaborative interactions that emerge during computer-based music composition in the primary school. The study draws on socio-cultural theories of learning, originated within Vygotsky's theoretical context, and proposes a new model, namely Computer-mediated Praxis and Logos under Synergy (ComPLuS).…

Biomechanical Modelling of Musical Performance: A Case Study of the Guitar

OpenAIRE

Costalonga, Leandro

2009-01-01

Merged with duplicate record 10026.1/2517 on 07.20.2017 by CS (TIS) Computer-generated musical performances are often criticised for being unable to match the expressivity found in performances by humans. Much research has been conducted in the past two decades in order to create computer technology able to perform a given piece music as expressively as humans, largely without success. Two approaches have been often adopted to research into modelling expressive music perform...

Music Genre Classification Systems - A Computational Approach

DEFF Research Database (Denmark)

Ahrendt, Peter

2006-01-01

Automatic music genre classification is the classification of a piece of music into its corresponding genre (such as jazz or rock) by a computer. It is considered to be a cornerstone of the research area Music Information Retrieval (MIR) and closely linked to the other areas in MIR. It is thought...... that MIR will be a key element in the processing, searching and retrieval of digital music in the near future. This dissertation is concerned with music genre classification systems and in particular systems which use the raw audio signal as input to estimate the corresponding genre. This is in contrast...... to systems which use e.g. a symbolic representation or textual information about the music. The approach to music genre classification systems has here been system-oriented. In other words, all the different aspects of the systems have been considered and it is emphasized that the systems should...

A fast computation method for MUSIC spectrum function based on circular arrays

Science.gov (United States)

Du, Zhengdong; Wei, Ping

2015-02-01

The large computation amount of multiple signal classification (MUSIC) spectrum function seriously affects the timeliness of direction finding system using MUSIC algorithm, especially in the two-dimensional directions of arrival (DOA) estimation of azimuth and elevation with a large antenna array. This paper proposes a fast computation method for MUSIC spectrum. It is suitable for any circular array. First, the circular array is transformed into a virtual uniform circular array, in the process of calculating MUSIC spectrum, for the cyclic characteristics of steering vector, the inner product in the calculation of spatial spectrum is realised by cyclic convolution. The computational amount of MUSIC spectrum is obviously less than that of the conventional method. It is a very practical way for MUSIC spectrum computation in circular arrays.

The Application of Computer Music Technology to College Students

OpenAIRE

Wang Na

2016-01-01

Contemporary music education started late in China on the basis of western teaching theories formed its own unique system, which has a great influence on present computer music technology. This paper explores that contemporary music education is analyzed advantages and disadvantages of the influence on the development of Chinese class music, and the solutions are found out to the existing problems, summed up the reality enlightenment of that the contemporary music on the impact of education.

The Application of Computer Music Technology to College Students

Directory of Open Access Journals (Sweden)

Wang Na

2016-01-01

Full Text Available Contemporary music education started late in China on the basis of western teaching theories formed its own unique system, which has a great influence on present computer music technology. This paper explores that contemporary music education is analyzed advantages and disadvantages of the influence on the development of Chinese class music, and the solutions are found out to the existing problems, summed up the reality enlightenment of that the contemporary music on the impact of education.

A flexible system for creating music while interacting with the computer

NARCIS (Netherlands)

Obrenovic, Z.

2005-01-01

Music is a very important part of our lives. People enjoy listening to the music, and many of us find a special pleasure in creating the music. Computers further extended many aspects of our musical experience. Listening to, recording, and creating music is now easier and more accessible to various

A computational study on outliers in world music

Science.gov (United States)

Benetos, Emmanouil; Dixon, Simon

2017-01-01

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as ‘outliers’. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the ‘uniqueness’ of the music of each country. PMID:29253027

A computational study on outliers in world music.

Science.gov (United States)

Panteli, Maria; Benetos, Emmanouil; Dixon, Simon

2017-01-01

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as 'outliers'. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the 'uniqueness' of the music of each country.

Discrete-time modelling of musical instruments

International Nuclear Information System (INIS)

Vaelimaeki, Vesa; Pakarinen, Jyri; Erkut, Cumhur; Karjalainen, Matti

2006-01-01

This article describes physical modelling techniques that can be used for simulating musical instruments. The methods are closely related to digital signal processing. They discretize the system with respect to time, because the aim is to run the simulation using a computer. The physics-based modelling methods can be classified as mass-spring, modal, wave digital, finite difference, digital waveguide and source-filter models. We present the basic theory and a discussion on possible extensions for each modelling technique. For some methods, a simple model example is chosen from the existing literature demonstrating a typical use of the method. For instance, in the case of the digital waveguide modelling technique a vibrating string model is discussed, and in the case of the wave digital filter technique we present a classical piano hammer model. We tackle some nonlinear and time-varying models and include new results on the digital waveguide modelling of a nonlinear string. Current trends and future directions in physical modelling of musical instruments are discussed

Play it again with feeling: computer feedback in musical communication of emotions.

Science.gov (United States)

Juslin, Patrik N; Karlsson, Jessika; Lindström, Erik; Friberg, Anders; Schoonderwaldt, Erwin

2006-06-01

Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semi-professional jazz /rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.

77 FR 51571 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers...

Science.gov (United States)

2012-08-24

... Music and Data Processing Devices, Computers, and Components Thereof; Notice of Receipt of Complaint... complaint entitled Wireless Communication Devices, Portable Music and Data Processing Devices, Computers..., portable music and data processing devices, computers, and components thereof. The complaint names as...

“… computer music is cool!” Theoretical Implications of Ambivalences in Contemporary Trends in Music Reception

OpenAIRE

Neumann-Braun, Klaus

2006-01-01

Technical innovations in the last years have decisively changed the ways in which we consume music. The use of the internet has led to an heretofore unknown expansion in the access to different kinds of music. Napster is the slogan which popularized the idea of searching the computer files of millions of computer users through a central server and of downloading a host of music titles in fairly good quality. Other “peer-to-peer”– systems (i.g. imesh) followed. This practice has led to an econ...

Music genre classification via likelihood fusion from multiple feature models

Science.gov (United States)

Shiu, Yu; Kuo, C.-C. J.

2005-01-01

Music genre provides an efficient way to index songs in a music database, and can be used as an effective means to retrieval music of a similar type, i.e. content-based music retrieval. A new two-stage scheme for music genre classification is proposed in this work. At the first stage, we examine a couple of different features, construct their corresponding parametric models (e.g. GMM and HMM) and compute their likelihood functions to yield soft classification results. In particular, the timbre, rhythm and temporal variation features are considered. Then, at the second stage, these soft classification results are integrated to result in a hard decision for final music genre classification. Experimental results are given to demonstrate the performance of the proposed scheme.

THE ISSUE OF FORMING FUTURE MUSIC TEACHERS’ PROFESSIONAL COMPETENCE BY COMPUTER TECHNOLOGY TOOLS IN THE THEORY OF NATIONAL ART

Directory of Open Access Journals (Sweden)

Lyudmila Gavrilova

2017-04-01

Full Text Available The article deals with theoretical aspects of forming future music teachers’ professional competence by computer technology tools. The concept of professional competence has become a major criterion of preparing students for professional activities. The issue of the article is relevant as the competence approach has become a basis of implementing computer technologies into future music teachers’ training. The authors give a detailed analysis of implementing computer technologies into musical education. The special attention is paid to using a computer in musical education and making electronic pedagogical resources. The aim of the article is to outline the directions of national art research in the process of implementing computer tools that is one of the most efficient ways of updating process of future music teachers’ training. The article reveals theoretical aspects of forming future music teachers’ professional competence by computer technology tools. The authors point out that implementing musical and computer technologies into music art practice is realized in some directions: using a computer as a new musical instrument in composers, sound engineers, and arrangers’ activities; using a computer for studying the quality of music sound, analysing sounds and music compositions, spectral analysis of acoustic characteristics of singers’ voice; studying ancient music manuscripts due to digital technology; developing hardware and software for music education. A distinct direction of research is the pedagogical aspect of using a computer in music education (music and the use of special software for recording and editing music, the use of multimedia to enhance visibility in education, development of e-learning resources, etc.. The authors conclude that implementing computer technologies into future music teachers’ training makes this process more efficient. In the authors’ opinion the widespread introduction of distance learning

At the crossroads of evolutionary computation and music: self-programming synthesizers, swarm orchestras and the origins of melody.

Science.gov (United States)

Miranda, Eduardo Reck

2004-01-01

This paper introduces three approaches to using Evolutionary Computation (EC) in Music (namely, engineering, creative and musicological approaches) and discusses examples of representative systems that have been developed within the last decade, with emphasis on more recent and innovative works. We begin by reviewing engineering applications of EC in Music Technology such as Genetic Algorithms and Cellular Automata sound synthesis, followed by an introduction to applications where EC has been used to generate musical compositions. Next, we introduce ongoing research into EC models to study the origins of music and detail our own research work on modelling the evolution of melody. Copryright 2004 Massachusetts Institute of Technology

Style in Music

Science.gov (United States)

Dannenberg, Roger B.

Because music is not objectively descriptive or representational, the subjective qualities of music seem to be most important. Style is one of the most salient qualities of music, and in fact most descriptions of music refer to some aspect of musical style. Style in music can refer to historical periods, composers, performers, sonic texture, emotion, and genre. In recent years, many aspects of music style have been studied from the standpoint of automation: How can musical style be recognized and synthesized? An introduction to musical style describes ways in which style is characterized by composers and music theorists. Examples are then given where musical style is the focal point for computer models of music analysis and music generation.

Deep Predictive Models in Interactive Music

OpenAIRE

Martin, Charles P.; Ellefsen, Kai Olav; Torresen, Jim

2018-01-01

Automatic music generation is a compelling task where much recent progress has been made with deep learning models. In this paper, we ask how these models can be integrated into interactive music systems; how can they encourage or enhance the music making of human users? Musical performance requires prediction to operate instruments, and perform in groups. We argue that predictive models could help interactive systems to understand their temporal context, and ensemble behaviour. Deep learning...

A compression-based model of musical learning

DEFF Research Database (Denmark)

Meredith, David

for the most satisfying (usually the most economical) interpretation of the new work. This is modelled as the modification of a pre-existing program, P, that computes some corpus (i.e., a compact encoding of the corpus), so that it can additionally compute the object to be interpreted. In other words...... in musical perception. The feasibility of this view is demonstrated in a computational model which is applied to the first book of J. S. Bach’s Das Wohltemperirte Clavier. This model pre-processes the data using the author’s PS13s1 pitch spelling algorithm [4,5], then applies a modified version of the author......’s COSIATEC algorithm [6] to derive compact encodings of works that maximise reuse of previous encodings. The resulting analyses will be presented and discussed. References [1] Pomerantz, J. R. and Kubovy, M. (1986). Theoretical approaches to perceptual organization: Simplicity and likelihood principles. In...

77 FR 58576 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers...

Science.gov (United States)

2012-09-21

... Devices, Portable Music and Data Processing Devices, Computers, and Components Thereof; Institution of... communication devices, portable music and data processing devices, computers, and components thereof by reason... alleges that an industry in the United States exists as required by subsection (a)(2) of section 337. The...

Computational-Model-Based Analysis of Context Effects on Harmonic Expectancy.

Science.gov (United States)

Morimoto, Satoshi; Remijn, Gerard B; Nakajima, Yoshitaka

2016-01-01

Expectancy for an upcoming musical chord, harmonic expectancy, is supposedly based on automatic activation of tonal knowledge. Since previous studies implicitly relied on interpretations based on Western music theory, the underlying computational processes involved in harmonic expectancy and how it relates to tonality need further clarification. In particular, short chord sequences which cannot lead to unique keys are difficult to interpret in music theory. In this study, we examined effects of preceding chords on harmonic expectancy from a computational perspective, using stochastic modeling. We conducted a behavioral experiment, in which participants listened to short chord sequences and evaluated the subjective relatedness of the last chord to the preceding ones. Based on these judgments, we built stochastic models of the computational process underlying harmonic expectancy. Following this, we compared the explanatory power of the models. Our results imply that, even when listening to short chord sequences, internally constructed and updated tonal assumptions determine the expectancy of the upcoming chord.

78 FR 24775 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers and...

Science.gov (United States)

2013-04-26

... Devices, Portable Music and Data Processing Devices, Computers and Components Thereof; Commission Decision... importation of certain wireless communication devices, portable music and data processing devices, computers... '826 patent''). The complaint further alleges the existence of a domestic industry. The Commission's...

77 FR 38826 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers and...

Science.gov (United States)

2012-06-29

... Devices, Portable Music and Data Processing Devices, Computers and Components Thereof, Commission Decision... importation of certain wireless communication devices, portable music and data processing devices, computers... further alleges the existence of a domestic industry. The Commission's notice of investigation named Apple...

78 FR 12785 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers and...

Science.gov (United States)

2013-02-25

... Devices, Portable Music and Data Processing Devices, Computers and Components Thereof; Commission Decision... importation of certain wireless communication devices, portable music and data processing devices, computers... further alleges the existence of a domestic industry. The Commission's notice of investigation named Apple...

Has computational creativity successfully made it "Beyond the Fence" in musical theatre?

Science.gov (United States)

Jordanous, Anna

2017-10-01

A significant test for software is to task it with replicating human performance, as done recently with creative software and the commercial project Beyond the Fence (undertaken for a television documentary Computer Says Show). The remit of this project was to use computer software as much as possible to produce "the world's first computer-generated musical". Several creative systems were used to generate this musical, which was performed in London's West End in 2016. This paper considers the challenge of evaluating this project. Current computational creativity evaluation methods are ill-suited to evaluating projects that involve creative input from multiple systems and people. Following recent inspiration within computational creativity research from interaction design, here the DECIDE evaluation framework is applied to evaluate the Beyond the Fence project. Evaluation finds that the project was reasonably successful at achieving the task of using computational generation to produce a credible musical. Lessons have been learned for future computational creativity projects though, particularly for affording creative software more agency and enabling software to interact with other creative partners. Upon reflection, the DECIDE framework emerges as a useful evaluation "checklist" (if not a tangible operational methodology) for evaluating multiple creative systems participating in a creative task.

77 FR 52759 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers and...

Science.gov (United States)

2012-08-30

... Devices, Portable Music and Data Processing Devices, Computers and Components Thereof; Notice of... communication devices, portable music and data processing devices, computers and components thereof by reason of... complaint further alleges the existence of a domestic industry. The Commission's notice of investigation...

Pitch Gestures in Generative Modeling of Music

DEFF Research Database (Denmark)

Jensen, Kristoffer

2011-01-01

Generative models of music are in need of performance and gesture additions, i.e. inclusions of subtle temporal and dynamic alterations, and gestures so as to render the music musical. While much of the research regarding music generation is based on music theory, the work presented here is based...

Musical agents

DEFF Research Database (Denmark)

Dahlstedt, Palle; McBurney, Peter

2006-01-01

The authors, a composer and a computer scientist, discuss their collaborative research on the use of multiagent systems and their applicability to music and musical composition. They describe the development of software and techniques for the composition of generative music.......The authors, a composer and a computer scientist, discuss their collaborative research on the use of multiagent systems and their applicability to music and musical composition. They describe the development of software and techniques for the composition of generative music....

Emotional response to musical repetition.

Science.gov (United States)

Livingstone, Steven R; Palmer, Caroline; Schubert, Emery

2012-06-01

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.

Body Movement Music Score – Introduction of a newly developed model for the analysis and description of body qualities, movement and music in music therapy

Directory of Open Access Journals (Sweden)

Hanna Agnieszka Skrzypek

2017-01-01

Full Text Available Background In music therapy, there is a range of music therapy concepts that, in addition to music, describe and analyse the body and movement. A model that equally examines the body, movement and music has not been developed. The Body Movement Music Score (BMMS is a newly developed and evaluated music therapy model for analysing body qualities, movement, playing style of musical instruments and music and to describe body behaviour and body expression, movement behaviour and movement expression, playing behaviour and musical expression in music therapy treatment. The basis for the development of the Body Movement Music Score was the evaluation of the analytical movement model Emotorics-Emotive Body Movement Mind Paradigm (Emotorics-EBMMP by Yona Shahar Levy for the analysis and description of the emotive-motor behaviour and movement expression of schizophrenic patients in music therapy treatment. Participants and procedure The application of the Body Movement Music Score is presented in a videotaped example from the music therapy treatment of one schizophrenic patient. Results The results of applying the Body Movement Music Score are presented in the form of Body Qualities I Analysis, Body Qualities II Analysis, Movement Analysis, Playing Style Analysis and Music Analysis Profiles. Conclusions The Body Movement Music Score has been developed and evaluated for the music therapy treatment of schizophrenic patients. For the development of the model, a proof of reliability is necessary to verify the reliability and limitations of the model in practice and show that the Body Movement Music Score could be used for both practical and clinical work, for documentation purposes and to impact research in music therapy.

The Music Industry Conference Guide for Music Educators. A Supplement to the Music Educators Journal.

Science.gov (United States)

Music Educators Journal, 1988

1988-01-01

This supplement is a comprehensive guide to the music industry designed for music teachers. Included are tips for contacting music businesses and suggestions on ordering music, robes, instruments, computer software, and other supplies. Includes an annotated directory of Music Industry Conference members. (JDH)

Co-occurrence Models in Music Genre Classification

DEFF Research Database (Denmark)

Ahrendt, Peter; Goutte, Cyril; Larsen, Jan

2005-01-01

Music genre classification has been investigated using many different methods, but most of them build on probabilistic models of feature vectors x\\_r which only represent the short time segment with index r of the song. Here, three different co-occurrence models are proposed which instead consider...... genre data set with a variety of modern music. The basis was a so-called AR feature representation of the music. Besides the benefit of having proper probabilistic models of the whole song, the lowest classification test errors were found using one of the proposed models....

Fast Computation Methods Research for Two Dimensional MUSIC Spectrum Based on Circular Array%圆阵二维 MUSIC 谱快速计算方法研究

Institute of Scientific and Technical Information of China (English)

杜政东; 魏平; 赵菲; 尹文禄

2015-01-01

针对二维波达方向估计时 MUSIC 谱的快速计算问题，研究了均匀圆阵变换到虚拟线阵的 MUSIC 算法（UCA-ULA-MUSIC）、流形分离 MUSIC 算法（MS-MUSIC）、傅立叶域线性求根 MUSIC 算法（FD-Line-Search-MU-SIC）、基于 FFT 的2n 元均匀圆阵 MUSIC 算法（2n-UCA-FFT-MUSIC）与基于 FFT 的任意圆阵 MUSIC 算法（ACA-FFT-MUSIC）。对各种算法快速计算二维 MUSIC 谱的实现步骤进行了总结。在此基础上，给出了各算法计算二维MUSIC 谱的计算复杂度表达式，并以传统方法为参考，对比了各种快速算法相对于传统方法的计算复杂度比值；同时，针对不同的阵列形式，对适用的快速算法的测向性能进行了仿真对比。根据分析和对比的结果，指出 MS-MUSIC 算法与 ACA-FFT-MUSIC 算法具有更高的工程应用价值，由具体的情况单独或分频段联合使用 MS-MUSIC算法与 ACA-FFT-MUSIC 算法，可以使测向系统较好的兼顾测向性能与时效性。%According to the fast computation problem of MUSIC spectrum in two dimensional direction of arrival estimation, the fast algorithms by manifold transformation or spectrum function transformation are studied.The implementation steps of computation method for two dimensional MUSIC spectrum by these algorithms are summarized.Furthermore,expressions for computational complexity of discussed algorithms in computing two dimensional MUSIC spectrum are presented.With refer-ence to the conventional method,the ratio of computational complexity of discussed algorithms is compared.Meanwhile,for different circular arrays,the direction finding performance of applicable algorithms is compared by simulation.It is proved that the MUSIC algorithm based on Manifold Separation (MS-MUSIC)and Fast Fourier Transformation (FFT)which suits to arbitrary circular array (ACA-FFT-MUSIC)have higher engineering value according to the results of analysis and com-parison.The performance and

A User Assessment of Workspaces in Selected Music Education Computer Laboratories.

Science.gov (United States)

Badolato, Michael Jeremy

A study of 120 students selected from the user populations of four music education computer laboratories was conducted to determine the applicability of current ergonomic and environmental design guidelines in satisfying the needs of users of educational computing workspaces. Eleven categories of workspace factors were organized into a…

Ever-changing Cycles of Musical Pleasure

DEFF Research Database (Denmark)

Gebauer, Line; Kringelbach, Morten L.; Vuust, Peter

2012-01-01

of expectations (prediction errors) in response to “rewards” and “alert/incentive salience signals.” We argue that the human brain treats music as an alert/incentive salience signal, and suggest that the activity of dopamine neurons represents aspects of the phases of musical expectation and musical learning......, but not directly the phase of music liking. Finally, we propose a computational model for understanding musical anticipation and pleasure operationalized through the recent theory of predictive coding. (PsycINFO Database Record (c) 2013 APA, all rights reserved)...

Chaotic Music Generation System Using Music Conductor Gesture

OpenAIRE

Chen, Shuai; Maeda, Yoichiro; Takahashi, Yasutake

2013-01-01

In the research of interactive music generation, we propose a music generation method, that the computer generates the music, under the recognition of human music conductor's gestures.In this research, the generated music is tuned by the recognized gestures for the parameters of the network of chaotic elements in real time. The music conductor's hand motions are detected by Microsoft Kinect in this system. Music theories are embedded in the algorithm, as a result, the generated music will be ...

Music Conductor Gesture Recognized Interactive Music Generation System

OpenAIRE

CHEN, Shuai; MAEDA, Yoichiro; TAKAHASHI, Yasutake

2012-01-01

In the research of interactive music generation, we propose a music generation method, that the computer generates the music automatically, and then the music will be arranged under the human music conductor's gestures, before it outputs to us. In this research, the generated music is processed from chaotic sound, which is generated from the network of chaotic elements in realtime. The music conductor's hand motions are detected by Microsoft Kinect in this system. Music theories are embedded ...

Musical information processing reflecting its structure

OpenAIRE

Hiraga, Rumi

1999-01-01

In pursuit of generating expressive musical rendition with rules, the computer music project Psyche has greatly concerned musical structure. Although described implicitly, musical structure exists innately and absolutely in musical scores. This thesis demonstrates the successful introduction of musical structure to computer music systems that are related to performance synthesis. Two systems, a performance visualization system and a computer-assisted musical analysis system Daphne, are descri...

Mood Expression in Real-Time Computer Generated Music using Pure Data

DEFF Research Database (Denmark)

Scirea, Marco; Nelson, Mark; Cheong, Yun-Gyung

2014-01-01

This paper presents an empirical study that investigated if procedurally generated music based on a set of musical features can elicit a target mood in the music listener. Drawn from the two-dimensional affect model proposed by Russell, the musical features that we have chosen to express moods...... are intensity, timbre, rhythm, and dissonances. The eight types of mood investigated in this study are being bored, content, happy, miserable, tired, fearful, peaceful, and alarmed. We created 8 short music clips using PD (Pure Data) programming language, each of them represents a particular mood. We carried...

Playing Music, Playing with Music: A Proposal for Music Coding in Primary School

Science.gov (United States)

Baratè, Adriano; Ludovico, Luca Andrea; Mangione, Giuseppina Rita; Rosa, Alessia

2015-01-01

In this work we will introduce the concept of "music coding," namely a new discipline that employs basic music activities and simplified languages to teach the computational way of thinking to musically-untrained children who attend the primary school. In this context, music represents both a mean and a goal: in fact, from one side…

3Mo: A Model for Music-Based Biofeedback.

Science.gov (United States)

Maes, Pieter-Jan; Buhmann, Jeska; Leman, Marc

2016-01-01

In the domain of sports and motor rehabilitation, it is of major importance to regulate and control physiological processes and physical motion in most optimal ways. For that purpose, real-time auditory feedback of physiological and physical information based on sound signals, often termed "sonification," has been proven particularly useful. However, the use of music in biofeedback systems has been much less explored. In the current article, we assert that the use of music, and musical principles, can have a major added value, on top of mere sound signals, to the benefit of psychological and physical optimization of sports and motor rehabilitation tasks. In this article, we present the 3Mo model to describe three main functions of music that contribute to these benefits. These functions relate the power of music to Motivate, and to Monitor and Modify physiological and physical processes. The model brings together concepts and theories related to human sensorimotor interaction with music, and specifies the underlying psychological and physiological principles. This 3Mo model is intended to provide a conceptual framework that guides future research on musical biofeedback systems in the domain of sports and motor rehabilitation.

3Mo: A model for music-based biofeedback

Directory of Open Access Journals (Sweden)

Pieter-Jan Maes

2016-12-01

Full Text Available In the domain of sports and motor rehabilitation, it is of major importance to regulate and control physiological processes and physical motion in most optimal ways. For that purpose, real-time auditory feedback of physiological and physical information based on sound signals, often termed `sonification’, has been proven particularly useful. However, the use of music in biofeedback systems has been much less explored. In the current article, we assert that the use of music, and musical principles, can have a major added value, with respect to mere sound signals, to the benefit of psychological and physical optimization of sports and motor rehabilitation tasks. In this article, we present the 3Mo model to describe three main functions of music that contribute to these benefits. These functions relate the power of music to Motivate, and to Monitor and Modify physiological and physical processes. The model brings together concepts and theories related to human sensorimotor interaction with music, and specifies the underlying psychological and physiological principles. This 3Mo model is intended to provide a conceptual framework that guides future research on musical biofeedback systems in the domain of sports and motor rehabilitation.

Development of Musical Creativity of Higher Class Pupils Using Musical Computer Technologies (MCT

Directory of Open Access Journals (Sweden)

Sandra Rimkutė-Jankuvienė

2014-03-01

Full Text Available Purpose – to find out possibilities of development of musical creativity by using MCT in the music education of senior pupils.Design/methodology/approach – literature review, qualitative survey methodology (interview with music teachers.Findings – implementation of MCT, like any other innovation (as well as ICT in different spheres of education, including pre-school education, bring forth a certain positive effect. The results of the interview showed that in the praxis of music education, MCT is used for different development purposes (to make a lesson original, help pupils memorize music, expand their imagination not only by listening, but also by watching and evaluating performance of music, listen to music recordings, understand music and evaluate its quality, etc.. But for the development of musical creativity, MCT has been used very poorly.Research limitation/implications – musical creativity’s concept has not been uniquely defined so far. The aim of scientific literature review is to show that musical creativity is not meant to be separated from general creativity. Moreover, this is compounded by the search of the possibilities to the development of musical creativity. Analysis of scientific literature shows that the use of MCT can make an influence on musical creativity. However, empirical researches on this subject are still missing.Practical implications – the results of the interviews about using MCT in music lessons in order to develop musical creativity could be significant in formulating strategies of the development of musical creativity, preparing methodological instruments as well as in teacher training programs.Originality/value – the object of the survey in the chosen theme has never been explored in Lithuania, while the comparison of the obtained data with foreign scientists’ discoveries could contribute to a musical creativity’s definition.Research type: literature review, interview review.

Modeling emotional content of music using system identification.

Science.gov (United States)

Korhonen, Mark D; Clausi, David A; Jernigan, M Ed

2006-06-01

Research was conducted to develop a methodology to model the emotional content of music as a function of time and musical features. Emotion is quantified using the dimensions valence and arousal, and system-identification techniques are used to create the models. Results demonstrate that system identification provides a means to generalize the emotional content for a genre of music. The average R2 statistic of a valid linear model structure is 21.9% for valence and 78.4% for arousal. The proposed method of constructing models of emotional content generalizes previous time-series models and removes ambiguity from classifiers of emotion.

Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation.

Science.gov (United States)

Pearce, Marcus T

2018-05-11

Music perception depends on internal psychological models derived through exposure to a musical culture. It is hypothesized that this musical enculturation depends on two cognitive processes: (1) statistical learning, in which listeners acquire internal cognitive models of statistical regularities present in the music to which they are exposed; and (2) probabilistic prediction based on these learned models that enables listeners to organize and process their mental representations of music. To corroborate these hypotheses, I review research that uses a computational model of probabilistic prediction based on statistical learning (the information dynamics of music (IDyOM) model) to simulate data from empirical studies of human listeners. The results show that a broad range of psychological processes involved in music perception-expectation, emotion, memory, similarity, segmentation, and meter-can be understood in terms of a single, underlying process of probabilistic prediction using learned statistical models. Furthermore, IDyOM simulations of listeners from different musical cultures demonstrate that statistical learning can plausibly predict causal effects of differential cultural exposure to musical styles, providing a quantitative model of cultural distance. Understanding the neural basis of musical enculturation will benefit from close coordination between empirical neuroimaging and computational modeling of underlying mechanisms, as outlined here. © 2018 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals, Inc. on behalf of New York Academy of Sciences.

Music Information Retrieval Using Biologically Inspired Techniques

NARCIS (Netherlands)

Bountouridis, D.

2018-01-01

The computational modeling of our perception of music similarity is an intricate, unsolved problem with various practical applications. Many of the current approaches aim at solving it by employing heuristics, such as expert intuition or music theory, which limit their application to narrow

Emotion detection model of Filipino music

Science.gov (United States)

Noblejas, Kathleen Alexis; Isidro, Daryl Arvin; Samonte, Mary Jane C.

2017-02-01

This research explored the creation of a model to detect emotion from Filipino songs. The emotion model used was based from Paul Ekman's six basic emotions. The songs were classified into the following genres: kundiman, novelty, pop, and rock. The songs were annotated by a group of music experts based on the emotion the song induces to the listener. Musical features of the songs were extracted using jAudio while the lyric features were extracted by Bag-of- Words feature representation. The audio and lyric features of the Filipino songs were extracted for classification by the chosen three classifiers, Naïve Bayes, Support Vector Machines, and k-Nearest Neighbors. The goal of the research was to know which classifier would work best for Filipino music. Evaluation was done by 10-fold cross validation and accuracy, precision, recall, and F-measure results were compared. Models were also tested with unknown test data to further determine the models' accuracy through the prediction results.

The MUSOS (MUsic SOftware System) Toolkit: A computer-based, open source application for testing memory for melodies.

Science.gov (United States)

Rainsford, M; Palmer, M A; Paine, G

2018-04-01

Despite numerous innovative studies, rates of replication in the field of music psychology are extremely low (Frieler et al., 2013). Two key methodological challenges affecting researchers wishing to administer and reproduce studies in music cognition are the difficulty of measuring musical responses, particularly when conducting free-recall studies, and access to a reliable set of novel stimuli unrestricted by copyright or licensing issues. In this article, we propose a solution for these challenges in computer-based administration. We present a computer-based application for testing memory for melodies. Created using the software Max/MSP (Cycling '74, 2014a), the MUSOS (Music Software System) Toolkit uses a simple modular framework configurable for testing common paradigms such as recall, old-new recognition, and stem completion. The program is accompanied by a stimulus set of 156 novel, copyright-free melodies, in audio and Max/MSP file formats. Two pilot tests were conducted to establish the properties of the accompanying stimulus set that are relevant to music cognition and general memory research. By using this software, a researcher without specialist musical training may administer and accurately measure responses from common paradigms used in the study of memory for music.

August Knoblauch and amusia: a nineteenth-century cognitive model of music.

Science.gov (United States)

Johnson, Julene K; Graziano, Amy B

2003-02-01

Early models of human cognition can be traced to nineteenth-century investigations of brain and behavior. Influential neurologists such as Wernicke, Kussmaul, and Lichtheim constructed diagrammatic models to illustrate current theories of cognition. Language was the most commonly studied cognitive function during this time; however, investigators also studied other cognitive functions, such as music and visual processing. While a number of nineteenth-century neurologists made observations about music abilities in aphasic patients, August Knoblauch, a German physician and anatomist, was the first to propose a diagrammatic model of music (1888/1890). He described a detailed cognitive model of music processing, hypothesized the existence of nine disorders of music production and perception, and coined the term "amusia." Knoblauch's model is the earliest cognitive model of music and is largely unrecognized as an important part of the history of neurology, neuropsychology, and music cognition. Copyright 2003 Elsevier Science (USA)

An Emerging Theoretical Model of Music Therapy Student Development.

Science.gov (United States)

Dvorak, Abbey L; Hernandez-Ruiz, Eugenia; Jang, Sekyung; Kim, Borin; Joseph, Megan; Wells, Kori E

2017-07-01

Music therapy students negotiate a complex relationship with music and its use in clinical work throughout their education and training. This distinct, pervasive, and evolving relationship suggests a developmental process unique to music therapy. The purpose of this grounded theory study was to create a theoretical model of music therapy students' developmental process, beginning with a study within one large Midwestern university. Participants (N = 15) were music therapy students who completed one 60-minute intensive interview, followed by a 20-minute member check meeting. Recorded interviews were transcribed, analyzed, and coded using open and axial coding. The theoretical model that emerged was a six-step sequential developmental progression that included the following themes: (a) Personal Connection, (b) Turning Point, (c) Adjusting Relationship with Music, (d) Growth and Development, (e) Evolution, and (f) Empowerment. The first three steps are linear; development continues in a cyclical process among the last three steps. As the cycle continues, music therapy students continue to grow and develop their skills, leading to increased empowerment, and more specifically, increased self-efficacy and competence. Further exploration of the model is needed to inform educators' and other key stakeholders' understanding of student needs and concerns as they progress through music therapy degree programs. © the American Music Therapy Association 2017. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com

Dynamical computation of constrained flexible systems using a modal Udwadia-Kalaba formulation: Application to musical instruments.

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Antunes, J; Debut, V

2017-02-01

Most musical instruments consist of dynamical subsystems connected at a number of constraining points through which energy flows. For physical sound synthesis, one important difficulty deals with enforcing these coupling constraints. While standard techniques include the use of Lagrange multipliers or penalty methods, in this paper, a different approach is explored, the Udwadia-Kalaba (U-K) formulation, which is rooted on analytical dynamics but avoids the use of Lagrange multipliers. This general and elegant formulation has been nearly exclusively used for conceptual systems of discrete masses or articulated rigid bodies, namely, in robotics. However its natural extension to deal with continuous flexible systems is surprisingly absent from the literature. Here, such a modeling strategy is developed and the potential of combining the U-K equation for constrained systems with the modal description is shown, in particular, to simulate musical instruments. Objectives are twofold: (1) Develop the U-K equation for constrained flexible systems with subsystems modelled through unconstrained modes; and (2) apply this framework to compute string/body coupled dynamics. This example complements previous work [Debut, Antunes, Marques, and Carvalho, Appl. Acoust. 108, 3-18 (2016)] on guitar modeling using penalty methods. Simulations show that the proposed technique provides similar results with a significant improvement in computational efficiency.

Measuring Students' Motivation: Validity Evidence for the MUSIC Model of Academic Motivation Inventory

Science.gov (United States)

Jones, Brett D.; Skaggs, Gary

2016-01-01

This study provides validity evidence for the MUSIC Model of Academic Motivation Inventory (MUSIC Inventory; Jones, 2012), which measures college students' beliefs related to the five components of the MUSIC Model of Motivation (MUSIC model; Jones, 2009). The MUSIC model is a conceptual framework for five categories of teaching strategies (i.e.,…

Assessing Music Students' Motivation Using the Music Model of Academic Motivation Inventory

Science.gov (United States)

Parkes, Kelly A.; Jones, Brett D.; Wilkins, Jesse L. M.

2017-01-01

The purpose of this study was to investigate the reliability and validity of using a motivation inventory with music students in upper-elementary, middle, and high school. We used the middle/high school version of the MUSIC Model of Academic Motivation Inventory to survey 93 students in the 5th to 12th grades in one school. Our analysis revealed…

Real-time detection of musical onsets with linear prediction and sinusoidal modeling

Science.gov (United States)

Glover, John; Lazzarini, Victor; Timoney, Joseph

2011-12-01

Real-time musical note onset detection plays a vital role in many audio analysis processes, such as score following, beat detection and various sound synthesis by analysis methods. This article provides a review of some of the most commonly used techniques for real-time onset detection. We suggest ways to improve these techniques by incorporating linear prediction as well as presenting a novel algorithm for real-time onset detection using sinusoidal modelling. We provide comprehensive results for both the detection accuracy and the computational performance of all of the described techniques, evaluated using Modal, our new open source library for musical onset detection, which comes with a free database of samples with hand-labelled note onsets.

Neuroscience Meets Music Education: Exploring the Implications of Neural Processing Models on Music Education Practice

Science.gov (United States)

Collins, Anita

2013-01-01

Over the past two decades, neuroscientists have been fascinated by the way the brain processes music. Using new technologies, neuroscientists offer us a better understanding of the human brain's structures and functions. They have further proposed explanatory models for how the brain processes music. While these models shed light on how the…

"mysterium Cosmographicum", for Orchestra, Narrator/actor, and Computer Music on Tape. (with Original Composition)

Science.gov (United States)

Keefe, Robert Michael

Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium Cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium Cosmographicum, almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's lifetime. Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures are generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates for each of the nine planets as seen from a fixed point on Earth for any given time frame. These coordinates are then mapped onto selected musical parameters as determined by the composer. Whenever Kepler reads from his treatise or from a lecture or correspondence, the monologue is supported by orchestral planetary data generated from the exact place, date, and time of the treatise, lecture, or correspondence. To the best of my knowledge, Mysterium Cosmographicum is the first composition ever written that employs planetary data as a supporting chronology to action and monologue.

Inter Genre Similarity Modelling For Automatic Music Genre Classification

OpenAIRE

Bagci, Ulas; Erzin, Engin

2009-01-01

Music genre classification is an essential tool for music information retrieval systems and it has been finding critical applications in various media platforms. Two important problems of the automatic music genre classification are feature extraction and classifier design. This paper investigates inter-genre similarity modelling (IGS) to improve the performance of automatic music genre classification. Inter-genre similarity information is extracted over the mis-classified feature population....

Psychoacoustic cues to emotion in speech prosody and music.

Science.gov (United States)

Coutinho, Eduardo; Dibben, Nicola

2013-01-01

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners' second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.

Fusion of Electroencephalogram dynamics and musical contents for estimating emotional responses in music listening

Directory of Open Access Journals (Sweden)

Yuan-Pin eLin

2014-05-01

Full Text Available Electroencephalography (EEG-based emotion classification during music listening has gained increasing attention nowadays due to its promise of potential applications such as musical affective brain-computer interface (ABCI, neuromarketing, music therapy, and implicit multimedia tagging and triggering. However, music is an ecologically valid and complex stimulus that conveys certain emotions to listeners through compositions of musical elements. Using solely EEG signals to distinguish emotions remained challenging. This study aimed to assess the applicability of a multimodal approach by leveraging the EEG dynamics and acoustic characteristics of musical contents for the classification of emotional valence and arousal. To this end, this study adopted machine-learning methods to systematically elucidate the roles of the EEG and music modalities in the emotion modeling. The empirical results suggested that when whole-head EEG signals were available, the inclusion of musical contents did not improve the classification performance. The obtained performance of 74~76% using solely EEG modality was statistically comparable to that using the multimodality approach. However, if EEG dynamics were only available from a small set of electrodes (likely the case in real-life applications, the music modality would play a complementary role and augment the EEG results from around 61% to 67% in valence classification and from around 58% to 67% in arousal classification. The musical timbre appeared to replace less-discriminative EEG features and led to improvements in both valence and arousal classification, whereas musical loudness was contributed specifically to the arousal classification. The present study not only provided principles for constructing an EEG-based multimodal approach, but also revealed the fundamental insights into the interplay of the brain activity and musical contents in emotion modeling.

Fusion of electroencephalographic dynamics and musical contents for estimating emotional responses in music listening.

Science.gov (United States)

Lin, Yuan-Pin; Yang, Yi-Hsuan; Jung, Tzyy-Ping

2014-01-01

Electroencephalography (EEG)-based emotion classification during music listening has gained increasing attention nowadays due to its promise of potential applications such as musical affective brain-computer interface (ABCI), neuromarketing, music therapy, and implicit multimedia tagging and triggering. However, music is an ecologically valid and complex stimulus that conveys certain emotions to listeners through compositions of musical elements. Using solely EEG signals to distinguish emotions remained challenging. This study aimed to assess the applicability of a multimodal approach by leveraging the EEG dynamics and acoustic characteristics of musical contents for the classification of emotional valence and arousal. To this end, this study adopted machine-learning methods to systematically elucidate the roles of the EEG and music modalities in the emotion modeling. The empirical results suggested that when whole-head EEG signals were available, the inclusion of musical contents did not improve the classification performance. The obtained performance of 74~76% using solely EEG modality was statistically comparable to that using the multimodality approach. However, if EEG dynamics were only available from a small set of electrodes (likely the case in real-life applications), the music modality would play a complementary role and augment the EEG results from around 61-67% in valence classification and from around 58-67% in arousal classification. The musical timber appeared to replace less-discriminative EEG features and led to improvements in both valence and arousal classification, whereas musical loudness was contributed specifically to the arousal classification. The present study not only provided principles for constructing an EEG-based multimodal approach, but also revealed the fundamental insights into the interplay of the brain activity and musical contents in emotion modeling.

An Ontology for Musical Phonographic Records: Contributing with a Representation Model

Science.gov (United States)

de Oliveira Albuquerque, Marcelo; Siqueira, Sean Wolfgand M.; de Saldanha da G. Lanzelotte, Rosana; Braz, Maria Helena L. B.

Music is a complex domain with some interesting specificities that makes it difficult to be modeled. If different types of music are considered, then the difficulties are even bigger. This paper presents some of the characteristics that makes music such a hard domain to model and proposes an ontology for representing musical phonographic records. This ontology will provide a global representation that can be used to support systems interoperability and data integration, which provides disseminating music worldwide, contributing to culture in the knowledge society.

Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music

Science.gov (United States)

Vuust, Peter; Witek, Maria A. G.

2014-01-01

Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding (PC) as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of PC, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Third, we develop a PC model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard (“rhythm”) and the brain’s anticipatory structuring of music (“meter”). Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the PC theory. We argue that musical rhythm exploits the brain’s general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms. PMID:25324813

Rhythmic complexity and predictive coding: A novel approach to modeling rhythm and meter perception in music

Directory of Open Access Journals (Sweden)

Peter eVuust

2014-10-01

Full Text Available Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of predictive coding, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Third, we develop a predictive coding model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard (‘rhythm’ and the brain’s anticipatory structuring of music (‘meter’. Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the predictive coding theory. We argue that musical rhythm exploits the brain’s general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms.

Modeling Music Emotion Judgments Using Machine Learning Methods

Directory of Open Access Journals (Sweden)

Naresh N. Vempala

2018-01-01

Full Text Available Emotion judgments and five channels of physiological data were obtained from 60 participants listening to 60 music excerpts. Various machine learning (ML methods were used to model the emotion judgments inclusive of neural networks, linear regression, and random forests. Input for models of perceived emotion consisted of audio features extracted from the music recordings. Input for models of felt emotion consisted of physiological features extracted from the physiological recordings. Models were trained and interpreted with consideration of the classic debate in music emotion between cognitivists and emotivists. Our models supported a hybrid position wherein emotion judgments were influenced by a combination of perceived and felt emotions. In comparing the different ML approaches that were used for modeling, we conclude that neural networks were optimal, yielding models that were flexible as well as interpretable. Inspection of a committee machine, encompassing an ensemble of networks, revealed that arousal judgments were predominantly influenced by felt emotion, whereas valence judgments were predominantly influenced by perceived emotion.

Model Considerations for Memory-based Automatic Music Transcription

Science.gov (United States)

Albrecht, Štěpán; Šmídl, Václav

2009-12-01

The problem of automatic music description is considered. The recorded music is modeled as a superposition of known sounds from a library weighted by unknown weights. Similar observation models are commonly used in statistics and machine learning. Many methods for estimation of the weights are available. These methods differ in the assumptions imposed on the weights. In Bayesian paradigm, these assumptions are typically expressed in the form of prior probability density function (pdf) on the weights. In this paper, commonly used assumptions about music signal are summarized and complemented by a new assumption. These assumptions are translated into pdfs and combined into a single prior density using combination of pdfs. Validity of the model is tested in simulation using synthetic data.

Non-Gaussian distributions of melodic intervals in music: The Lévy-stable approximation

Science.gov (United States)

Niklasson, Gunnar A.; Niklasson, Maria H.

2015-11-01

The analysis of structural patterns in music is of interest in order to increase our fundamental understanding of music, as well as for devising algorithms for computer-generated music, so called algorithmic composition. Musical melodies can be analyzed in terms of a “music walk” between the pitches of successive tones in a notescript, in analogy with the “random walk” model commonly used in physics. We find that the distribution of melodic intervals between tones can be approximated with a Lévy-stable distribution. Since music also exibits self-affine scaling, we propose that the “music walk” should be modelled as a Lévy motion. We find that the Lévy motion model captures basic structural patterns in classical as well as in folk music.

A spiral model of musical decision-making.

Science.gov (United States)

Bangert, Daniel; Schubert, Emery; Fabian, Dorottya

2014-01-01

This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans' (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor's (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally.

A spiral model of musical decision-making

Directory of Open Access Journals (Sweden)

Daniel eBangert

2014-04-01

Full Text Available This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1 and deliberate (Type 2 decision-making processes changes with increasing expertise and conceptualises this change as movement along a continually narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning towards greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural, increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion towards the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans’ (2011 Intervention Model of dual-process theories, Cognitive Continuum Theory (Hammond et al., 1987; Hammond, 2007, and Baylor’s (2001 U-shaped model for the development of intuition by level of expertise. By theorising how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally.

The structure of musical preferences: a five-factor model.

Science.gov (United States)

Rentfrow, Peter J; Goldberg, Lewis R; Levitin, Daniel J

2011-06-01

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music. 2011 APA, all rights reserved

Robust Real-Time Music Transcription with a Compositional Hierarchical Model.

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Pesek, Matevž; Leonardis, Aleš; Marolt, Matija

2017-01-01

The paper presents a new compositional hierarchical model for robust music transcription. Its main features are unsupervised learning of a hierarchical representation of input data, transparency, which enables insights into the learned representation, as well as robustness and speed which make it suitable for real-world and real-time use. The model consists of multiple layers, each composed of a number of parts. The hierarchical nature of the model corresponds well to hierarchical structures in music. The parts in lower layers correspond to low-level concepts (e.g. tone partials), while the parts in higher layers combine lower-level representations into more complex concepts (tones, chords). The layers are learned in an unsupervised manner from music signals. Parts in each layer are compositions of parts from previous layers based on statistical co-occurrences as the driving force of the learning process. In the paper, we present the model's structure and compare it to other hierarchical approaches in the field of music information retrieval. We evaluate the model's performance for the multiple fundamental frequency estimation. Finally, we elaborate on extensions of the model towards other music information retrieval tasks.

A predictive model of music preference using pairwise comparisons

DEFF Research Database (Denmark)

Jensen, Bjørn Sand; Gallego, Javier Saez; Larsen, Jan

2012-01-01

Music recommendation is an important aspect of many streaming services and multi-media systems, however, it is typically based on so-called collaborative filtering methods. In this paper we consider the recommendation task from a personal viewpoint and examine to which degree music preference can...... be elicited and predicted using simple and robust queries such as pairwise comparisons. We propose to model - and in turn predict - the pairwise music preference using a very flexible model based on Gaussian Process priors for which we describe the required inference. We further propose a specific covariance...

Architecture in motion: A model for music composition

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Variego, Jorge Elias

2011-12-01

Speculations regarding the relationship between music and architecture go back to the very origins of these disciplines. Throughout history, these links have always reaffirmed that music and architecture are analogous art forms that only diverge in their object of study. In the 1 st c. BCE Vitruvius conceived Architecture as "one of the most inclusive and universal human activities" where the architect should be educated in all the arts, having a vast knowledge in history, music and philosophy. In the 18th c., the German thinker Johann Wolfgang von Goethe, described Architecture as "frozen music". More recently, in the 20th c., Iannis Xenakis studied the similar structuring principles between Music and Architecture creating his own "models" of musical composition based on mathematical principles and geometric constructions. The goal of this document is to propose a compositional method that will function as a translator between the acoustical properties of a room and music, to facilitate the creation of musical works that will not only happen within an enclosed space but will also intentionally interact with the space. Acoustical measurements of rooms such as reverberation time, frequency response and volume will be measured and systematically organized in correspondence with orchestrational parameters. The musical compositions created after the proposed model are evocative of the spaces on which they are based. They are meant to be performed in any space, not exclusively in the one where the acoustical measurements were obtained. The visual component of architectural design is disregarded; the room is considered a musical instrument, with its particular sound qualities and resonances. Compositions using the proposed model will not result as sonified shapes, they will be musical works literally "tuned" to a specific space. This Architecture in motion is an attempt to adopt scientific research to the service of a creative activity and to let the aural properties of

A bipartite fitness model for online music streaming services

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Pongnumkul, Suchit; Motohashi, Kazuyuki

2018-01-01

This paper proposes an evolution model and an analysis of the behavior of music consumers on online music streaming services. While previous studies have observed power-law degree distributions of usage in online music streaming services, the underlying behavior of users has not been well understood. Users and songs can be described using a bipartite network where an edge exists between a user node and a song node when the user has listened that song. The growth mechanism of bipartite networks has been used to understand the evolution of online bipartite networks Zhang et al. (2013). Existing bipartite models are based on a preferential attachment mechanism László Barabási and Albert (1999) in which the probability that a user listens to a song is proportional to its current popularity. This mechanism does not allow for two types of real world phenomena. First, a newly released song with high quality sometimes quickly gains popularity. Second, the popularity of songs normally decreases as time goes by. Therefore, this paper proposes a new model that is more suitable for online music services by adding fitness and aging functions to the song nodes of the bipartite network proposed by Zhang et al. (2013). Theoretical analyses are performed for the degree distribution of songs. Empirical data from an online streaming service, Last.fm, are used to confirm the degree distribution of the object nodes. Simulation results show improvements from a previous model. Finally, to illustrate the application of the proposed model, a simplified royalty cost model for online music services is used to demonstrate how the changes in the proposed parameters can affect the costs for online music streaming providers. Managerial implications are also discussed.

Modeling Timbre Similarity of Short Music Clips.

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Siedenburg, Kai; Müllensiefen, Daniel

2017-01-01

There is evidence from a number of recent studies that most listeners are able to extract information related to song identity, emotion, or genre from music excerpts with durations in the range of tenths of seconds. Because of these very short durations, timbre as a multifaceted auditory attribute appears as a plausible candidate for the type of features that listeners make use of when processing short music excerpts. However, the importance of timbre in listening tasks that involve short excerpts has not yet been demonstrated empirically. Hence, the goal of this study was to develop a method that allows to explore to what degree similarity judgments of short music clips can be modeled with low-level acoustic features related to timbre. We utilized the similarity data from two large samples of participants: Sample I was obtained via an online survey, used 16 clips of 400 ms length, and contained responses of 137,339 participants. Sample II was collected in a lab environment, used 16 clips of 800 ms length, and contained responses from 648 participants. Our model used two sets of audio features which included commonly used timbre descriptors and the well-known Mel-frequency cepstral coefficients as well as their temporal derivates. In order to predict pairwise similarities, the resulting distances between clips in terms of their audio features were used as predictor variables with partial least-squares regression. We found that a sparse selection of three to seven features from both descriptor sets-mainly encoding the coarse shape of the spectrum as well as spectrotemporal variability-best predicted similarities across the two sets of sounds. Notably, the inclusion of non-acoustic predictors of musical genre and record release date allowed much better generalization performance and explained up to 50% of shared variance ( R 2 ) between observations and model predictions. Overall, the results of this study empirically demonstrate that both acoustic features related

Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

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Roger T. Dean

2011-12-01

Full Text Available Pearce (2011 provides a positive and interesting response to our article on time series analysis of the influences of acoustic properties on real-time perception of structure and affect in a section of Trevor Wishart’s Red Bird (Dean & Bailes, 2010. We address the following topics raised in the response and our paper. First, we analyse in depth the possible influence of spectral centroid, a timbral feature of the acoustic stream distinct from the high level general parameter we used initially, spectral flatness. We find that spectral centroid, like spectral flatness, is not a powerful predictor of real-time responses, though it does show some features that encourage its continued consideration. Second, we discuss further the issue of studying both individual responses, and as in our paper, group averaged responses. We show that a multivariate Vector Autoregression model handles the grand average series quite similarly to those of individual members of our participant groups, and we analyse this in greater detail with a wide range of approaches in work which is in press and continuing. Lastly, we discuss the nature and intent of computational modelling of cognition using acoustic and music- or information theoretic data streams as predictors, and how the music- or information theoretic approaches may be applied to electroacoustic music, which is ‘sound-based’ rather than note-centred like Western classical music.

Using Rich Social Media Information for Music Recommendation via Hypergraph Model

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Tan, Shulong; Bu, Jiajun; Chen, Chun; He, Xiaofei

There are various kinds of social media information, including different types of objects and relations among these objects, in music social communities such as Last.fm and Pandora. This information is valuable for music recommendation. However, there are two main challenges to exploit this rich social media information: (a) There are many different types of objects and relations in music social communities, which makes it difficult to develop a unified framework taking into account all objects and relations. (b) In these communities, some relations are much more sophisticated than pairwise relation, and thus cannot be simply modeled by a graph. We propose a novel music recommendation algorithm by using both multiple kinds of social media information and music acoustic-based content. Instead of graph, we use hypergraph to model the various objects and relations, and consider music recommendation as a ranking problem on this hypergraph. While an edge of an ordinary graph connects only two objects, a hyperedge represents a set of objects. In this way, hypergraph can be naturally used to model high-order relations.

Perception and Modeling of Affective Qualities of Musical Instrument Sounds across Pitch Registers.

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McAdams, Stephen; Douglas, Chelsea; Vempala, Naresh N

2017-01-01

Composers often pick specific instruments to convey a given emotional tone in their music, partly due to their expressive possibilities, but also due to their timbres in specific registers and at given dynamic markings. Of interest to both music psychology and music informatics from a computational point of view is the relation between the acoustic properties that give rise to the timbre at a given pitch and the perceived emotional quality of the tone. Musician and nonmusician listeners were presented with 137 tones produced at a fixed dynamic marking (forte) playing tones at pitch class D# across each instrument's entire pitch range and with different playing techniques for standard orchestral instruments drawn from the brass, woodwind, string, and pitched percussion families. They rated each tone on six analogical-categorical scales in terms of emotional valence (positive/negative and pleasant/unpleasant), energy arousal (awake/tired), tension arousal (excited/calm), preference (like/dislike), and familiarity. Linear mixed models revealed interactive effects of musical training, instrument family, and pitch register, with non-linear relations between pitch register and several dependent variables. Twenty-three audio descriptors from the Timbre Toolbox were computed for each sound and analyzed in two ways: linear partial least squares regression (PLSR) and nonlinear artificial neural net modeling. These two analyses converged in terms of the importance of various spectral, temporal, and spectrotemporal audio descriptors in explaining the emotion ratings, but some differences also emerged. Different combinations of audio descriptors make major contributions to the three emotion dimensions, suggesting that they are carried by distinct acoustic properties. Valence is more positive with lower spectral slopes, a greater emergence of strong partials, and an amplitude envelope with a sharper attack and earlier decay. Higher tension arousal is carried by brighter sounds

Use of electronic music as an occupational therapy modality in spinal cord injury rehabilitation: an occupational performance model.

Science.gov (United States)

Lee, B; Nantais, T

1996-05-01

This article describes an electronic music program that allows clients with spinal cord injury (SCI) to form musical bands and play songs while performing therapeutic exercise in an occupational therapy program. Clients create the music by activating upper extremity exercise devices that are connected to a synthesizer through a computer. The bands choose the songs they would like to play and meet twice a week for 1 hr to practice. The 8-week program often concludes with a public performance. The music program is intended to motivate client participation in physical rehabilitation while promoting self-esteem, emotional expression, and peer support. It is based on the model of occupational performance and the theory of purposeful activity. To date, 33 persons have taken part. Client, therapist, and public response has been positive because this program highlights the abilities of persons with SCI, thereby encouraging their reintegration into the community.

Identifying musical pieces from fMRI data using encoding and decoding models.

Science.gov (United States)

Hoefle, Sebastian; Engel, Annerose; Basilio, Rodrigo; Alluri, Vinoo; Toiviainen, Petri; Cagy, Maurício; Moll, Jorge

2018-02-02

Encoding models can reveal and decode neural representations in the visual and semantic domains. However, a thorough understanding of how distributed information in auditory cortices and temporal evolution of music contribute to model performance is still lacking in the musical domain. We measured fMRI responses during naturalistic music listening and constructed a two-stage approach that first mapped musical features in auditory cortices and then decoded novel musical pieces. We then probed the influence of stimuli duration (number of time points) and spatial extent (number of voxels) on decoding accuracy. Our approach revealed a linear increase in accuracy with duration and a point of optimal model performance for the spatial extent. We further showed that Shannon entropy is a driving factor, boosting accuracy up to 95% for music with highest information content. These findings provide key insights for future decoding and reconstruction algorithms and open new venues for possible clinical applications.

77 FR 65580 - Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers...

Science.gov (United States)

2012-10-29

... INTERNATIONAL TRADE COMMISSION [Investigation No. 337-TA-856] Certain Wireless Communication Devices, Portable Music and Data Processing Devices, Computers, and Components Thereof AGENCY: U.S. International Trade Commission. ACTION: Notice. SUMMARY: Notice is hereby given that the U.S. International...

MODELLING THE FUTURE MUSIC TEACHERS’ READINESS TO PERFORMING AND INTERPRETIVE ACTIVITY DURING INSTRUMENTAL TRAINING

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Chenj Bo

2016-11-01

Full Text Available One of the main fields of training future music teachers in Ukrainian system of higher education is instrumental music one, such as skills of performing and interpretive activities. The aim of the article is to design a model of the future music teachers’ readiness to performing and interpretive activities in musical and instrumental training. The process of modelling is based on several interrelated scientific approaches, including systemic, personality-centered, reflective, competence, active and creative ones. While designing a model of music future teachers’ readinesses to musical interpretive activities, its philosophical, informative, interactive, hedonistic, creative functions are taken into account. Important theoretical and methodological factors are thought to be principles of musical and pedagogical education: culture correspondence and reflection; unity of emotional and conscious, artistic and technical items in musical education; purposeful interrelations and art and pedagogical communication between teachers and students; intensification of music and creative activity. Above-mentioned pedagogical phenomenon is subdivided into four components: motivation-oriented, cognitive-evaluating, performance-independent, creative and productive. For each component relevant criteria and indicators are identified. The stages of future music teachers’ readiness to performing interpretative activity are highlighted: information searching one, which contributes to the implementation of complex diagnostic methods (surveys, questionnaires, testing; regulative and performing one, which is characterized by future music teachers’ immersion into music performing and interpretative activities; operational and reflective stage, which involves activation of mechanisms of future music teachers’ self-knowledge, self-realization, formation of skills of independent artistic and expressive various music genres and styles interpretation; projective and

Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory

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Emmanuel eBigand

2014-06-01

Full Text Available During the last decade, it has been argued that 1 music processing involves syntactic representations similar to those observed in language, and 2 that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and neurophysiological methods as well as with developmental and cross-cultural approaches can be accounted for by the auditory memory model. This led us to question whether current research on musical syntax can really be compared with linguistic processing. Our simulation also raises methodological and theoretical challenges to study musical syntax while disentangling the confounded low-level sensory influences. In order to investigate syntactic abilities in music comparable to language, research should preferentially use musical material with structures that circumvent the tonal effect exerted by psychoacoustic properties of sounds.

Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory.

Science.gov (United States)

Bigand, Emmanuel; Delbé, Charles; Poulin-Charronnat, Bénédicte; Leman, Marc; Tillmann, Barbara

2014-01-01

During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and neurophysiological methods as well as with developmental and cross-cultural approaches can be accounted for by the auditory memory model. This led us to question whether current research on musical syntax can really be compared with linguistic processing. Our simulation also raises methodological and theoretical challenges to study musical syntax while disentangling the confounded low-level sensory influences. In order to investigate syntactic abilities in music comparable to language, research should preferentially use musical material with structures that circumvent the tonal effect exerted by psychoacoustic properties of sounds.

Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory

Science.gov (United States)

Bigand, Emmanuel; Delbé, Charles; Poulin-Charronnat, Bénédicte; Leman, Marc; Tillmann, Barbara

2014-01-01

During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and neurophysiological methods as well as with developmental and cross-cultural approaches can be accounted for by the auditory memory model. This led us to question whether current research on musical syntax can really be compared with linguistic processing. Our simulation also raises methodological and theoretical challenges to study musical syntax while disentangling the confounded low-level sensory influences. In order to investigate syntactic abilities in music comparable to language, research should preferentially use musical material with structures that circumvent the tonal effect exerted by psychoacoustic properties of sounds. PMID:24936174

Intelligent Computer-Aided Instruction and Musical Performance Skills. CITE Report No. 18.

Science.gov (United States)

Baker, Michael

This paper is a transcription from memory of a short talk that used overhead projector slides, with musical examples played on an Apple Macintosh computer and a Yamaha CX5 synthesizer. The slides appear in the text as reduced "icons" at the point where they would have been used in the talk. The paper concerns ways in which artificial intelligence…

Assessment of Student Music Performances Using Deep Neural Networks

Directory of Open Access Journals (Sweden)

Kumar Ashis Pati

2018-03-01

Full Text Available Music performance assessment is a highly subjective task often relying on experts to gauge both the technical and aesthetic aspects of the performance from the audio signal. This article explores the task of building computational models for music performance assessment, i.e., analyzing an audio recording of a performance and rating it along several criteria such as musicality, note accuracy, etc. Much of the earlier work in this area has been centered around using hand-crafted features intended to capture relevant aspects of a performance. However, such features are based on our limited understanding of music perception and may not be optimal. In this article, we propose using Deep Neural Networks (DNNs for the task and compare their performance against a baseline model using standard and hand-crafted features. We show that, using input representations at different levels of abstraction, DNNs can outperform the baseline models across all assessment criteria. In addition, we use model analysis techniques to further explain the model predictions in an attempt to gain useful insights into the assessment process. The results demonstrate the potential of using supervised feature learning techniques to better characterize music performances.

Can music progress?: Reflections on the history of popular music

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Frit Sajmon

2007-01-01

Full Text Available This paper considers schematically the various discourses through which popular music history is understood. My proposal is that five accounts of musical history (the business model, the musicological model, the sociological model, the historical model and the art history model are commonly deployed in popular music discourse. One implies, superficially at least, that popular music evolves, gets better; four implies that, at least in the longer term, it does not. The concept of ′progress′ is shown to be problematic.

Learning Music via Tangible and Corporeal Interaction

DEFF Research Database (Denmark)

Valente, Andrea; Jensen, Karl Kristoffer

2008-01-01

to consider an existing teaching tool from the computer science domain, computational cards, and modify it to cope with the specific problems found in musical education; we re-designed it, simplified and generalized its notation. The new tool, musiCards, also permits corporeal interaction, so children can......Young music learners face a number of challenges, mostly because musical theory and practice are deeply interrelated. Many musical teaching theories and methodologies exist, and music is taught today from primary school, in a variety of ways, and to different degrees of success. We proposal...... design interactive musical machines, implement them physically, then enact the interaction to generate musical performances. MusiCards enables pupils to explore music-related concepts such as rhythm and polyphonic performance; moreover it supports active involvement, imitation, group learning...

Predictive information processing in music cognition. A critical review.

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Rohrmeier, Martin A; Koelsch, Stefan

2012-02-01

Expectation and prediction constitute central mechanisms in the perception and cognition of music, which have been explored in theoretical and empirical accounts. We review the scope and limits of theoretical accounts of musical prediction with respect to feature-based and temporal prediction. While the concept of prediction is unproblematic for basic single-stream features such as melody, it is not straight-forward for polyphonic structures or higher-order features such as formal predictions. Behavioural results based on explicit and implicit (priming) paradigms provide evidence of priming in various domains that may reflect predictive behaviour. Computational learning models, including symbolic (fragment-based), probabilistic/graphical, or connectionist approaches, provide well-specified predictive models of specific features and feature combinations. While models match some experimental results, full-fledged music prediction cannot yet be modelled. Neuroscientific results regarding the early right-anterior negativity (ERAN) and mismatch negativity (MMN) reflect expectancy violations on different levels of processing complexity, and provide some neural evidence for different predictive mechanisms. At present, the combinations of neural and computational modelling methodologies are at early stages and require further research. Copyright © 2012 Elsevier B.V. All rights reserved.

Virtual Reality Musical Instruments

DEFF Research Database (Denmark)

Serafin, Stefania; Erkut, Cumhur; Kojs, Juraj

2016-01-01

The rapid development and availability of low-cost technologies have created a wide interest in virtual reality. In the field of computer music, the term “virtual musical instruments” has been used for a long time to describe software simulations, extensions of existing musical instruments......, and ways to control them with new interfaces for musical expression. Virtual reality musical instruments (VRMIs) that include a simulated visual component delivered via a head-mounted display or other forms of immersive visualization have not yet received much attention. In this article, we present a field...

Music in our ears: the biological bases of musical timbre perception.

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Kailash Patil

Full Text Available Timbre is the attribute of sound that allows humans and other animals to distinguish among different sound sources. Studies based on psychophysical judgments of musical timbre, ecological analyses of sound's physical characteristics as well as machine learning approaches have all suggested that timbre is a multifaceted attribute that invokes both spectral and temporal sound features. Here, we explored the neural underpinnings of musical timbre. We used a neuro-computational framework based on spectro-temporal receptive fields, recorded from over a thousand neurons in the mammalian primary auditory cortex as well as from simulated cortical neurons, augmented with a nonlinear classifier. The model was able to perform robust instrument classification irrespective of pitch and playing style, with an accuracy of 98.7%. Using the same front end, the model was also able to reproduce perceptual distance judgments between timbres as perceived by human listeners. The study demonstrates that joint spectro-temporal features, such as those observed in the mammalian primary auditory cortex, are critical to provide the rich-enough representation necessary to account for perceptual judgments of timbre by human listeners, as well as recognition of musical instruments.

Design and Realization of Music Retrieval System Based on Feature Content

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Li Lei

2015-01-01

Full Text Available As computer technology develops rapidly, retrieval systems have also undergone great changes. People are no longer contented with singular retrieval means, but are trying many other ways to retrieve feature content. When it comes to music, however, the complexity of sound is still preventing its retrieval from moving further forward. To solve this problem, systematic analysis and study is carried out on music retrieval system based on feature content. A music retrieval system model based on feature content consisting of technical approaches for processing and retrieving of extraction symbols of music feature content is built and realized. An SML model is proposed and tested on two different types of song sets. The result shows good performance of the system. Besides, the shortfalls of the model are also noted and the future prospects of the music retrieval system based on feature content are outlined.

Music plus Music Integration: A Model for Music Education Policy Reform That Reflects the Evolution and Success of Arts Integration Practices in 21st Century American Public Schools

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Scripp, Lawrence; Gilbert, Josh

2016-01-01

This article explores the special case of integrative teaching and learning in music as a model for 21st century music education policy reform based on the principles that have evolved out of arts integration research and practices over the past century and informed by the recent rising tide of evidence of music's impact on brain capacity and…

Huge music archives on mobile devices

DEFF Research Database (Denmark)

Blume, H.; Bischl, B.; Botteck, M.

2011-01-01

The availability of huge nonvolatile storage capacities such as flash memory allows large music archives to be maintained even in mobile devices. With the increase in size, manual organization of these archives and manual search for specific music becomes very inconvenient. Automated dynamic...... organization enables an attractive new class of applications for managing ever-increasing music databases. For these types of applications, extraction of music features as well as subsequent feature processing and music classification have to be performed. However, these are computationally intensive tasks...... and difficult to tackle on mobile platforms. Against this background, we provided an overview of algorithms for music classification as well as their computation times and other hardware-related aspects, such as power consumption on various hardware architectures. For mobile platforms such as smartphones...

Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music

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Freya Bailes

2007-08-01

Full Text Available We examined the impact of listening context (sound duration and prior presentation on the human perception of segmentation in sequences of computer music. This research extends previous work by the authors (Bailes & Dean, 2005, which concluded that context-dependent effects such as the asymmetrical detection of an increase in timbre compared to a decrease of the same magnitude have a significant bearing on the cognition of sound structure. The current study replicated this effect, and demonstrated that listeners (N = 14 are coherent in their detection of segmentation between real-time and retrospective tasks. In addition, response lag was reduced from a first hearing to a second hearing, and following long (7 s rather than short (1 or 3 s segments. These findings point to the role of short-term memory in dynamic structural perception of computer music.

Harmonic Structure Predicts the Enjoyment of Uplifting Trance Music.

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Agres, Kat; Herremans, Dorien; Bigo, Louis; Conklin, Darrell

2016-01-01

An empirical investigation of how local harmonic structures (e.g., chord progressions) contribute to the experience and enjoyment of uplifting trance (UT) music is presented. The connection between rhythmic and percussive elements and resulting trance-like states has been highlighted by musicologists, but no research, to our knowledge, has explored whether repeated harmonic elements influence affective responses in listeners of trance music. Two alternative hypotheses are discussed, the first highlighting the direct relationship between repetition/complexity and enjoyment, and the second based on the theoretical inverted-U relationship described by the Wundt curve. We investigate the connection between harmonic structure and subjective enjoyment through interdisciplinary behavioral and computational methods: First we discuss an experiment in which listeners provided enjoyment ratings for computer-generated UT anthems with varying levels of harmonic repetition and complexity. The anthems were generated using a statistical model trained on a corpus of 100 uplifting trance anthems created for this purpose, and harmonic structure was constrained by imposing particular repetition structures (semiotic patterns defining the order of chords in the sequence) on a professional UT music production template. Second, the relationship between harmonic structure and enjoyment is further explored using two computational approaches, one based on average Information Content, and another that measures average tonal tension between chords. The results of the listening experiment indicate that harmonic repetition does in fact contribute to the enjoyment of uplifting trance music. More compelling evidence was found for the second hypothesis discussed above, however some maximally repetitive structures were also preferred. Both computational models provide evidence for a Wundt-type relationship between complexity and enjoyment. By systematically manipulating the structure of chord

An economic analysis of online streaming: How the music industry can generate revenues from cloud computing

OpenAIRE

Thomes, Tim Paul

2011-01-01

This paper investigates the upcoming business model of online streaming services allowing music consumers either to subscribe to a service which provides free-of-charge access to streaming music and which is funded by advertising, or to pay a monthly flat fee in order to get ad-free access to the content of the service accompanied with additional benefits. Both businesses will be launched by a single provider of streaming music. By imposing a two-sided market model on the one hand combined wi...

Young Adolescents' Usage of Narrative Functions of Media Music by Manipulation of Musical Expression

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Wingstedt, Johnny; Brandstrom, Sture; Berg, Jan

2008-01-01

This study investigates usage and knowledge of musical narrative functions in contemporary multimedia. A group of young adolescents were given the task of adapting musical expression, using the non-verbal research tool REMUPP, to fit different visual scenes shown on a computer screen. This was accomplished by manipulating seven musical parameters:…

Predictive Modeling of Expressed Emotions in Music Using Pairwise Comparisons

DEFF Research Database (Denmark)

Madsen, Jens; Jensen, Bjørn Sand; Larsen, Jan

2013-01-01

We introduce a two-alternative forced-choice (2AFC) experimental paradigm to quantify expressed emotions in music using the arousal and valence (AV) dimensions. A wide range of well-known audio features are investigated for predicting the expressed emotions in music using learning curves...... and essential baselines. We furthermore investigate the scalability issues of using 2AFC in quantifying emotions expressed in music on large-scale music databases. The possibility of dividing the annotation task between multiple individuals, while pooling individuals’ comparisons is investigated by looking...... comparisons at random by using learning curves. We show that a suitable predictive model of expressed valence in music can be achieved from only 15% of the total number of comparisons when using the Expected Value of Information (EVOI) active learning scheme. For the arousal dimension we require 9...

Model of music cognition and amusia.

Science.gov (United States)

García-Casares, N; Berthier Torres, M L; Froudist Walsh, S; González-Santos, P

2013-04-01

The study of the neural networks involved in music processing has received less attention than work researching the brain's language networks. For the last two decades there has been a growing interest in discovering the functional mechanisms of the musical brain and understanding those disorders in which brain regions linked with perception and production of music are damaged. Congenital and acquired musical deficits in their various forms (perception, execution, music-memory) are grouped together under the generic term amusia. In this selective review we present the "cutting edge" studies on the cognitive and neural processes implicated in music and the various forms of amusia. Musical processing requires a large cortico-subcortical network which is distributed throughout both cerebral hemispheres and the cerebellum. The analysis of healthy subjects using functional neuroimaging and examination of selective deficits (e.g., tone, rhythm, timbre, melodic contours) in patients will improve our knowledge of the mechanisms involved in musical processing and the latter's relationship with other cognitive processes. Copyright © 2011 Sociedad Española de Neurología. Published by Elsevier Espana. All rights reserved.

Music Software and Emerging Technology.

Science.gov (United States)

Peters, G. David

1992-01-01

Traces the history of instructional computing in music education. Describes the development of music software and hardware. Discusses potential benefits of using the newly developed software in the classroom. Suggests that educators and musicians interact with the publishing community to help define their needs in music education. (DK)

The use of music on Barney & Friends: implications for music therapy practice and research.

Science.gov (United States)

McGuire , K M

2001-01-01

This descriptive study examined the music content of 88 episodes from the PBS television show Barney & Friends, which aired from September 1992 to September 1998, in an attempt to quantify musical examples and presentations that may be considered introductory music experiences for preschoolers. Using many of the procedures identified by Wolfe and Stambaugh (1993) in their study on the music of Sesame Street, 25% of Barney & Friends' 88 episodes were analyzed by using the computer observation program SCRIBE in determining: (a) the temporal use of music; (b) performance medium; and (c) intention of music use. Furthermore, each structural prompt presentation (n = 749) from all 88 episodes was examined for: (a) tempo; (b) vocal range; (c) music style; (d) word clarity; (e) repetition; (f) vocal modeling; and (g) movement. Results revealed that the show contained more music (92.2%) than nonmusic (7.8%), with the majority of this music containing instrumental sounds (61%). The function of this music was distributed equally between structural prompt music (48%) and background music (48%). The majority of the structural prompt music contained newly composed material (52%), while 33% consisted of previously composed material. Fifteen percent contained a combination of newly composed and previously composed material. The most common tempo range for presentations on the show was 80-100 bpm, while vocal ranges of a 9th, 8th, 6th, and 7th were predominant and most often sung by children's voices. The adult male voice was also common, with 84% of all adult vocals being male. The tessitura category with the greatest number of appearances was middle C to C above (n = 133), with the majority of the presentations (n = 435, 73%) extending singers' voices over the register lift of B above middle C. Children's music and music of the American heritage were the most common style categories observed, and these two categories combined on 260 (35%) presentations. The use of choreographed

Musicality Development Among Primary School Pupils in Music Studies

OpenAIRE

Vilde, Ilze

2013-01-01

Abstract Research goal. To explore the structure of musicality, to examine components that characterize musicality among primary school pupils and the pedagogic logic of its development during music lessons in primary school. As a result of the theoretical study, characterizing components and criteria of musicality among primary school pupils were researched and described and the description of musicality was broadened. The created model for music studies for facilitating the developme...

Music Genre Classification using the multivariate AR feature integration model

DEFF Research Database (Denmark)

Ahrendt, Peter; Meng, Anders

2005-01-01

informative decisions about musical genre. For the MIREX music genre contest several authors derive long time features based either on statistical moments and/or temporal structure in the short time features. In our contribution we model a segment (1.2 s) of short time features (texture) using a multivariate...... autoregressive model. Other authors have applied simpler statistical models such as the mean-variance model, which also has been included in several of this years MIREX submissions, see e.g. Tzanetakis (2005); Burred (2005); Bergstra et al. (2005); Lidy and Rauber (2005)....

The sound of friction: Real-time models, playability and musical applications

Science.gov (United States)

Serafin, Stefania

Friction, the tangential force between objects in contact, in most engineering applications needs to be removed as a source of noise and instabilities. In musical applications, friction is a desirable component, being the sound production mechanism of different musical instruments such as bowed strings, musical saws, rubbed bowls and any other sonority produced by interactions between rubbed dry surfaces. The goal of the dissertation is to simulate different instrument whose main excitation mechanism is friction. An efficient yet accurate model of a bowed string instrument, which combines the latest results in violin acoustics with the efficient digital waveguide approach, is provided. In particular, the bowed string physical model proposed uses a thermodynamic friction model in which the finite width of the bow is taken into account; this solution is compared to the recently developed elasto-plastic friction models used in haptics and robotics. Different solutions are also proposed to model the body of the instrument. Other less common instruments driven by friction are also proposed, and the elasto-plastic model is used to provide audio-visual simulations of everyday friction sounds such as squeaking doors and rubbed wine glasses. Finally, playability evaluations and musical applications in which the models have been used are discussed.

Adolescents and Music Media: Toward an Involvement-Mediational Model of Consumption and Self-Concept

Science.gov (United States)

Kistler, Michelle; Rodgers, Kathleen Boyce; Power, Thomas; Austin, Erica Weintraub; Hill, Laura Griner

2010-01-01

Using social cognitive theory and structural regression modeling, we examined pathways between early adolescents' music media consumption, involvement with music media, and 3 domains of self-concept (physical appearance, romantic appeal, and global self-worth; N=124). A mediational model was supported for 2 domains of self-concept. Music media…

Computational-Model-Based Analysis of Context Effects on Harmonic Expectancy

OpenAIRE

Morimoto, Satoshi; Remijn, Gerard B.; Nakajima, Yoshitaka

2016-01-01

Expectancy for an upcoming musical chord, harmonic expectancy, is supposedly based on automatic activation of tonal knowledge. Since previous studies implicitly relied on interpretations based on Western music theory, the underlying computational processes involved in harmonic expectancy and how it relates to tonality need further clarification. In particular, short chord sequences which cannot lead to unique keys are difficult to interpret in music theory. In this study, we examined effects ...

Rapid and flexible creativity in musical improvisation: review and a model.

Science.gov (United States)

Loui, Psyche

2018-03-25

Creativity has been defined as the ability to produce output that is novel, useful, beneficial, and desired by an audience. But what is musical creativity, and relatedly, to what extent does creativity depend on domain-general or domain-specific neural and cognitive processes? To what extent can musical creativity be taught? To answer these questions from a reductionist scientific approach, we must attempt to isolate the creative process as it pertains to music. Recent work in the neuroscience of creativity has turned to musical improvisation as a window into real-time musical creative process in the brain. Here, I provide an overview of recent research in the neuroscience of musical improvisation, especially focusing on multimodal neuroimaging studies. This research informs a model of creativity as a combination of generative and reactive processes that coordinate their functions to give rise to perpetually novel and aesthetically rewarding improvised musical output. © 2018 New York Academy of Sciences.

The Song Remains the Same: A Replication and Extension of the MUSIC Model

Science.gov (United States)

Rentfrow, Peter J.; Goldberg, Lewis R.; Stillwell, David J.; Kosinski, Michal; Gosling, Samuel D.; Levitin, Daniel J.

2012-01-01

There is overwhelming anecdotal and empirical evidence for individual differences in musical preferences. However, little is known about what drives those preferences. Are people drawn to particular musical genres (e.g., rap, jazz) or to certain musical properties (e.g., lively, loud)? Recent findings suggest that musical preferences can be conceptualized in terms of five orthogonal dimensions: Mellow, Unpretentious, Sophisticated, Intense, and Contemporary (conveniently, MUSIC). The aim of the present research is to replicate and extend that work by empirically examining the hypothesis that musical preferences are based on preferences for particular musical properties and psychological attributes as opposed to musical genres. Findings from Study 1 replicated the five-factor MUSIC structure using musical excerpts from a variety of genres and subgenres and revealed musical attributes that differentiate each factor. Results from Studies 2 and 3 show that the MUSIC structure is recoverable using musical pieces from only the jazz and rock genres, respectively. Taken together, the current work provides strong evidence that preferences for music are determined by specific musical attributes and that the MUSIC model is a robust framework for conceptualizing and measuring such preferences. PMID:24825945

The Song Remains the Same: A Replication and Extension of the MUSIC Model.

Science.gov (United States)

Rentfrow, Peter J; Goldberg, Lewis R; Stillwell, David J; Kosinski, Michal; Gosling, Samuel D; Levitin, Daniel J

2012-12-01

There is overwhelming anecdotal and empirical evidence for individual differences in musical preferences. However, little is known about what drives those preferences. Are people drawn to particular musical genres (e.g., rap, jazz) or to certain musical properties (e.g., lively, loud)? Recent findings suggest that musical preferences can be conceptualized in terms of five orthogonal dimensions: Mellow, Unpretentious, Sophisticated, Intense, and Contemporary (conveniently, MUSIC). The aim of the present research is to replicate and extend that work by empirically examining the hypothesis that musical preferences are based on preferences for particular musical properties and psychological attributes as opposed to musical genres. Findings from Study 1 replicated the five-factor MUSIC structure using musical excerpts from a variety of genres and subgenres and revealed musical attributes that differentiate each factor. Results from Studies 2 and 3 show that the MUSIC structure is recoverable using musical pieces from only the jazz and rock genres, respectively. Taken together, the current work provides strong evidence that preferences for music are determined by specific musical attributes and that the MUSIC model is a robust framework for conceptualizing and measuring such preferences.

Comparison of L-system applications towards plant modelling, music rendering and score generation using visual language programming

Science.gov (United States)

Lim, Chen Kim; Tan, Kian Lam; Yusran, Hazwanni; Suppramaniam, Vicknesh

2017-10-01

Visual language or visual representation has been used in the past few years in order to express the knowledge in graphic. One of the important graphical elements is fractal and L-Systems is a mathematic-based grammatical model for modelling cell development and plant topology. From the plant model, L-Systems can be interpreted as music sound and score. In this paper, LSound which is a Visual Language Programming (VLP) framework has been developed to model plant to music sound and generate music score and vice versa. The objectives of this research has three folds: (i) To expand the grammar dictionary of L-Systems music based on visual programming, (ii) To design and produce a user-friendly and icon based visual language framework typically for L-Systems musical score generation which helps the basic learners in musical field and (iii) To generate music score from plant models and vice versa using L-Systems method. This research undergoes a four phases methodology where the plant is first modelled, then the music is interpreted, followed by the output of music sound through MIDI and finally score is generated. LSound is technically compared to other existing applications in the aspects of the capability of modelling the plant, rendering the music and generating the sound. It has been found that LSound is a flexible framework in which the plant can be easily altered through arrow-based programming and the music score can be altered through the music symbols and notes. This work encourages non-experts to understand L-Systems and music hand-in-hand.

A music educational environment for preschoolers

NARCIS (Netherlands)

Jansen, A.E.; van Dijk, Elisabeth M.A.G.; Retra, J.

2008-01-01

This paper describes the design and evaluation of an interactive computer environment that envisions to contribute to young children's musical learning. The intent is to stimulate the child's inherent musical abilities by engaging the child in active musical interaction with the environment. The

Music training and inhibitory control: a multidimensional model.

Science.gov (United States)

Moreno, Sylvain; Farzan, Faranak

2015-03-01

Training programs aimed to improve cognitive skills have either yielded mixed results or remain to be validated. The limited benefits of such regimens are largely attributable to weak understanding of (1) how (and which) interventions provide the most cognitive improvements; and (2) how brain networks and neural mechanisms that underlie specific cognitive abilities can be modified selectively. Studies indicate that music training leads to robust and long-lasting benefits to behavior. Importantly, behavioral advantages conferred by music extend beyond perceptual abilities to even nonauditory functions, such as inhibitory control (IC) and its neural correlates. Alternative forms of arts engagement or brain training do not appear to yield such enhancements, which suggests that music uniquely taps into brain networks subserving a variety of auditory as well as domain-general mechanisms such as IC. To account for such widespread benefits of music training, we propose a framework of transfer effects characterized by three dimensions: level of processing, nature of the transfer, and involvement of executive functions. We suggest that transfer of skills is mediated through modulation of general cognitive processes, in particular IC. We believe that this model offers a viable framework to test the extent and limitations of music-related changes. © 2014 New York Academy of Sciences.

Coleridge: a computer tool for assisting musical reflection and self-explanation

Directory of Open Access Journals (Sweden)

John Cook

1998-12-01

Full Text Available Since the mid-1980s, there has been a movement away from knowledge supplied by the teacher and towards talking, reflecting and explaining as ways to learn. An example of this change in focus is provided by the self-explanation work of Chi et al (1994 who describe an approach to talking science rather than hearing science. According to Chi and coworkers, generating explanations to oneself (self-explanations facilitates the integration of new information into existing knowledge. Reflecting about one's own learning is the same as thinking about learning or metacognition. Metacognition can be defined as the understanding of knowledge, an understanding that can be reflected in either effective use or overt description of the knowledge in question (Brown, 1987. This definition of metacognition requires of a learner both internalized thinking about learning (that is, reflection, and externalized communication, through language or action, that indicates an understanding of knowledge (that is, a self-explanation. In the work described in this paper the overall pedagogical goal is to encourage creative reflection in learners. Creative reflection is defined as the ability of a learner to imagine musical opportunities in novel situations, and then to make accurate predictions (verbally about these opportunities. To succeed at creative reflection there should be a correspondence between what a learner predicts will happen and what actually happens. An example would be a learner first writing a musical phrase using musical notation, then predicting verbally how that phrase will sound, playing the phrase back on a piano, and finally evaluating if the prediction was accurate or not. Very little work has been done on how computers can be used to support talking, reflecting and explaining in the creative subject-area of musical composition. The rest of this paper addresses this issue.

Toward A Better Understanding of Perceived Complexity in Music: A Commentary on Eerola (2016

Directory of Open Access Journals (Sweden)

Elizabeth Hellmuth Margulis

2016-07-01

Full Text Available Eerola (2016 evaluates models of musical complexity based on expectancy violation and information theory. This commentary notes the deep relationship between these two phenomena, and argues for a more active partnership between computational and psychological approaches in understanding perceptions of musical complexity.

Exploring a neuroplasticity model of music therapy.

Science.gov (United States)

Stegemöller, Elizabeth L

2014-01-01

Given that music therapists work across a wide range of disabilities, it is important that therapists have at least a fundamental understanding of the neurophysiology associated with the client/patient populations that they serve. Yet, there is a large gap of evidence regarding the neurophysiological changes associated with applying music as therapy. The purpose of this article is to provide music therapists with a general background in neuroplasticity principles that can be applied to the use of music therapy with multiple populations. This article will review literature on neuroplasticity and literature supporting the specific attributes of music therapy that apply to neuroplasticity. Finally, examples of how to use neuroplasticity principles to explain and support clinical music therapy will be provided. Using the material presented in this review, music therapists will be equipped with information to effectively communicate why music therapy works using three neuroplasticity principles; increase in dopamine, neural synchrony, and a clear signal. Music therapy is a powerful tool to enhance neuroplasticity in the brain. © the American Music Therapy Association 2014. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

Selling digital music

DEFF Research Database (Denmark)

Hougaard, Jens Leth; Tvede, Mich

2010-01-01

This paper considers the market for digital music. We claim that the combination of the MP3 format and peer-to-peer networks has made music non-excludable and this feature is essential for the understanding of the economics of the music market. We study optimal business models for selling non-exc......, the music industry should concentrate on alternative ways of creating profit such as selling access to listeners, concerts, merchandise, ringtones etc.......This paper considers the market for digital music. We claim that the combination of the MP3 format and peer-to-peer networks has made music non-excludable and this feature is essential for the understanding of the economics of the music market. We study optimal business models for selling non...

The Self-Regulated Learning Model and Music Education

Directory of Open Access Journals (Sweden)

Maja Marijan

2017-02-01

Full Text Available Self-regulation and self-regulated learning (SRL are important features in music education. In this research self-regulated learning model is presented as a complex, multidimensional structure. SRL starts with the self-regulation. Self-regulation is formed through interaction with the environment, thus self-learning, self-analysis, self-judgment, self-instruction, and self-monitoring are the main functions in self-regulatory structure. Co-regulation is needed, and helps self-regulation to be activated and monitored. In music education, co-regulation refers to the instructions that teacher introduces in the lessons. These instructions have to enhance learning and develop regulation over emotions, cognitive, auditor, and motor skills in students. Learning techniques and learning strategies are core components in music education. Adapting those, students become aware of their learning processes, actions, thoughts, feelings and behaviors that are involved in learning. It is suggested that every teaching methodology has to develop learning techniques, as well as metamemory and metacognition in students, in order to gain expertise. The author has emphasized her attention to every aspect that is believed to belong to SRL. There are not many articles on the SRL in music education, written by musicians, in compare with those written by psychologists and neurologists,. Therefore, the author has suggested that this paper would encourage music teachers and performers to take an advantage in the research of SRL. These researches would help music educational systems and teachers to develop and promote learning techniques and strategies. The results would show improvement in student’s learning and self-regulation.

Concept Analysis: Music Therapy.

Science.gov (United States)

Murrock, Carolyn J; Bekhet, Abir K

2016-01-01

Down through the ages, music has been universally valued for its therapeutic properties based on the psychological and physiological responses in humans. However, the underlying mechanisms of the psychological and physiological responses to music have been poorly identified and defined. Without clarification, a concept can be misused, thereby diminishing its importance for application to nursing research and practice. The purpose of this article was for the clarification of the concept of music therapy based on Walker and Avant's concept analysis strategy. A review of recent nursing and health-related literature covering the years 2007-2014 was performed on the concepts of music, music therapy, preferred music, and individualized music. As a result of the search, the attributes, antecedents, and consequences of music therapy were identified, defined, and used to develop a conceptual model of music therapy. The conceptual model of music therapy provides direction for developing music interventions for nursing research and practice to be tested in various settings to improve various patient outcomes. Based on Walker and Avant's concept analysis strategy, model and contrary cases are included. Implications for future nursing research and practice to use the psychological and physiological responses to music therapy are discussed.

Music, movies and meaning: Communication in film-makers' Search for pre-existing music, and the implications for music information retrieval

OpenAIRE

Inskip, C.; Macfarlane, A.; Rafferty, P.

2008-01-01

While the use of music to accompany moving images is widespread, the information behaviour, communicative practice and decision making by creative professionals within this area of the music industry is an under-researched area. This investigation discusses the use of music in films and advertising focusing on communication and meaning of the music and introduces a reflexive communication model. The model is discussed in relation to interviews with a sample of music professionals who search f...

Music, movies and meaning: communication in film-markers' search for pre-existing music, and the implications for music information retrieval

OpenAIRE

Inskip, C.; MacFarlane, A.; Rafferty, P.

2008-01-01

While the use of music to accompany moving images is widespread, the information behaviour, communicative practice and decision making by creative professionals within this area of the music industry is an under-researched area. This investigation discusses the use of music in films and advertising focusing on communication and meaning of the music and introduces a reflexive communication model. The model is discussed in relation to interviews with a sample of music professionals who search f...

Modeling vibrato and portamento in music performance

NARCIS (Netherlands)

Desain, P.W.M.; Honing, H.J.

1999-01-01

Research in the psychology of music dealing with expression is often concerned with the discrete aspects of music performance, and mainly concentrates on the study of piano music (partly because of the ease with which piano music can be reduced to discrete note events). However, on other

The musical identities of Danish music therapy students

DEFF Research Database (Denmark)

Bonde, Lars Ole

2013-01-01

In the music therapy masters program at Aalborg University (Denmark) Music and Identity is a short, intensive course, based on a musical autobiography written by each participating student. Since 1999 almost 100 students have written a narrative of their musical life story. This article will focus...... on contributions from students participating from 2010-12 (n=21). Musical autobiographies have been analyzed (a) using the theoretical model of Even Ruud (1997, 1998), (b) as thematic analysis (Braun & Clark 2006), (c) using RepGrid, a qualitative research methodology based on George Kelly’s Personal Construct...... Theory (Abrams & Meadows 2005). Patterns of identity construction are presented, and the roles and functions of music in different stages of life discussed, including the self-reported influence of music on the students' health....

Affective Music Information Retrieval

OpenAIRE

Wang, Ju-Chiang; Yang, Yi-Hsuan; Wang, Hsin-Min

2015-01-01

Much of the appeal of music lies in its power to convey emotions/moods and to evoke them in listeners. In consequence, the past decade witnessed a growing interest in modeling emotions from musical signals in the music information retrieval (MIR) community. In this article, we present a novel generative approach to music emotion modeling, with a specific focus on the valence-arousal (VA) dimension model of emotion. The presented generative model, called \\emph{acoustic emotion Gaussians} (AEG)...

C-cards in Music Education

DEFF Research Database (Denmark)

Valente, Andrea; Lyon, Kirstin Catherine

2005-01-01

Music and Computer Science share a dual nature: theory and practice relate in complex ways, and seem to be equally central for learners; for this no standard teaching approach for children has yet emerged in either of these two areas. Computational cards is a tabletop game, where cards act...... of the card; if the action is to generate a sound, then the circuit will effectively became a music machine....

Music Therapy

DEFF Research Database (Denmark)

Trondalen, Gro; Bonde, Lars Ole

2012-01-01

music therapy orientations/models (Guided Imagery and Music, Nordoff-Robbins, Psychoanalytic, Cognitive-behavioral etc), their theoretical foundations and their practical approaches to health and wellbeing or ‘health musicking’. The relational context – the interplay of (expressive as well as receptive......Music therapy (MT) is most commonly defined as an intervention where “the therapist helps the client to promote health, using music experiences and the relationships developing through them” (Bruscia 1998). Also other definitions of MT agree that a therapeutic relationship is important for a music...... intervention to be considered MT. Other interventions that “use music for health-related goals, but in ways that do not qualify as music therapy” (Gold 2009), may be described as music medicine, or simply as music listening. In this text we elaborate on an overview chapter covering some of the different major...

Generative electronic background music system

Energy Technology Data Exchange (ETDEWEB)

Mazurowski, Lukasz [Faculty of Computer Science, West Pomeranian University of Technology in Szczecin, Zolnierska Street 49, Szczecin, PL (Poland)

2015-03-10

In this short paper-extended abstract the new approach to generation of electronic background music has been presented. The Generative Electronic Background Music System (GEBMS) has been located between other related approaches within the musical algorithm positioning framework proposed by Woller et al. The music composition process is performed by a number of mini-models parameterized by further described properties. The mini-models generate fragments of musical patterns used in output composition. Musical pattern and output generation are controlled by container for the mini-models - a host-model. General mechanism has been presented including the example of the synthesized output compositions.

Generative electronic background music system

International Nuclear Information System (INIS)

Mazurowski, Lukasz

2015-01-01

In this short paper-extended abstract the new approach to generation of electronic background music has been presented. The Generative Electronic Background Music System (GEBMS) has been located between other related approaches within the musical algorithm positioning framework proposed by Woller et al. The music composition process is performed by a number of mini-models parameterized by further described properties. The mini-models generate fragments of musical patterns used in output composition. Musical pattern and output generation are controlled by container for the mini-models - a host-model. General mechanism has been presented including the example of the synthesized output compositions

Individual Tariffs for Mobile Services: Theoretical Framework and a Computational Case in Mobile Music

OpenAIRE

Chen, Hong; Pau, Louis-François

2007-01-01

textabstractThis paper introduces individual tariffs at service and content bundle level in mobile communications. It gives a theoretical framework (economic, sociological) as well as a computational game solution method. The user can be an individual or a community. Individual tariffs are decided through interactions between the user and the supplier. A numerical example from mobile music illustrates the concepts.

Klang River water quality modelling using music

Science.gov (United States)

Zahari, Nazirul Mubin; Zawawi, Mohd Hafiz; Muda, Zakaria Che; Sidek, Lariyah Mohd; Fauzi, Nurfazila Mohd; Othman, Mohd Edzham Fareez; Ahmad, Zulkepply

2017-09-01

Water is an essential resource that sustains life on earth; changes in the natural quality and distribution of water have ecological impacts that can sometimes be devastating. Recently, Malaysia is facing many environmental issues regarding water pollution. The main causes of river pollution are rapid urbanization, arising from the development of residential, commercial, industrial sites, infrastructural facilities and others. The purpose of the study was to predict the water quality of the Connaught Bridge Power Station (CBPS), Klang River. Besides that, affects to the low tide and high tide and. to forecast the pollutant concentrations of the Biochemical Oxygen Demand (BOD) and Total Suspended Solid (TSS) for existing land use of the catchment area through water quality modeling (by using the MUSIC software). Besides that, to identifying an integrated urban stormwater treatment system (Best Management Practice or BMPs) to achieve optimal performance in improving the water quality of the catchment using the MUSIC software in catchment areas having tropical climates. Result from MUSIC Model such as BOD5 at station 1 can be reduce the concentration from Class IV to become Class III. Whereas, for TSS concentration from Class III to become Class II at the station 1. The model predicted a mean TSS reduction of 0.17%, TP reduction of 0.14%, TN reduction of 0.48% and BOD5 reduction of 0.31% for Station 1 Thus, from the result after purposed BMPs the water quality is safe to use because basically water quality monitoring is important due to threat such as activities are harmful to aquatic organisms and public health.

Augmenting C-cards with music actions

DEFF Research Database (Denmark)

Jensen, Karl Kristoffer; Valente, Andrea; Lyon, Kirstin Catherine

2006-01-01

The paper proposes a new way of introducing music to classes of 8 to 10 years old pupils, by adopting a recent educational tool for teaching Computer Science. Our proposal builds in fact on computational cards (or c-cards), a playful and intuitive mind-tool, that has been applied to a variety...... of Computer Science concepts. Here a simple extension to c-cards is presented, that enables pupils to build and play with tangible musical machine....

Music therapy for mental disorder and mental health: the untapped potential of Indian classical music.

Science.gov (United States)

Hegde, Shantala

2017-05-01

Music is a universal human trait. The healing power of music has been acknowledged in almost all traditions of music. Music therapy is moving from a social-science model focusing on overall health and well-being towards a neuroscience model focusing on specific elements of music and its effect on sensorimotor, language and cognitive functions. The handful of evidence-based music therapy studies on psychiatric conditions have shown promising results. Traditional music, such as Indian classical music, has only recently been evaluated in evidence-based research into music therapy. The need for systematic research in this area is underscored.

Music therapy for mental disorder and mental health: the untapped potential of Indian classical music

OpenAIRE

Hegde, Shantala

2017-01-01

Music is a universal human trait. The healing power of music has been acknowledged in almost all traditions of music. Music therapy is moving from a social-science model focusing on overall health and well-being towards a neuroscience model focusing on specific elements of music and its effect on sensorimotor, language and cognitive functions. The handful of evidence-based music therapy studies on psychiatric conditions have shown promising results. Traditional music, such as Indian classical...

With or without a conductor: Comparative analysis of leadership models in the musical ensemble

Directory of Open Access Journals (Sweden)

Kovačević Mia

2016-01-01

Full Text Available In search of innovative models of work organization and therefore the artistic process of one musical ensemble, in the last ten years musical ensembles have developed examples of non-traditional artistic-performing decisions and organizational practice. The paper is conceived as a research and analysis of the dominant models of leadership (i.e. organizing, conducting business applicable on the music ensembles and experiences of the musicians. The aim is to recognize and define leadership styles that encourage the increase of motivation and productivity of musicians within the musical ensemble. The paper will specifically investigate the relationship and differences between the two dominant models of leadership, leadership of conductor and collaborative leadership. At the same time, the paper describes and analyses an experiment that was conducted by the Ensemble Metamorphosis, which applied into their work two dominant models of leadership. In an effort to increase the motivation and productivity of musicians, Ensemble Metamorphosis also searched for a new management model of work organization and a new model of leadership. The aim of this paper was therefore to investigate the effects of leadership models that improve the artistic quality, motivation of the musicians, psychological climate and overall increase productivity of musical organization.

Music, videos and the risk for CERN

CERN Multimedia

IT Department

2010-01-01

Do you like listening to music while working? What about watching videos during leisure time? Sure this is fun. Having your colleagues participating in this is even more fun. However, this fun is usually not free. There are music and film companies who earn their living from music and videos. Thus, if you want to listen to music or watch films at CERN, make sure that you own the proper rights to do so (and you have the agreement of your supervisor to do this during working hours). Note that these rights are personal: You usually do not have the right to share this music or these videos with third parties without violating copyrights. Therefore, making copyrighted music and videos public, or sharing music and video files as well as other copyrighted material, is forbidden at CERN --- and also outside CERN. It violates the CERN Computing Rules (http://cern.ch/ComputingRules) and it contradicts CERN's Code of Coduct (https://cern.ch/hr-info/codeofconduct.asp) which expects each of us to behave ethically and be ...

Theoretical Framework of A Computational Model of Auditory Memory for Music Emotion Recognition

NARCIS (Netherlands)

Caetano, Marcelo; Wiering, Frans

2014-01-01

The bag of frames (BOF) approach commonly used in music emotion recognition (MER) has several limitations. The semantic gap is believed to be responsible for the glass ceiling on the performance of BOF MER systems. However, there are hardly any alternative proposals to address it. In this article,

The relationship between the neural computations for speech and music perception is context-dependent: an activation likelihood estimate study

Science.gov (United States)

LaCroix, Arianna N.; Diaz, Alvaro F.; Rogalsky, Corianne

2015-01-01

The relationship between the neurobiology of speech and music has been investigated for more than a century. There remains no widespread agreement regarding how (or to what extent) music perception utilizes the neural circuitry that is engaged in speech processing, particularly at the cortical level. Prominent models such as Patel's Shared Syntactic Integration Resource Hypothesis (SSIRH) and Koelsch's neurocognitive model of music perception suggest a high degree of overlap, particularly in the frontal lobe, but also perhaps more distinct representations in the temporal lobe with hemispheric asymmetries. The present meta-analysis study used activation likelihood estimate analyses to identify the brain regions consistently activated for music as compared to speech across the functional neuroimaging (fMRI and PET) literature. Eighty music and 91 speech neuroimaging studies of healthy adult control subjects were analyzed. Peak activations reported in the music and speech studies were divided into four paradigm categories: passive listening, discrimination tasks, error/anomaly detection tasks and memory-related tasks. We then compared activation likelihood estimates within each category for music vs. speech, and each music condition with passive listening. We found that listening to music and to speech preferentially activate distinct temporo-parietal bilateral cortical networks. We also found music and speech to have shared resources in the left pars opercularis but speech-specific resources in the left pars triangularis. The extent to which music recruited speech-activated frontal resources was modulated by task. While there are certainly limitations to meta-analysis techniques particularly regarding sensitivity, this work suggests that the extent of shared resources between speech and music may be task-dependent and highlights the need to consider how task effects may be affecting conclusions regarding the neurobiology of speech and music. PMID:26321976

The relationship between the neural computations for speech and music perception is context-dependent: an activation likelihood estimate study

Directory of Open Access Journals (Sweden)

Arianna eLaCroix

2015-08-01

Full Text Available The relationship between the neurobiology of speech and music has been investigated for more than a century. There remains no widespread agreement regarding how (or to what extent music perception utilizes the neural circuitry that is engaged in speech processing, particularly at the cortical level. Prominent models such as Patel’s Shared Syntactic Integration Resource Hypothesis (SSIRH and Koelsch’s neurocognitive model of music perception suggest a high degree of overlap, particularly in the frontal lobe, but also perhaps more distinct representations in the temporal lobe with hemispheric asymmetries. The present meta-analysis study used activation likelihood estimate analyses to identify the brain regions consistently activated for music as compared to speech across the functional neuroimaging (fMRI and PET literature. Eighty music and 91 speech neuroimaging studies of healthy adult control subjects were analyzed. Peak activations reported in the music and speech studies were divided into four paradigm categories: passive listening, discrimination tasks, error/anomaly detection tasks and memory-related tasks. We then compared activation likelihood estimates within each category for music versus speech, and each music condition with passive listening. We found that listening to music and to speech preferentially activate distinct temporo-parietal bilateral cortical networks. We also found music and speech to have shared resources in the left pars opercularis but speech-specific resources in the left pars triangularis. The extent to which music recruited speech-activated frontal resources was modulated by task. While there are certainly limitations to meta-analysis techniques particularly regarding sensitivity, this work suggests that the extent of shared resources between speech and music may be task-dependent and highlights the need to consider how task effects may be affecting conclusions regarding the neurobiology of speech and music.

On the Function of Computer Music on the Music Teaching in University%电脑音乐运用在高校音乐专业教学中的作用

Institute of Scientific and Technical Information of China (English)

周正基; 戴浩明

2011-01-01

随着现代科技的发展，电脑音乐也随着潮流展现在各个领域，尤其是在高校音乐教学方面更有了新的突破。与传统的音乐教学不同，电脑音乐可以更加突出教学的需要，让学生接触到更多的教学内容，电脑音乐也可以结合传统音乐的特点进行教学。%Along with the development of modern technology science, computer music, also as fashion, appears in various fields, especially music education in primary and secondary schools. Different from the traditional music, music education can highlight teaching

Movement-to-music computer technology: a developmental play experience for children with severe physical disabilities.

Science.gov (United States)

Tam, Cynthia; Schwellnus, Heidi; Eaton, Ceilidh; Hamdani, Yani; Lamont, Andrea; Chau, Tom

2007-01-01

Children with severe physical disabilities often lack the physical skills to explore their environment independently, and to play with toys or musical instruments. The movement-to-music (MTM) system is an affordable computer system that allows children with limited movements to play and create music. The present study explored parents' experiences of using the MTM system with their children. A qualitative methodology employing in-depth interview techniques was used with six mothers and their children. The themes extracted from the data were organized under two main concepts of the International Classification of Functioning, Disability, and Health (ICF) (WHO, 2001) framework. The results showed that the MTM expanded horizons for the child along the ICF health dimensions and the MTM had a positive impact on ICF environmental determinants of health. The small sample size should be noted as a limitation of this study. Further research should be carried out with a larger sample of children with restricted mobility to obtain a better understanding of the impact of MTM technology on children's psychosocial development.

Control Improvisation with Application to Music

Science.gov (United States)

2013-11-04

Control Improvisation with Application to Music Alexandre Donze Sophie Libkind Sanjit A. Seshia David Wessel Electrical Engineering and Computer...to Music 5a. CONTRACT NUMBER 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d. PROJECT NUMBER 5e. TASK NUMBER 5f. WORK UNIT NUMBER 7...domain of music . More speci cally, we consider the scenario of generating a monophonic Jazz melody (solo) on a given song harmonization. The music is

The impact of thin models in music videos on adolescent girls' body dissatisfaction.

Science.gov (United States)

Bell, Beth T; Lawton, Rebecca; Dittmar, Helga

2007-06-01

Music videos are a particularly influential, new form of mass media for adolescents, which include the depiction of scantily clad female models whose bodies epitomise the ultra-thin sociocultural ideal for young women. The present study is the first exposure experiment that examines the impact of thin models in music videos on the body dissatisfaction of 16-19-year-old adolescent girls (n=87). First, participants completed measures of positive and negative affect, body image, and self-esteem. Under the guise of a memory experiment, they then either watched three music videos, listened to three songs (from the videos), or learned a list of words. Affect and body image were assessed afterwards. In contrast to the music listening and word-learning conditions, girls who watched the music videos reported significantly elevated scores on an adaptation of the Body Image States Scale after exposure, indicating increased body dissatisfaction. Self-esteem was not found to be a significant moderator of this relationship. Implications and future research are discussed.

Randomized Controlled Trials in Music Therapy: Guidelines for Design and Implementation.

Science.gov (United States)

Bradt, Joke

2012-01-01

Evidence from randomized controlled trials (RCTs) plays a powerful role in today's healthcare industry. At the same time, it is important that multiple types of evidence contribute to music therapy's knowledge base and that the dialogue of clinical effectiveness in music therapy is not dominated by the biomedical hierarchical model of evidence-based practice. Whether or not one agrees with the hierarchical model of evidence in the current healthcare climate, RCTs can contribute important knowledge to our field. Therefore, it is important that music therapists are prepared to design trials that meet current methodological standards and, equally important, are able to respond appropriately to those design aspects that may not be feasible in music therapy research. To provide practical guidelines to music therapy researchers for the design and implementation of RCTs as well as to enable music therapists to be well-informed consumers of RCT evidence. This article reviews key design aspects of RCTs and discusses how to best implement these standards in music therapy trials. A systematic presentation of basic randomization methods, allocation concealment strategies, issues related to blinding in music therapy trials and strategies for implementation, the use of treatment manuals, types of control groups, outcome selection, and sample size computation is provided. Despite the challenges of meeting all key design demands typical of an RCT, it is possible to design rigorous music therapy RCTs that accurately estimate music therapy treatment benefits.

Open and Closed Form in Interactive Music

DEFF Research Database (Denmark)

Graugaard, Lars

2005-01-01

Performing music includes substantial listening skills on part of the performer. Performing with an interactive computer requires the performer to interact with the computer and intuitively and consciously include this information in the responsiveness of his playing. The interaction can be expan......Performing music includes substantial listening skills on part of the performer. Performing with an interactive computer requires the performer to interact with the computer and intuitively and consciously include this information in the responsiveness of his playing. The interaction can...

An Improved MUSIC Model for Gibbsite Surfaces

Energy Technology Data Exchange (ETDEWEB)

Mitchell, Scott C.; Bickmore, Barry R.; Tadanier, Christopher J.; Rosso, Kevin M.

2004-06-01

Here we use gibbsite as a model system with which to test a recently published, bond-valence method for predicting intrinsic pKa values for surface functional groups on oxides. At issue is whether the method is adequate when valence parameters for the functional groups are derived from ab initio structure optimization of surfaces terminated by vacuum. If not, ab initio molecular dynamics (AIMD) simulations of solvated surfaces (which are much more computationally expensive) will have to be used. To do this, we had to evaluate extant gibbsite potentiometric titration data that where some estimate of edge and basal surface area was available. Applying BET and recently developed atomic force microscopy methods, we found that most of these data sets were flawed, in that their surface area estimates were probably wrong. Similarly, there may have been problems with many of the titration procedures. However, one data set was adequate on both counts, and we applied our method of surface pKa int prediction to fitting a MUSIC model to this data with considerable success—several features of the titration data were predicted well. However, the model fit was certainly not perfect, and we experienced some difficulties optimizing highly charged, vacuum-terminated surfaces. Therefore, we conclude that we probably need to do AIMD simulations of solvated surfaces to adequately predict intrinsic pKa values for surface functional groups.

Auditory expectation: the information dynamics of music perception and cognition.

Science.gov (United States)

Pearce, Marcus T; Wiggins, Geraint A

2012-10-01

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond. Copyright © 2012 Cognitive Science Society, Inc.

The Formation of Digital Piracy Management Business Models in the Music Records Industry

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Edverdas Vaclovas Bartkus

2015-02-01

Full Text Available Over the past two decades due to the rapid expansion of the Internet and content products (music, movies, books and software digital distribution, the number of users copying and distributing these products without the legal consent of their authors is increasing - a phenomenon known as digital piracy. This poses new challenges to the creative content industry seeking to protect itself against the loss of income and copyright infringement.  This problem is particularly relevant to the recorded music industry, as it has the large scale of digital piracy related to very convenient reproduction and distribution of illegal music records.  The widespread practice of record use in the digital space is not favorable to traditional business models based on the distribution of music in physical format. An increasing variety of digital piracy forms and decreasing technical limitations at the same time create new opportunities to manage digital piracy through the use of new technical, legal or economic decisions. This creates need to discuss the relevance and theoretical aspects of digital piracy management in the recorded music industry, and to analyze and compare most widespread digital piracy management business models of in the recorded music industry.

End-to-End Neural Optical Music Recognition of Monophonic Scores

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Jorge Calvo-Zaragoza

2018-04-01

Full Text Available Optical Music Recognition is a field of research that investigates how to computationally decode music notation from images. Despite the efforts made so far, there are hardly any complete solutions to the problem. In this work, we study the use of neural networks that work in an end-to-end manner. This is achieved by using a neural model that combines the capabilities of convolutional neural networks, which work on the input image, and recurrent neural networks, which deal with the sequential nature of the problem. Thanks to the use of the the so-called Connectionist Temporal Classification loss function, these models can be directly trained from input images accompanied by their corresponding transcripts into music symbol sequences. We also present the Printed Music Scores dataset, containing more than 80,000 monodic single-staff real scores in common western notation, that is used to train and evaluate the neural approach. In our experiments, it is demonstrated that this formulation can be carried out successfully. Additionally, we study several considerations about the codification of the output musical sequences, the convergence and scalability of the neural models, as well as the ability of this approach to locate symbols in the input score.

Perspectives on Queer Music Therapy: A Qualitative Analysis of Music Therapists' Reactions to Radically Inclusive Practice.

Science.gov (United States)

Boggan, Catherine E; Grzanka, Patrick R; Bain, Candice L

2018-01-13

The queer music therapy model was designed by Bain, Grzanka, and Crowe in 2016 as a novel therapeutic approach to affirm and empower LGBTQ+ identity through music. No data have been generated on how this model might actually be implemented, or the strengths and limitations of the model according to music therapy professionals. The purpose of this study was to build on Bain and colleagues' work by collecting music therapists' perspectives on queer music therapy and using these data to critically evaluate the model. Semi-structured qualitative interviews were conducted with twelve music therapists who identify as LGBTQ+ or have experience working with LGBTQ+ clients. Participants were prompted to discuss their music therapy backgrounds, experiences with LGBTQ+ clients, and reactions to the queer music therapy model. Interviews were analyzed using a critical discourse analysis approach. The qualitative findings revealed major strengths of the queer music therapy model and ways in which it could be improved by attending to: (a) the structural limitations of the music therapy discipline, including the demographic composition of the field and lack of critical perspectives in music therapy training; and (b) intersectional considerations of ageism and ableism within diverse LGBTQ+ populations. Queer music therapy has positive implications for future work with LGBTQ+ individuals, but it must more substantively integrate intersectionality theory to serve a diverse range of LGBTQ+ clients. Further, it must critically attend to the structural limitations of the music therapy discipline itself. © The Author(s) 2018. Published by Oxford University Press on behalf of American Music Therapy Association. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com

Complexity measures of music

Science.gov (United States)

Pease, April; Mahmoodi, Korosh; West, Bruce J.

2018-03-01

We present a technique to search for the presence of crucial events in music, based on the analysis of the music volume. Earlier work on this issue was based on the assumption that crucial events correspond to the change of music notes, with the interesting result that the complexity index of the crucial events is mu ~ 2, which is the same inverse power-law index of the dynamics of the brain. The search technique analyzes music volume and confirms the results of the earlier work, thereby contributing to the explanation as to why the brain is sensitive to music, through the phenomenon of complexity matching. Complexity matching has recently been interpreted as the transfer of multifractality from one complex network to another. For this reason we also examine the mulifractality of music, with the observation that the multifractal spectrum of a computer performance is significantly narrower than the multifractal spectrum of a human performance of the same musical score. We conjecture that although crucial events are demonstrably important for information transmission, they alone are not suficient to define musicality, which is more adequately measured by the multifractality spectrum.

A comparative phylogenetic study of genetics and folk music.

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Pamjav, Horolma; Juhász, Zoltán; Zalán, Andrea; Németh, Endre; Damdin, Bayarlkhagva

2012-04-01

Computer-aided comparison of folk music from different nations is one of the newest research areas. We were intrigued to have identified some important similarities between phylogenetic studies and modern folk music. First of all, both of them use similar concepts and representation tools such as multidimensional scaling for modelling relationship between populations. This gave us the idea to investigate whether these connections are merely accidental or if they mirror population migrations from the past. We raised the question; does the complex structure of musical connections display a clear picture and can this system be interpreted by the genetic analysis? This study is the first to systematically investigate the incidental genetic background of the folk music context between different populations. Paternal (42 populations) and maternal lineages (56 populations) were compared based on Fst genetic distances of the Y chromosomal and mtDNA haplogroup frequencies. To test this hypothesis, the corresponding musical cultures were also compared using an automatic overlap analysis of parallel melody styles for 31 Eurasian nations. We found that close musical relations of populations indicate close genetic distances (music; maternal lineages have a more important role in folk music traditions than paternal lineages. Furthermore, the combination of these disciplines establishing a new interdisciplinary research field of "music-genetics" can be an efficient tool to get a more comprehensive picture on the complex behaviour of populations in prehistoric time.

An Analogue Interface for Musical Robots

OpenAIRE

Long, Jason; Kapur, Ajay; Carnegie, Dale

2016-01-01

The majority of musical robotics performances, projects and installations utilise microcontroller hardware to digitally interface the robotic instruments with sequencer software and other musical controllers, often via a personal computer. While in many ways digital interfacing offers considerable power and flexibility, digital protocols, equipment and audio workstations often tend to suggest particular music-making work-flows and have resolution and timing limitations. This paper describes t...

Wireless networked music performance

CERN Document Server

Gabrielli, Leonardo

2016-01-01

This book presents a comprehensive overview of the state of the art in Networked Music Performance (NMP) and a historical survey of computer music networking. It introduces current technical trends in NMP and technical issues yet to be addressed. It also lists wireless communication protocols and compares these to the requirements of NMP. Practical use cases and advancements are also discussed.

Speech, Sound and Music Processing: Embracing Research in India

DEFF Research Database (Denmark)

classical music and its impact in cognitive science are the focus of discussion. Eminent scientist from the USA, Japan, Sweden, France, Poland, Taiwan, India and other European and Asian countries have delivered state-of-the-art lectures in these areas every year at different places providing an opportunity......The Computer Music Modeling and Retrieval (CMMR) 2011 conference was the 8th event of this international series, and the first that took place outside Europe. Since its beginnings in 2003, this conference has been co-organized by the Laboratoire de M´ecanique et d’Acoustique in Marseille, France......, and the Department of Architecture, Design and Media Technology (ad:mt), University of Aalborg, Esbjerg, Denmark, and has taken place in France, Italy, Spain, and Denmark. Historically, CMMR offers a cross-disciplinary overview of current music information retrieval and sound modeling activities and related topics...

A Discussion of the Effect of Musical Context on Perception of Succession of Musical Events, and its Relevance for Philosophical Models of Temporal Experience

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Michelle Phillips

2015-05-01

Full Text Available The article reviewed in this commentary takes philosophical models of temporal experience as its starting point, in an exploration of how an "experience of succession" may be distinguished from a mere "succession of experience". It is proposed that context is the important factor in differentiating the two experiences, rather than duration. Context is accounted for in broad terms, with specific discussion of gesture, performance environment, and mental imagery. The discussion may usefully pave the way for future collaboration between philosophers and psychologists. However, there are multiple fundamental findings in music cognition research, vital to any consideration of the context in which musical experiences occur (e.g. meter, tonality, expectation, familiarity, that could be factored into this discussion. The ideas discussed could be developed with greater consideration of recent empirical studies in music perception. Perhaps then a theoretical model of the experience of succession of musical events could give rise to experimental hypotheses, which may then be tested in order to further refine such models.

Musical Markov Chains

Science.gov (United States)

Volchenkov, Dima; Dawin, Jean René

A system for using dice to compose music randomly is known as the musical dice game. The discrete time MIDI models of 804 pieces of classical music written by 29 composers have been encoded into the transition matrices and studied by Markov chains. Contrary to human languages, entropy dominates over redundancy, in the musical dice games based on the compositions of classical music. The maximum complexity is achieved on the blocks consisting of just a few notes (8 notes, for the musical dice games generated over Bach's compositions). First passage times to notes can be used to resolve tonality and feature a composer.

New musical organology : the audio-games

OpenAIRE

Zénouda , Hervé

2012-01-01

International audience; This article aims to shed light on a new and emerging creative field: " Audio Games, " a crossroad between video games and computer music. Today, a plethora of tiny applications, which propose entertaining audiovisual experiences with a preponderant sound dimension, are available for game consoles, computers, and mobile phones. These experiences represent a new universe where the gameplay of video games is applied to musical composition, hence creating new links betwee...

Dance-the-Music: an educational platform for the modeling, recognition and audiovisual monitoring of dance steps using spatiotemporal motion templates

Science.gov (United States)

Maes, Pieter-Jan; Amelynck, Denis; Leman, Marc

2012-12-01

In this article, a computational platform is presented, entitled "Dance-the-Music", that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers' models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method-can determine the quality of a student's performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures.

ACHIEVEMENT IDENTIFICATION AND EVALUATION OF MUSICALLY GIFTED CHILDREN IN LOWER MUSIC SCHOOL

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Anica Arsic

2016-06-01

Full Text Available Music schools are specific educational institutions which teach children to understand musical language, the rules of musical writing and how to play an instrument. It is assumed that children who enroll in music school have a certain level of “musicality”, i.e. possess musical ability. Starting from this premise, in this paper we wanted to identify the number of musically gifted children, from the total number of children enrolled in the first year of lower music school. The research was conducted on 125 learners who enrolled the first year of Music school Josif Marinkovic in 2014/2015. The paper was organized as a linear study which followed the achievement of learners during the aforementioned school year. The study was conducted by solfeggio and musical instrument teachers. The identification of musical giftedness was followed through the following criteria: recognition and reproduction of tones and intervals, reproduction of rhythmic models and reproduction of short music units. Solfeggio teachers monitored the first two criteria (recognition and reproduction of tones and intervals and reproduction of rhythmic models while musical instrument teachers monitored the other two (reproduction of melody phrases and reproduction of short music units. Achievements were assessed four times during the school year and a comparison of results gathered by solfeggio and musical instrument teacher was conducted. At the end of the school year a result analysis was conducted; the results of which showed that 13 learners who were monitored by solfeggio teachers and 9 learners who were monitored by music instrument teachers successfully completed the criteria. Methods for evaluating the proposed criteria and analysis of the gathered results will be presented in this paper.

Towards Modelling Variation in Music as Foundation for Similarity

NARCIS (Netherlands)

Volk, A.; de Haas, W.B.; van Kranenburg, P.; Cambouropoulos, E.; Tsougras, C.; Mavromatis, P.; Pastiadis, K.

2012-01-01

This paper investigates the concept of variation in music from the perspective of music similarity. Music similarity is a central concept in Music Information Retrieval (MIR), however there exists no comprehensive approach to music similarity yet. As a consequence, MIR faces the challenge on how to

The Model of the "Space of Music Dialogue": Three Instances of Practice in Australian Homes and Classrooms

Science.gov (United States)

Tomlinson, Michelle M.

2018-01-01

Multimodal analysis of classroom music interactions, using the model of the "Space of Music Dialogue" in video analysis of students' music improvisation, was useful to inform teachers of students' collaborative achievements in music invention. Research has affirmed that students' cognitive thinking skills were promoted by improvisation.…

Loja musical capital of Ecuador

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María Eugenia Rodríguez Guerrero

2016-12-01

Full Text Available In the slang language of Lojanos, it is said that Loja is the musical capital of Ecuador. thesis or clich´e, which has led to write the present article to find the theoretical empirical support and practices that support it, constituting it in research object and recommend to the future the innovations that need to be introduced in order to sustain and strengthen this place of Loja. This first approach has as a problem What does Loja provides, that distinguish from the rest of the provinces of Ecuador in the musical field, to be considered its capital? This first delivery aims to build a framework of computer concepts that open up posterity to a field of research on music and that translate into policies, plans and programs that empower it. They develop three concepts derived from the thesis: the power to construct music that refers to the generic and specific competences in different instruments and genres, the amount of music that is produced and the human talent in musical formation that is developed in Loja. Empirical evidence is collected to corroborate or reject the hypothesis: Loja is the musical capital of Ecuador. Data are collected on musical skills and compared at the global level, as well as music production and music training scenarios. At the end the hypothesis is checked. The task of the Lojanos is to innovate the capital. Keywords: Music, musical competitions, musical talent in training, amount of music, musicalperformance, musical instrument, songs.

ANALYSIS MUSIC CONCERTS ADOPTING THE MATHEMATICAL MODEL OF HIT PHENOMENA

OpenAIRE

Kawahata Yasuko; Genda Etsuo; Ishii Akira

2013-01-01

A mathematical model for the hit phenomenon in entertainment within a society is presented as a stochastic process of interactions of human dynamics. In this paper, we analyzed music to the concert.Knowing the cost of advertising the concert is difficult. But exposure to the media of the artist can be seen. We tried to analysis of music concert itself by performing a prediction of reputation of artists during the concert tour from this exposure.In this paper, The world most pop...

Appeal of love themes in popular music.

Science.gov (United States)

Knobloch, Silvia; Zillmann, Dolf

2003-12-01

The relationship between romantic satisfaction versus discontent and a preference for music celebrating versus lamenting love is explored. The satisfaction/discontent was ascertained in 60 college undergraduate women and men who later freely listened to music from a sampling of selections. The duration of their self-determined exposure to love-celebrating versus love-lamenting music was unobtrusively recorded by computer software. Romantically satisfied women and men showed a preference for love-celebrating music, whereas discontented women and men preferred love-lamenting music. Romantically discontent women and men preferred love-lamenting music presented by performers of their own sex. The findings indicate young adults' inclination to match emotions expressed in music about love with the emotions experienced in their own romantic situation.

Probabilistic Graphical Models for the Analysis and Synthesis of Musical Audio

Science.gov (United States)

Hoffmann, Matthew Douglas

Content-based Music Information Retrieval (MIR) systems seek to automatically extract meaningful information from musical audio signals. This thesis applies new and existing generative probabilistic models to several content-based MIR tasks: timbral similarity estimation, semantic annotation and retrieval, and latent source discovery and separation. In order to estimate how similar two songs sound to one another, we employ a Hierarchical Dirichlet Process (HDP) mixture model to discover a shared representation of the distribution of timbres in each song. Comparing songs under this shared representation yields better query-by-example retrieval quality and scalability than previous approaches. To predict what tags are likely to apply to a song (e.g., "rap," "happy," or "driving music"), we develop the Codeword Bernoulli Average (CBA) model, a simple and fast mixture-of-experts model. Despite its simplicity, CBA performs at least as well as state-of-the-art approaches at automatically annotating songs and finding to what songs in a database a given tag most applies. Finally, we address the problem of latent source discovery and separation by developing two Bayesian nonparametric models, the Shift-Invariant HDP and Gamma Process NMF. These models allow us to discover what sounds (e.g. bass drums, guitar chords, etc.) are present in a song or set of songs and to isolate or suppress individual source. These models' ability to decide how many latent sources are necessary to model the data is particularly valuable in this application, since it is impossible to guess a priori how many sounds will appear in a given song or set of songs. Once they have been fit to data, probabilistic models can also be used to drive the synthesis of new musical audio, both for creative purposes and to qualitatively diagnose what information a model does and does not capture. We also adapt the SIHDP model to create new versions of input audio with arbitrary sample sets, for example, to create

Localization of extended brain sources from EEG/MEG: the ExSo-MUSIC approach.

Science.gov (United States)

Birot, Gwénaël; Albera, Laurent; Wendling, Fabrice; Merlet, Isabelle

2011-05-01

We propose a new MUSIC-like method, called 2q-ExSo-MUSIC (q ≥ 1). This method is an extension of the 2q-MUSIC (q ≥ 1) approach for solving the EEG/MEG inverse problem, when spatially-extended neocortical sources ("ExSo") are considered. It introduces a novel ExSo-MUSIC principle. The novelty is two-fold: i) the parameterization of the spatial source distribution that leads to an appropriate metric in the context of distributed brain sources and ii) the introduction of an original, efficient and low-cost way of optimizing this metric. In 2q-ExSo-MUSIC, the possible use of higher order statistics (q ≥ 2) offers a better robustness with respect to Gaussian noise of unknown spatial coherence and modeling errors. As a result we reduced the penalizing effects of both the background cerebral activity that can be seen as a Gaussian and spatially correlated noise, and the modeling errors induced by the non-exact resolution of the forward problem. Computer results on simulated EEG signals obtained with physiologically-relevant models of both the sources and the volume conductor show a highly increased performance of our 2q-ExSo-MUSIC method as compared to the classical 2q-MUSIC algorithms. Copyright © 2011 Elsevier Inc. All rights reserved.

Selling digital music

DEFF Research Database (Denmark)

Hougaard, Jens Leth; Tvede, Mich

This paper considers the market for digital music. We claim that the combination of the MP3 format and peer-to-peer networks has made music non-excludable and this feature is essential for the understanding of the economics of the music market. We study optimal business models for selling non...

Comparison of Two Music Training Approaches on Music and Speech Perception in Cochlear Implant Users.

Science.gov (United States)

Fuller, Christina D; Galvin, John J; Maat, Bert; Başkent, Deniz; Free, Rolien H

2018-01-01

In normal-hearing (NH) adults, long-term music training may benefit music and speech perception, even when listening to spectro-temporally degraded signals as experienced by cochlear implant (CI) users. In this study, we compared two different music training approaches in CI users and their effects on speech and music perception, as it remains unclear which approach to music training might be best. The approaches differed in terms of music exercises and social interaction. For the pitch/timbre group, melodic contour identification (MCI) training was performed using computer software. For the music therapy group, training involved face-to-face group exercises (rhythm perception, musical speech perception, music perception, singing, vocal emotion identification, and music improvisation). For the control group, training involved group nonmusic activities (e.g., writing, cooking, and woodworking). Training consisted of weekly 2-hr sessions over a 6-week period. Speech intelligibility in quiet and noise, vocal emotion identification, MCI, and quality of life (QoL) were measured before and after training. The different training approaches appeared to offer different benefits for music and speech perception. Training effects were observed within-domain (better MCI performance for the pitch/timbre group), with little cross-domain transfer of music training (emotion identification significantly improved for the music therapy group). While training had no significant effect on QoL, the music therapy group reported better perceptual skills across training sessions. These results suggest that more extensive and intensive training approaches that combine pitch training with the social aspects of music therapy may further benefit CI users.

The psychoneuroimmunological effects of music: a systematic review and a new model.

Science.gov (United States)

Fancourt, Daisy; Ockelford, Adam; Belai, Abi

2014-02-01

There has been a growing interest over the past decade into the health benefits of music, in particular examining its psychological and neurological effects. Yet this is the first attempt to systematically review publications on the psychoneuroimmunology of music. Of the selected sixty-three studies published over the past 22 years, a range of effects of music on neurotransmitters, hormones, cytokines, lymphocytes, vital signs and immunoglobulins as well as psychological assessments are cataloged. Research so far points to the pivotal role of stress pathways in linking music to an immune response. However, several challenges to this research are noted: (1) there is very little discussion on the possible mechanisms by which music is achieving its neurological and immunological impact; (2) the studies tend to examine biomarkers in isolation, without taking into consideration the interaction of the biomarkers in question with other physiological or metabolic activities of the body, leading to an unclear understanding of the impact that music may be having; (3) terms are not being defined clearly enough, such as distinctions not being made between different kinds of stress and 'music' being used to encompass a broad spectrum of activities without determining which aspects of musical engagement are responsible for alterations in biomarkers. In light of this, a new model is presented which provides a framework for developing a taxonomy of musical and stress-related variables in research design, and tracing the broad pathways that are involved in its influence on the body. Copyright © 2013 Elsevier Inc. All rights reserved.

Bach in 2014: Music Composition with Recurrent Neural Network

OpenAIRE

Liu, I-Ting; Ramakrishnan, Bhiksha

2014-01-01

We propose a framework for computer music composition that uses resilient propagation (RProp) and long short term memory (LSTM) recurrent neural network. In this paper, we show that LSTM network learns the structure and characteristics of music pieces properly by demonstrating its ability to recreate music. We also show that predicting existing music using RProp outperforms Back propagation through time (BPTT).

78 FR 34669 - Certain Electronic Devices, Including Wireless Communication Devices, Portable Music and Data...

Science.gov (United States)

2013-06-10

..., Including Wireless Communication Devices, Portable Music and Data Processing Devices, and Tablet Computers... importing wireless communication devices, portable music and data processing devices, and tablet computers... certain electronic devices, including wireless communication devices, portable music and data processing...

Modelling audiovisual integration of affect from videos and music.

Science.gov (United States)

Gao, Chuanji; Wedell, Douglas H; Kim, Jongwan; Weber, Christine E; Shinkareva, Svetlana V

2018-05-01

Two experiments examined how affective values from visual and auditory modalities are integrated. Experiment 1 paired music and videos drawn from three levels of valence while holding arousal constant. Experiment 2 included a parallel combination of three levels of arousal while holding valence constant. In each experiment, participants rated their affective states after unimodal and multimodal presentations. Experiment 1 revealed a congruency effect in which stimulus combinations of the same extreme valence resulted in more extreme state ratings than component stimuli presented in isolation. An interaction between music and video valence reflected the greater influence of negative affect. Video valence was found to have a significantly greater effect on combined ratings than music valence. The pattern of data was explained by a five parameter differential weight averaging model that attributed greater weight to the visual modality and increased weight with decreasing values of valence. Experiment 2 revealed a congruency effect only for high arousal combinations and no interaction effects. This pattern was explained by a three parameter constant weight averaging model with greater weight for the auditory modality and a very low arousal value for the initial state. These results demonstrate key differences in audiovisual integration between valence and arousal.

What makes us like music?

OpenAIRE

Schäfer, Thomas; Sedlmeier, Peter

2009-01-01

Why do we like the music we like and why do different people like different kinds of music? Existing models try to explain music preference as an interplay of musical features, the characteristics of the listener, and the listening context. Hereby, they refer to short-term preference decisions for a given piece of music rather than to the question why we listen to music at all and why we select a particular musical style. In this paper, it is hypothesized that the motivation for music listeni...

Embodied Music Listening

DEFF Research Database (Denmark)

Bonde, Lars Ole

2017-01-01

The chapter presents the receptive music therapy model "Guided Imagery of Music (GIM)" as an embodied way of music listening with documented effects on a number of physiological and psychological symptoms and problems. Relaxation, guiding and (classical) music stimulates and supports the work......, underlying theories, selected research/evidence and illustrative clinical vignettes. Based on a study of cancer survivors’ GIM therapy, grounded theories of the therapeutic process and music’s role in the process are presented and discussed....

An Investigation of Feature Models for Music Genre Classification using the Support Vector Classifier

DEFF Research Database (Denmark)

Meng, Anders; Shawe-Taylor, John

2005-01-01

In music genre classification the decision time is typically of the order of several seconds however most automatic music genre classification systems focus on short time features derived from 10-50ms. This work investigates two models, the multivariate gaussian model and the multivariate...... probability kernel. In order to examine the different methods an 11 genre music setup was utilized. In this setup the Mel Frequency Cepstral Coefficients (MFCC) were used as short time features. The accuracy of the best performing model on this data set was 44% as compared to a human performance of 52...... autoregressive model for modelling short time features. Furthermore, it was investigated how these models can be integrated over a segment of short time features into a kernel such that a support vector machine can be applied. Two kernels with this property were considered, the convolution kernel and product...

Investigation on Meter in Generative Modeling of Music

DEFF Research Database (Denmark)

Jensen, Kristoffer

2010-01-01

is divided into three parts, the immediate (subchunk), the short-term memory (chunk), and the superchunk. By review of the relevant temporal perception literature, and analysis of performances of metrical music, the necessary performance elements to add in the metrical generative model, related to the chunk...... memory, are obtained....

Polyphonic Piano Transcription with a Note-Based Music Language Model

Directory of Open Access Journals (Sweden)

Qi Wang

2018-03-01

Full Text Available This paper proposes a note-based music language model (MLM for improving note-level polyphonic piano transcription. The MLM is based on the recurrent structure, which could model the temporal correlations between notes in music sequences. To combine the outputs of the note-based MLM and acoustic model directly, an integrated architecture is adopted in this paper. We also propose an inference algorithm, in which the note-based MLM is used to predict notes at the blank onsets in the thresholding transcription results. The experimental results show that the proposed inference algorithm improves the performance of note-level transcription. We also observe that the combination of the restricted Boltzmann machine (RBM and recurrent structure outperforms a single recurrent neural network (RNN or long short-term memory network (LSTM in modeling the high-dimensional note sequences. Among all the MLMs, LSTM-RBM helps the system yield the best results on all evaluation metrics regardless of the performance of acoustic models.

Perception of Music and Speech in Adolescents with Cochlear Implants – A Pilot Study on Effects of Intensive Musical Ear Training

DEFF Research Database (Denmark)

Petersen, Bjørn; Sørensen, Stine Derdau; Pedersen, Ellen Raben

measures of rehabilitation are important throughout adolescence. Music training may provide a beneficial method of strengthening not only music perception, but also linguistic skills, particularly prosody. The purpose of this study was to examine perception of music and speech and music engagement...... of adolescent CI users and the potential effects of an intensive musical ear training program. METHODS Eleven adolescent CI users participated in a short intensive training program involving music making activities and computer based listening exercises. Ten NH agemates formed a reference group, who followed...... their standard school schedule and received no music training. Before and after the intervention period, both groups completed a set of tests for perception of music, speech and emotional prosody. In addition, the participants filled out a questionnaire which examined music listening habits and enjoyment...

Music analysis and Kolmogorov complexity

DEFF Research Database (Denmark)

Meredith, David

The goal of music analysis is to find the most satisfying explanations for musical works. It is proposed that this can best be achieved by attempting to write computer programs that are as short as possible and that generate representations that are as detailed as possible of the music...... that the program represents. If such an effective measure of analysis quality can be found, it could be used in a system that automatically finds the optimal analysis for any passage of music. Measuring program length in terms of number of source-code characters is shown to be problematic and an expression...... is proposed that overcomes some but not all of these problems. It is suggested that the solutions to the remaining problems may lie either in the field of concrete Kolmogorov complexity or in the design of languages specialized for expressing musical structure....

Design and trial evaluation of the user interface for MusicReader

NARCIS (Netherlands)

Leoné, Marco; van Dijk, Elisabeth M.A.G.; van Beijnum, Bernhard J.F.

2008-01-01

This paper describes the design and trial results of MusicReader, a networked application realizing sheet music related services for the support of ensemble and orchestra rehearsals and performances. To this end, MusicReader presents sheet music on computer screens and supports annotations, sheet

Playing new music with old games: The chiptune subculture

Directory of Open Access Journals (Sweden)

Israel Márquez

2014-03-01

Full Text Available Although video games have been studied from a wide range of perspectives, from film to literature, little attention has been given to the role of music and sound in games. Not only to the role of music and sound within games, but also to the many different forms in which video games are influencing the development of popular music. One of these forms is the so-called “chiptune music”. Chiptune (also known as chip music or 8-bit music is electronic music that uses the microchip-based audio hardware of early home computers and gaming consoles and repurposes it for artistic expression. Chiptune artists reinvent the technology found in old computers such as Commodore 64, Amiga and ZX Spectrum as well as in outdated video game consoles such as Nintendo Game Boy or Mega Drive/Genesis in order to create new music. This paper is an attempt to document the chiptune phenomena and the subculture scene that has been created around it during the last years: a subculture that is resuscitating and redefining old and “dead” gaming devices to play new music at the periphery of mainstream culture.

Algebraic Modeling of Topological and Computational Structures and Applications

CERN Document Server

Theodorou, Doros; Stefaneas, Petros; Kauffman, Louis

2017-01-01

This interdisciplinary book covers a wide range of subjects, from pure mathematics (knots, braids, homotopy theory, number theory) to more applied mathematics (cryptography, algebraic specification of algorithms, dynamical systems) and concrete applications (modeling of polymers and ionic liquids, video, music and medical imaging). The main mathematical focus throughout the book is on algebraic modeling with particular emphasis on braid groups. The research methods include algebraic modeling using topological structures, such as knots, 3-manifolds, classical homotopy groups, and braid groups. The applications address the simulation of polymer chains and ionic liquids, as well as the modeling of natural phenomena via topological surgery. The treatment of computational structures, including finite fields and cryptography, focuses on the development of novel techniques. These techniques can be applied to the design of algebraic specifications for systems modeling and verification. This book is the outcome of a w...

Measuring social interaction in music ensembles.

Science.gov (United States)

Volpe, Gualtiero; D'Ausilio, Alessandro; Badino, Leonardo; Camurri, Antonio; Fadiga, Luciano

2016-05-05

Music ensembles are an ideal test-bed for quantitative analysis of social interaction. Music is an inherently social activity, and music ensembles offer a broad variety of scenarios which are particularly suitable for investigation. Small ensembles, such as string quartets, are deemed a significant example of self-managed teams, where all musicians contribute equally to a task. In bigger ensembles, such as orchestras, the relationship between a leader (the conductor) and a group of followers (the musicians) clearly emerges. This paper presents an overview of recent research on social interaction in music ensembles with a particular focus on (i) studies from cognitive neuroscience; and (ii) studies adopting a computational approach for carrying out automatic quantitative analysis of ensemble music performances. © 2016 The Author(s).

Decoding auditory attention to instruments in polyphonic music using single-trial EEG classification

DEFF Research Database (Denmark)

Treder, Matthias S.; Purwins, Hendrik; Miklody, Daniel

2014-01-01

. Here, we explore polyphonic music as a novel stimulation approach for future use in a brain-computer interface. In a musical oddball experiment, we had participants shift selective attention to one out of three different instruments in music audio clips, with each instrument occasionally playing one...... 11 participants. This is a proof of concept that attention paid to a particular instrument in polyphonic music can be inferred from ongoing EEG, a finding that is potentially relevant for both brain-computer interface and music research....

Medical Music Therapy: A Model Program for Clinical Practice, Education, Training and Research

Science.gov (United States)

Standley, Jayne

2005-01-01

This monograph evolved from the unique, innovative partnership between the Florida State University Music Therapy Program and Tallahassee Memorial HealthCare. Its purpose is to serve as a model for music therapy educators, students, clinicians, and the hospital administrators who might employ them. This book should prove a valuable resource for…

Compact binary hashing for music retrieval

Science.gov (United States)

Seo, Jin S.

2014-03-01

With the huge volume of music clips available for protection, browsing, and indexing, there is an increased attention to retrieve the information contents of the music archives. Music-similarity computation is an essential building block for browsing, retrieval, and indexing of digital music archives. In practice, as the number of songs available for searching and indexing is increased, so the storage cost in retrieval systems is becoming a serious problem. This paper deals with the storage problem by extending the supervector concept with the binary hashing. We utilize the similarity-preserving binary embedding in generating a hash code from the supervector of each music clip. Especially we compare the performance of the various binary hashing methods for music retrieval tasks on the widely-used genre dataset and the in-house singer dataset. Through the evaluation, we find an effective way of generating hash codes for music similarity estimation which improves the retrieval performance.

A Conceptual Model of Spirituality in Music Education

Science.gov (United States)

van der Merwe, Liesl; Habron, John

2015-01-01

This article aims to describe the phenomenon of spirituality in music education by means of a model derived from the academic literature on the topic. Given the centrality of lived experience within this literature, we adopted a hermeneutic phenomenological theoretical framework to describe the phenomenon. The NCT (noticing, collecting, and…

Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement.

Science.gov (United States)

Burger, Birgitta; Thompson, Marc R; Luck, Geoff; Saarikallio, Suvi; Toiviainen, Petri

2013-01-01

Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants' movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.

Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement

Directory of Open Access Journals (Sweden)

Birgitta eBurger

2013-04-01

Full Text Available Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants’ movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.

Predicting musically induced emotions from physiological inputs: linear and neural network models.

Science.gov (United States)

Russo, Frank A; Vempala, Naresh N; Sandstrom, Gillian M

2013-01-01

Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of "felt" emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants-heart rate (HR), respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA) dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a non-linear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The non-linear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the non-linear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

Predicting musically induced emotions from physiological inputs: Linear and neural network models

Directory of Open Access Journals (Sweden)

Frank A. Russo

2013-08-01

Full Text Available Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of 'felt' emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants – heart rate, respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a nonlinear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The nonlinear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the nonlinear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

Brain Signal Analysis Using Different Types of Music

OpenAIRE

Siti Ayuni Mohd Nasir; Wan Mahani Hafizah Wan Mahmud

2015-01-01

Music is able to improve certain functions of human body physiologically and psychologically. Music also can improve attention, memory, and even mental math ability by listening to the music before performing any task. The purpose of this study is to study the relation between types of music and brainwaves signal that is differences in state of relaxation and attention states. The Electroencephalography (EEG) signal was recorded using PowerLab, Dual Bio Amp and computer to observes and record...

Design and development of a semantic music discovery engine

OpenAIRE

Turnbull, Douglas Ross

2008-01-01

Technology is changing the way in which music is produced, distributed and consumed. An aspiring musician in West Africa with a basic desktop computer, an inexpensive microphone, and free audio editing software can record and produce reasonably high-quality music. She can post her songs on any number of musically-oriented social networks (e.g., MySpace, Last.fm, eMusic) making them accessible to the public. A music consumer in San Diego can then rapidly download her songs over a high-bandwidt...

How Computers Are Used in the Teaching of Music and Speculations about How Artificial Intelligence Could Be Applied to Radically Improve the Learning of Compositional Skills. CITE Report No. 6.

Science.gov (United States)

Holland, Simon

This paper forms part of a preliminary survey for work on the application of artificial intelligence theories and techniques to the learning of music composition skills. The paper deals with present day applications of computers to the teaching of music and speculations about how artificial intelligence might be used to foster music composition in…

FAST MUSIC SPECTRUM PEAK SEARCH VIA METROPOLIS-HASTINGS SAMPLER

Institute of Scientific and Technical Information of China (English)

Guo Qinghua; Liao Guisheng

2005-01-01

A fast MUltiple SIgnal Classification (MUSIC) spectrum peak search algorithm is devised, which regards the power of the MUSIC spectrum function as target distribution up to a constant of proportionality, and uses Metropolis-Hastings (MH) sampler, one of the most popular Markov Chain Monte Carlo (MCMC) techniques, to sample from it. The proposed method reduces greatly the tremendous computation and storage costs in conventional MUSIC techniques i.e., about two and four orders of magnitude in computation and storage costs under the conditions of the experiment in the paper respectively.

For the Construction of a Historico-anthropological Model of Musical Relationships between Brazil, Portugal, and Africa

Directory of Open Access Journals (Sweden)

Rafael José de Menezes Bastos

2016-02-01

Full Text Available The text postulates a model of a historico-anthropological nature for understanding the musical relationships from Brazil, Portugal, and Atlantic lusophone Africa during the XVII and XIX centuries. The model stars from the constitution of the Atlantic lusophone space as one of continual sociocultural relationships in general and musical in particular up to the first decades of the XIX century and even before. Those musical relationships are based on the existence of vast transatlantic system of musical and dance genres connected through historic and structural transformations. Because it belongs to that system, the lundu-modinha-fado transformation system will be studied, with emphasis on Bazilian dance and Portuguese song. The article elaborates the concept of "musical genre" from the notions of Mikhail Bakhtin´s "discursive genre" and Claude Lévi-Strauss and Marshall Sahlins’s "transformation".

A Theoretical Model of Resource-Oriented Music Therapy with Informal Hospice Caregivers during Pre-Bereavement.

Science.gov (United States)

Potvin, Noah; Bradt, Joke; Ghetti, Claire

2018-03-09

Over the past decade, caregiver pre-bereavement has received increased scholarly and clinical attention across multiple healthcare fields. Pre-bereavement represents a nascent area for music therapy to develop best practices in and an opportunity to establish clinical relevancy in the interdisciplinary team. This study was an exploratory inquiry into the role of music therapy with pre-bereaved informal hospice caregivers. This study intended to articulate (a) what pre-bereavement needs are present for informal hospice caregivers, (b) which of those needs were addressed in music, and (c) the process by which music therapy addressed those needs. A constructivist grounded theory methodology using situational analysis was used. We interviewed 14 currently bereaved informal hospice caregivers who had participated in music therapy with the care recipient. Analysis resulted in a theoretical model of resource-oriented music therapy promoting caregiver resilience. The resource, caregivers' stable caring relationships with care recipients through their pre-illness identities (i.e., spouse, parent, or child), is amplified through music therapy. Engagement with this resource mediates the risk of increased care burden and results in resilience fostering purposefulness and value in caregiving. Resource-oriented music therapy provides a unique clinical avenue for supporting caregivers through pre-bereavement, and was acknowledged by caregivers as a unique and integral hospice service. Within this model, caregivers are better positioned to develop meaning from the experience of providing care through the death of a loved one.

75 FR 4583 - In the Matter of: Certain Electronic Devices, Including Mobile Phones, Portable Music Players...

Science.gov (United States)

2010-01-28

..., Including Mobile Phones, Portable Music Players, and Computers; Notice of Investigation AGENCY: U.S... music players, and computers, by reason of infringement of certain claims of U.S. Patent Nos. 6,714,091... importation of certain electronic devices, including mobile phones, portable music players, or computers that...

Creative Thinking in Music: Developing a Model for Meaningful Learning in Middle School General Music

Science.gov (United States)

Menard, Elizabeth

2013-01-01

Creativity can be experienced in many roles of musicianship: performing, improvising, and composing. Yet, activities that encourage creative thought in our music classrooms can be a challenge to implement. A strong music education curriculum for middle school general music is important; as this may be the last time we reach students who do not…

Teaching Musical Expression: Effects of Production and Delivery of Feedback by Teacher vs. Computer on Rated Feedback Quality

Science.gov (United States)

Karlsson, Jessika; Liljestrom, Simon; Juslin, Patrik N.

2009-01-01

Previous research has shown that a computer program may improve performers' abilities to express emotions through their performance. Yet, performers seem reluctant to embrace this novel technology. In this study we explored possible reasons for these negative impressions. Eighty guitarists performed a piece of music to express various emotions,…

Proposal of an Algorithm to Synthesize Music Suitable for Dance

Science.gov (United States)

Morioka, Hirofumi; Nakatani, Mie; Nishida, Shogo

This paper proposes an algorithm for synthesizing music suitable for emotions in moving pictures. Our goal is to support multi-media content creation; web page design, animation films and so on. Here we adopt a human dance as a moving picture to examine the availability of our method. Because we think the dance image has high affinity with music. This algorithm is composed of three modules. The first is the module for computing emotions from an input dance image, the second is for computing emotions from music in the database and the last is for selecting music suitable for input dance via an interface of emotion.

THE PERCEPTION OF THE CANDIDATES FOR MUSIC TEACHER ON MUSICAL AESTHETICS

Directory of Open Access Journals (Sweden)

Ulku Sevim SEN

2014-08-01

Full Text Available The basic aim of this study is to reveal the perception of the candidates for music teacher on musical aesthetics. In the light of this aim, the research question the study aims to answer: how is the perception of the candidates for music teacher on musical aesthetics? The participants in this research consist of overall eighty three freshman, sophomore, junior and senior students studying in the Department of Music Teaching, Ataturk Faculty of Fine Arts during spring term. The participants as the candidates for teacher involve forty nine women and thirty four men. The study is descriptive survey model of qualitative research.

Game of Life Music

Science.gov (United States)

Miranda, Eduardo R.; Kirke, Alexis

At the time when the first author was post-graduate student, in the evenings he used to entertain himself with the equipment in the electronic music studio at the University of York until dawn. It must have been around three o'clock in the morning of a rather cold winter night in the late 1980s, when he connected his Atari 1040ST computer to a synthesizer to test the first prototype of a system, which he was developing for his thesis. The system, named CAMUS (short for Cellular Automata Music), implemented a method that he invented to render music from the behaviour of the Game of Life (GoL) cellular automata (CA).

A Fast DOA Estimation Algorithm Based on Polarization MUSIC

Directory of Open Access Journals (Sweden)

R. Guo

2015-04-01

Full Text Available A fast DOA estimation algorithm developed from MUSIC, which also benefits from the processing of the signals' polarization information, is presented. Besides performance enhancement in precision and resolution, the proposed algorithm can be exerted on various forms of polarization sensitive arrays, without specific requirement on the array's pattern. Depending on the continuity property of the space spectrum, a huge amount of computation incurred in the calculation of 4-D space spectrum is averted. Performance and computation complexity analysis of the proposed algorithm is discussed and the simulation results are presented. Compared with conventional MUSIC, it is indicated that the proposed algorithm has considerable advantage in aspects of precision and resolution, with a low computation complexity proportional to a conventional 2-D MUSIC.

Building Evidence for Music Education Advocacy

Science.gov (United States)

Shorner-Johnson, Kevin

2013-01-01

The economic challenges facing public schools and music education are immense. In this context, music teachers and supporters will need to engage in persuasive advocacy to protect resource allocations to music programs. It is worthwhile to consider the model of music education advocacy that allowed music to be adopted into the Boston Public…

Sad music induces pleasant emotion.

Science.gov (United States)

Kawakami, Ai; Furukawa, Kiyoshi; Katahira, Kentaro; Okanoya, Kazuo

2013-01-01

In general, sad music is thought to cause us to experience sadness, which is considered an unpleasant emotion. As a result, the question arises as to why we listen to sad music if it evokes sadness. One possible answer to this question is that we may actually feel positive emotions when we listen to sad music. This suggestion may appear to be counterintuitive; however, in this study, by dividing musical emotion into perceived emotion and felt emotion, we investigated this potential emotional response to music. We hypothesized that felt and perceived emotion may not actually coincide in this respect: sad music would be perceived as sad, but the experience of listening to sad music would evoke positive emotions. A total of 44 participants listened to musical excerpts and provided data on perceived and felt emotions by rating 62 descriptive words or phrases related to emotions on a scale that ranged from 0 (not at all) to 4 (very much). The results revealed that the sad music was perceived to be more tragic, whereas the actual experiences of the participants listening to the sad music induced them to feel more romantic, more blithe, and less tragic emotions than they actually perceived with respect to the same music. Thus, the participants experienced ambivalent emotions when they listened to the sad music. After considering the possible reasons that listeners were induced to experience emotional ambivalence by the sad music, we concluded that the formulation of a new model would be essential for examining the emotions induced by music and that this new model must entertain the possibility that what we experience when listening to music is vicarious emotion.

Sad music induces pleasant emotion

Science.gov (United States)

Kawakami, Ai; Furukawa, Kiyoshi; Katahira, Kentaro; Okanoya, Kazuo

2013-01-01

In general, sad music is thought to cause us to experience sadness, which is considered an unpleasant emotion. As a result, the question arises as to why we listen to sad music if it evokes sadness. One possible answer to this question is that we may actually feel positive emotions when we listen to sad music. This suggestion may appear to be counterintuitive; however, in this study, by dividing musical emotion into perceived emotion and felt emotion, we investigated this potential emotional response to music. We hypothesized that felt and perceived emotion may not actually coincide in this respect: sad music would be perceived as sad, but the experience of listening to sad music would evoke positive emotions. A total of 44 participants listened to musical excerpts and provided data on perceived and felt emotions by rating 62 descriptive words or phrases related to emotions on a scale that ranged from 0 (not at all) to 4 (very much). The results revealed that the sad music was perceived to be more tragic, whereas the actual experiences of the participants listening to the sad music induced them to feel more romantic, more blithe, and less tragic emotions than they actually perceived with respect to the same music. Thus, the participants experienced ambivalent emotions when they listened to the sad music. After considering the possible reasons that listeners were induced to experience emotional ambivalence by the sad music, we concluded that the formulation of a new model would be essential for examining the emotions induced by music and that this new model must entertain the possibility that what we experience when listening to music is vicarious emotion. PMID:23785342

An investigation of the role of background music in IVWs for learning

Directory of Open Access Journals (Sweden)

Debbie Richards

2008-12-01

Full Text Available Empirical evidence is needed to corroborate the intuitions of gamers and game developers in understanding the benefits of Immersive Virtual Worlds (IVWs as a learning environment and the role that music plays within these environments. We report an investigation to determine if background music of the genre typically found in computer-based role-playing games has an effect on learning in a computer-animated history lesson about the Macquarie Lighthouse within an IVW. In Experiment 1, music stimuli were created from four different computer game soundtracks. Seventy-two undergraduate students watched the presentation and completed a survey including biographical details, questions on the historical material presented and questions relating to their perceived level of immersion. While the tempo and pitch of the music was unrelated to learning, music conditions resulted in a higher number of accurately remembered facts than the no music condition. One soundtrack showed a statistically significant improvement in memorisation of facts over other music conditions. Also an interaction between the levels of perceived immersion and ability to accurately remember facts was observed. Experiment 2, involving 48 undergraduate students, further investigated the effect of music, sense of immersion and how different display systems affect memory for facts.

The effects of music composition as a classroom activity on engagement in music education and academic and music achievement: A quasi-experimental study

NARCIS (Netherlands)

Hogenes, M.; van Oers, B.; Diekstra, R.; Sklad, M.

2015-01-01

The present study aims to contribute to the understanding of the effects of music education, in particular music composition as a classroom activity for fifth- and sixth-graders. The intervention (experimental condition) focused on a three-step-model for music composition, based on the Cultural

Relative Effect of Lecture Method Supplemented with Music and Computer Animation on Senior Secondary School Students' Retention in Electrochemistry

Science.gov (United States)

Akpoghol, T. V.; Ezeudu, F. O.; Adzape, J. N.; Otor, E. E.

2016-01-01

The study investigated the effects of Lecture Method Supplemented with Music (LMM) and Computer Animation (LMC) on senior secondary school students' retention in electrochemistry in Makurdi metropolis. Three research questions and three hypotheses guided the study. The design of the study was quasi experimental, specifically the pre-test,…

Do women prefer more complex music around ovulation?

Science.gov (United States)

Charlton, Benjamin D; Filippi, Piera; Fitch, W Tecumseh

2012-01-01

The evolutionary origins of music are much debated. One theory holds that the ability to produce complex musical sounds might reflect qualities that are relevant in mate choice contexts and hence, that music is functionally analogous to the sexually-selected acoustic displays of some animals. If so, women may be expected to show heightened preferences for more complex music when they are most fertile. Here, we used computer-generated musical pieces and ovulation predictor kits to test this hypothesis. Our results indicate that women prefer more complex music in general; however, we found no evidence that their preference for more complex music increased around ovulation. Consequently, our findings are not consistent with the hypothesis that a heightened preference/bias in women for more complex music around ovulation could have played a role in the evolution of music. We go on to suggest future studies that could further investigate whether sexual selection played a role in the evolution of this universal aspect of human culture.

Do women prefer more complex music around ovulation?

Directory of Open Access Journals (Sweden)

Benjamin D Charlton

Full Text Available The evolutionary origins of music are much debated. One theory holds that the ability to produce complex musical sounds might reflect qualities that are relevant in mate choice contexts and hence, that music is functionally analogous to the sexually-selected acoustic displays of some animals. If so, women may be expected to show heightened preferences for more complex music when they are most fertile. Here, we used computer-generated musical pieces and ovulation predictor kits to test this hypothesis. Our results indicate that women prefer more complex music in general; however, we found no evidence that their preference for more complex music increased around ovulation. Consequently, our findings are not consistent with the hypothesis that a heightened preference/bias in women for more complex music around ovulation could have played a role in the evolution of music. We go on to suggest future studies that could further investigate whether sexual selection played a role in the evolution of this universal aspect of human culture.

STRUCTURAL AND FUNCTIONAL MODEL OF FORMING FUTURE MUSIC TEACHER’S CREATIVE THINKING IN INSTRUMENTAL AND PERFORMING TRAINING

Directory of Open Access Journals (Sweden)

Nadiia Lavrentieva

2016-11-01

Full Text Available In the article conceptual bases of forming students’ creative thinking in the instrumental and performing activities are revealed, taking current training trends into account. The contradictions between the requirements of society to create favorable conditions to realize future music teachers’ creative potential and current directions of a higher educational establishment to ‘a result”, which causes a specific system of promotion and support students’ value orientations and encourages students to master existing knowledge, algorithms, and performing models, depict the relevant problems of making out the system of the future music teachers’ instrumental and performing training that is aimed at developing their creative thinking. It is noted that while defining such phenomena as creative thinking and cognitive work a great number of scientists emphasizes on the word “create” which means finding and creating something that hasn’t been found in the previous individual or social experience. The aim of the article is to disclose the content and stages of implementing structural and functional model of forming future music teachers’ creative thinking The model is formed as an alternative to information and reproductive approach to training future specialists. The concept model is based on the target of forming future music teachers’ creative and methodological thinking, professional competence, activity and approaches to the students’ training to complete fulfillment of modern needs of professional and music education. The author specifies criteria of structural model of future music teachers’ creative thinking. They are value and motivational, cognitive and educational, action and technological, creative and modulating ones The effectiveness of the future music teachers’ creative thinking in instrumental and performing training depends on the level of forming clear science-based system that has a certain conceptual

Musical hallucinosis: case reports and possible neurobiological models.

Science.gov (United States)

Mocellin, Ramon; Walterfang, Mark; Velakoulis, Dennis

2008-04-01

The perception of music without a stimulus, or musical hallucination, is reported in both organic and psychiatric disorders. It is most frequently described in the elderly with associated hearing loss and accompanied by some degree of insight. In this setting it is often referred to as 'musical hallucinosis'. The aim of the authors was to present examples of this syndrome and review the current understanding of its neurobiological basis. We describe three cases of persons experiencing musical hallucinosis in the context of hearing deficits with varying degrees of associated central nervous system abnormalities. Putative neurobiological mechanisms, in particular those involving de-afferentation of a complex auditory recognition system by complete or partial deafness, are discussed in the light of current information from the literature. Musical hallucinosis can be experienced in those patients with hearing impairment and is phenomenologically distinct for hallucinations described in psychiatric disorders.

Guided Imagery and Music - And Beyond?

DEFF Research Database (Denmark)

Bonde, Lars Ole

4 original research articles, one essay, a classical article and two clinical papers documenting the development of theory, research and clinical practice within the receptive music therapy model [The Bonny Method of] Guided Imagery and Music.......4 original research articles, one essay, a classical article and two clinical papers documenting the development of theory, research and clinical practice within the receptive music therapy model [The Bonny Method of] Guided Imagery and Music....

{SW}ARMED: Captive Portals, Mobile Devices, and Audience Participation in Multi-User Music Performance

OpenAIRE

Hindle, Abram

2013-01-01

Audience participation in computer music has long been limited byresources such as sensor technology or the material goods necessary toshare such an instrument. A recent paradigm is to take advantageof the incredible popularity of the smart-phone, a pocket sizedcomputer, and other mobile devices, to provide the audience aninterface into a computer music instrument. In this paper we discuss amethod of sharing a computer music instrument's interface with anaudience to allow them to interact via...

Effects of Lecture Method Supplemented with Music and Computer Animation on Senior Secondary School Students' Academic Achievement in Electrochemistry

Science.gov (United States)

Akpoghol, T. V.; Ezeudu, F. O.; Adzape, J. N.; Otor, E. E.

2016-01-01

The study investigated the effects of Lecture Method Supplemented with Music (LMM) and Computer Animation (LMC) on senior secondary school students' academic achievement in electrochemistry in Makurdi metropolis. Six research questions and six hypotheses guided the study. The design of the study was quasi experimental, specifically the pre-test,…

A Power Efficient Exaflop Computer Design for Global Cloud System Resolving Climate Models.

Science.gov (United States)

Wehner, M. F.; Oliker, L.; Shalf, J.

2008-12-01

Exascale computers would allow routine ensemble modeling of the global climate system at the cloud system resolving scale. Power and cost requirements of traditional architecture systems are likely to delay such capability for many years. We present an alternative route to the exascale using embedded processor technology to design a system optimized for ultra high resolution climate modeling. These power efficient processors, used in consumer electronic devices such as mobile phones, portable music players, cameras, etc., can be tailored to the specific needs of scientific computing. We project that a system capable of integrating a kilometer scale climate model a thousand times faster than real time could be designed and built in a five year time scale for US$75M with a power consumption of 3MW. This is cheaper, more power efficient and sooner than any other existing technology.

Music Teachers' Everyday Conceptions of Musicality.

Science.gov (United States)

Brandstrom, Sture

1999-01-01

Investigates music teachers' everyday conceptions of musicality through (1) a pilot study involving music teachers in higher education and (2) interviews with teachers in music teacher education and in compulsory school. Finds in the pilot the categories of musical achievement, musical experience, and musical communication, while the interviews…

Music Information Retrieval.

Science.gov (United States)

Downie, J. Stephen

2003-01-01

Identifies MIR (Music Information Retrieval) computer system problems, historic influences, current state-of-the-art, and future MIR solutions through an examination of the multidisciplinary approach to MIR. Highlights include pitch; temporal factors; harmonics; tone; editorial, textual, and bibliographic facets; multicultural factors; locating…

Shared Processing of Language and Music.

Science.gov (United States)

Atherton, Ryan P; Chrobak, Quin M; Rauscher, Frances H; Karst, Aaron T; Hanson, Matt D; Steinert, Steven W; Bowe, Kyra L

2018-01-01

The present study sought to explore whether musical information is processed by the phonological loop component of the working memory model of immediate memory. Original instantiations of this model primarily focused on the processing of linguistic information. However, the model was less clear about how acoustic information lacking phonological qualities is actively processed. Although previous research has generally supported shared processing of phonological and musical information, these studies were limited as a result of a number of methodological concerns (e.g., the use of simple tones as musical stimuli). In order to further investigate this issue, an auditory interference task was employed. Specifically, participants heard an initial stimulus (musical or linguistic) followed by an intervening stimulus (musical, linguistic, or silence) and were then asked to indicate whether a final test stimulus was the same as or different from the initial stimulus. Results indicated that mismatched interference conditions (i.e., musical - linguistic; linguistic - musical) resulted in greater interference than silence conditions, with matched interference conditions producing the greatest interference. Overall, these results suggest that processing of linguistic and musical information draws on at least some of the same cognitive resources.

Brain Musics: History, Precedents, and Commentary on Whalley, Mavros and Furniss

Directory of Open Access Journals (Sweden)

Miguel Ortiz

2015-05-01

Full Text Available Whalley, Mavros and Furniss explore questions of agency, control and interaction, as well as the embodied nature of musical performance in relation to the use of human-computer interaction through the work Clasp Together (beta for small ensemble and live electronics. The underlying concept of the piece focuses on direct mapping of a human neural network (embodied by a performer within the ensemble to an artificial neural network running on a computer. With our commentary, we contextualize the work within the field of Music Neuroscience. Specifically, we point at precedents in EEG-based musical practice as well as ongoing research in the field. We hope to more clearly situate Clasp Together (beta in the broad area of Brain Computer Musical Interfaces and discuss the challenges and opportunities that these technologies offer for composers.

INTRODUCTION TOTHE RUSSIAN MUSIC CULTURE AS A WAY OF CHINESE MUSIC TEACHERS TRAINING

Directory of Open Access Journals (Sweden)

N. G. Таgiltseva

2016-01-01

music, specifics of individual equipment and its esthetic features of each musician. Basic abstracts which are offered to be created by students in the course of such reflection can be used further by them in real professional activity as the main material for the musical analysis of works at school lessons.Practical significance. Recommendations on the ways realization of polyart education, method of prospect and a retrospective, perception and reflection of music and also modern tutorials of students are offered: the computer, a movie camera for vocational training of future music teachers who are trained in cello performance.

Investigating the importance of self-theories of intelligence and musicality for students' academic and musical achievement.

Science.gov (United States)

Müllensiefen, Daniel; Harrison, Peter; Caprini, Francesco; Fancourt, Amy

2015-01-01

Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student's beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed "Musical Self-Theories and Goals," closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students' musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students' academic achievement through the personality dimension conscientiousness and academic effort

Investigating the importance of self-theories of intelligence and musicality for students’ academic and musical achievement

Directory of Open Access Journals (Sweden)

Daniel eMüllensiefen

2015-11-01

Full Text Available Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student’s beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed ‘Musical Self-Theories and Goals’, closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students’ musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students’ academic achievement through the personality dimension

Hierarchical processing in music, language, and action: Lashley revisited.

Science.gov (United States)

Fitch, W Tecumseh; Martins, Mauricio D

2014-05-01

Sixty years ago, Karl Lashley suggested that complex action sequences, from simple motor acts to language and music, are a fundamental but neglected aspect of neural function. Lashley demonstrated the inadequacy of then-standard models of associative chaining, positing a more flexible and generalized "syntax of action" necessary to encompass key aspects of language and music. He suggested that hierarchy in language and music builds upon a more basic sequential action system, and provided several concrete hypotheses about the nature of this system. Here, we review a diverse set of modern data concerning musical, linguistic, and other action processing, finding them largely consistent with an updated neuroanatomical version of Lashley's hypotheses. In particular, the lateral premotor cortex, including Broca's area, plays important roles in hierarchical processing in language, music, and at least some action sequences. Although the precise computational function of the lateral prefrontal regions in action syntax remains debated, Lashley's notion-that this cortical region implements a working-memory buffer or stack scannable by posterior and subcortical brain regions-is consistent with considerable experimental data. © 2014 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals Inc. on behalf of The New York Academy of Sciences.

The effect of loudness on the reverberance of music: reverberance prediction using loudness models.

Science.gov (United States)

Lee, Doheon; Cabrera, Densil; Martens, William L

2012-02-01

This study examines the auditory attribute that describes the perceived amount of reverberation, known as "reverberance." Listening experiments were performed using two signals commonly heard in auditoria: excerpts of orchestral music and western classical singing. Listeners adjusted the decay rate of room impulse responses prior to convolution with these signals, so as to match the reverberance of each stimulus to that of a reference stimulus. The analysis examines the hypothesis that reverberance is related to the loudness decay rate of the underlying room impulse response. This hypothesis is tested using computational models of time varying or dynamic loudness, from which parameters analogous to conventional reverberation parameters (early decay time and reverberation time) are derived. The results show that listening level significantly affects reverberance, and that the loudness-based parameters outperform related conventional parameters. Results support the proposed relationship between reverberance and the computationally predicted loudness decay function of sound in rooms. © 2012 Acoustical Society of America

Music Education in the United States: Schools and Departments of Music. Bulletin, 1908, No. 4. Whole Number 387

Science.gov (United States)

Manchester, Arthur L.

1908-01-01

To define the status of music education in the United States has been practically impossible. The utter lack of systematic courses of instruction, the widely varying standards of merit, and the absence of cooperation upon the part of those engaged in music teaching not only have made impossible any accurate computation of the results which have…

Music Education for All: The raison d’être of Music Schools

Directory of Open Access Journals (Sweden)

Baikune De Alba

2018-05-01

Full Text Available Music schools, centres of non-formal music education, bring music to people of all ages as they work to achieve their main objective of offering practical musical training, for both instruments and voice. Their activities are centred in the town or city in which they are located, and their impact extends beyond the educational sphere: music schools are also a social force whose activities stimulate the local cultural scene. This study explores the work carried out by these schools in the Basque Country (Spain, where they have been operating for over 20 years. The analysis focuses on the range of music education they offer, their ability to respond to different demands and needs and how they relate to their social and educational environment. Furthermore, the paper examines whether music schools see other potential areas for growth and development and explores the factors that could positively or negatively impact their ability to achieve their objectives. The study adopts a description-oriented empirical-analytical methodology and applies the SWOT system. A total of 67 schools were included in the study. The results reveal the relevance of this ever-evolving model of education and confirm music schools as a key force in both music education and the sociocultural sphere in this country.

Music Perception and Appraisal: Cochlear Implant Users and Simulated CI Listening

Science.gov (United States)

Wright, Rose; Uchanski, Rosalie M.

2012-01-01

years old), recruited from the patient population of the local adult cochlear implant program, also participated in this study. Data Collection and Analysis Musical excerpts were appraised using a 7-point rating scale and music perception tests were scored as designed. Analysis of variance was performed on appraisal ratings, perception scores, and questionnaire data with listener group as a factor. Correlations were computed between musical appraisal ratings and perceptual scores on each music test. Results Music is rated as more enjoyable by CI users than by the NH listeners hearing music through a simulation (CIsim), and the difference is statistically significant. For roughly half of the music perception tests, there are no statistically significant differences between the performance of the CI users and of the CIsim listeners. Generally, correlations between appraisal ratings and music perception scores are weak or non-existent. Conclusions NH adults listening to music that has been processed through a CI-simulation program are a reasonable model for actual CI users for many music perception skills, but not for rating musical enjoyment. For CI users, the apparent independence of music perception skills and music enjoyment (as assessed by appraisals), indicates that music enjoyment should not be assumed and should be examined explicitly. PMID:22533978

The importance of music for people with dementia: the perspectives of people with dementia, family carers, staff and music therapists.

Science.gov (United States)

McDermott, Orii; Orrell, Martin; Ridder, Hanne Mette

2014-01-01

Despite the popularity of music-based interventions in dementia care, there is a limited knowledge of how and why people with dementia find music beneficial for their well-being. A qualitative study was conducted to develop further insights into the musical experiences of people with dementia and explore the meaning of music in their lives. Separate focus groups and interviews with (1) care home residents with dementia and their families, (2) day hospital clients with dementia, (3) care home staff, and (4) music therapists, were conducted. The findings of the thematic analysis were investigated further in the light of psychosocial factors with the aim of developing a theoretical model on music in dementia. Six key themes were identified. The accessibility of music for people at all stages of dementia, close links between music, personal identity and life events, the importance of relationship-building through music making were particularly highlighted as valuable. The psychosocial model of music in dementia was developed. The model revealed the importance of music to support the personal psychology of people with dementia and the social psychology of the care home environment. The effects of music go beyond the reduction of behavioural and psychological symptoms. Individual preference of music is preserved throughout the process of dementia. Sustaining musical and interpersonal connectedness would help value who the person is and maintain the quality of their life.

Human-based percussion and self-similarity detection in electroacoustic music

Science.gov (United States)

Mills, John Anderson, III

Electroacoustic music is music that uses electronic technology for the compositional manipulation of sound, and is a unique genre of music for many reasons. Analyzing electroacoustic music requires special measures, some of which are integrated into the design of a preliminary percussion analysis tool set for electroacoustic music. This tool set is designed to incorporate the human processing of music and sound. Models of the human auditory periphery are used as a front end to the analysis algorithms. The audio properties of percussivity and self-similarity are chosen as the focus because these properties are computable and informative. A collection of human judgments about percussion was undertaken to acquire clearly specified, sound-event dimensions that humans use as a percussive cue. A total of 29 participants was asked to make judgments about the percussivity of 360 pairs of synthesized snare-drum sounds. The grouped results indicate that of the dimensions tested rise time is the strongest cue for percussivity. String resonance also has a strong effect, but because of the complex nature of string resonance, it is not a fundamental dimension of a sound event. Gross spectral filtering also has an effect on the judgment of percussivity but the effect is weaker than for rise time and string resonance. Gross spectral filtering also has less effect when the stronger cue of rise time is modified simultaneously. A percussivity-profile algorithm (PPA) is designed to identify those instants in pieces of music that humans also would identify as percussive. The PPA is implemented using a time-domain, channel-based approach and psychoacoustic models. The input parameters are tuned to maximize performance at matching participants' choices in the percussion-judgment collection. After the PPA is tuned, the PPA then is used to analyze pieces of electroacoustic music. Real electroacoustic music introduces new challenges for the PPA, though those same challenges might affect

Music perception and appraisal: cochlear implant users and simulated cochlear implant listening.

Science.gov (United States)

Wright, Rose; Uchanski, Rosalie M

2012-05-01

program, also participated in this study. Musical excerpts were appraised using a seven-point rating scale, and music perception tests were scored as designed. Analysis of variance was performed on appraisal ratings, perception scores, and questionnaire data with listener group as a factor. Correlations were computed between musical appraisal ratings and perceptual scores on each music test. Music is rated as more enjoyable by CI users than by the NH listeners hearing music through a simulation (CIsim), and the difference is statistically significant. For roughly half of the music perception tests, there are no statistically significant differences between the performance of the CI users and of the CIsim listeners. Generally, correlations between appraisal ratings and music perception scores are weak or nonexistent. NH adults listening to music that has been processed through a CI-simulation program are a reasonable model for actual CI users for many music perception skills, but not for rating musical enjoyment. For CI users, the apparent independence of music perception skills and music enjoyment (as assessed by appraisals) indicates that music enjoyment should not be assumed and should be examined explicitly. American Academy of Audiology.

The Effects of Music Composition as a Classroom Activity on Engagement in Music Education and Academic and Music Achievement: A Quasi-Experimental Study

Science.gov (United States)

Hogenes, Michel; van Oers, Bert; Diekstra, René F. W.; Sklad, Marcin

2016-01-01

The present study aims to contribute to the understanding of the effects of music education, in particular music composition as a classroom activity for fifth- and sixth-graders. The intervention (experimental condition) focused on a three-step-model for music composition, based on the Cultural Historical Activity Theory of education, and has been…

The role of music in music education research : reflections on musical experience

OpenAIRE

Varkøy, Øivind

2009-01-01

First in this article the role of theories of musicology in music education research is considered. Second, the case in point is examined where the focus of music education research is brought bo bear directly on music education, to wit music. By concentrating on music in music education research, the focus remains firmly on musical experience as a basis of reflection in music education research. The author has chosen to focus in particular on a specific kind of musical experience - more p...

Thrills, Chills, Frissons, and Skin Orgasms: Toward an Integrative Model of Transcendent Psychophysiological Moments in Music

Directory of Open Access Journals (Sweden)

Lucas D. Harrison

2014-07-01

Full Text Available Music has a unique power to elicit moments of intense emotional and psychophysiological response. These moments – termed chills, thrills, frissons, etc. – are subjects of introspection and philosophical debate, as well as scientific study in music perception and cognition. The present article integrates the existing multidisciplinary literature in an attempt to define a comprehensive, testable, and ecologically valid model of transcendent psychophysiological moments in music.

An investigation of the role of background music in IVWs for learning

OpenAIRE

Richards, Debbie; Fassbender, Eric; Bilgin, Ayse; Thompson, William Forde

2008-01-01

Empirical evidence is needed to corroborate the intuitions of gamers and game developers in understanding the benefits of Immersive Virtual Worlds (IVWs) as a learning environment and the role that music plays within these environments. We report an investigation to determine if background music of the genre typically found in computer-based role-playing games has an effect on learning in a computer-animated history lesson about the Macquarie Lighthouse within an IVW. In Experiment 1, music s...

Tuvan music and World Music

Directory of Open Access Journals (Sweden)

Maxim V. Chaposhnikov

2017-06-01

Full Text Available The essay presents the author’s observations about the ingression of Tuvan music into the World Music – a niche of world musical culture covering ethnical music traditions. The author has witnessed the rise of interest to traditional musical culture of Tuva and Russia as well as globalization of Tuvan music. He is endeavoring to interpret these changes and reveal their affect on traditional music and xöömei. In the late Soviet period, traditional music in Tuva, like in many republics of the Union, has been as if put on hold. During the Perestroika and national revival processes, traditionalism became of high demand. Symposia and festivals started off in Tuva where amateur participants took the same stage with professionals. Special honor was paid to old masters of xöömei. Scholars started engaging in  discussions about the origins and a role of xöömei and its genres. Хöömei attracted a good deal of market interest from outside Russia. In the late 1980s American scientist and producer T. Levin made first field records of xöömei to be released on a disk. Ethnographic ensemble “Tuva” was established. Later, members of “Tuva” started their own musical bands. Musical programs were compiled as an ethnographic variety show – a principle that the public has been seeking for both in Tuva and abroad. Disks were realeased and artists started active touring in foreign countries. Boosting interest in World Music was marked with hallmark attention to the phenomenon of throat-singing and overtone music, and further evolution of Tuvan music has since been tightly linked to Western musical market. The author traces the peculiarities of such bands as “Huun Huur Tu”, “Yat-Kha”, etc. and remarks that the value of Tuvan music is not only in star performers shining on the Western skies, but in the rise of a stable community of people inspired by Tuvan music and culture, and seeking new ways of aesthetic and spiritual perception of

Scientific perspectives on music therapy.

Science.gov (United States)

Hillecke, Thomas; Nickel, Anne; Bolay, Hans Volker

2005-12-01

What needs to be done on the long road to evidence-based music therapy? First of all, an adequate research strategy is required. For this purpose the general methodology for therapy research should be adopted. Additionally, music therapy needs a variety of methods of allied fields to contribute scientific findings, including mathematics, natural sciences, behavioral and social sciences, as well as the arts. Pluralism seems necessary as well as inevitable. At least two major research problems can be identified, however, that make the path stony: the problem of specificity and the problem of eclecticism. Neuroscientific research in music is giving rise to new ideas, perspectives, and methods; they seem to be promising prospects for a possible contribution to a theoretical and empirical scientific foundation for music therapy. Despite the huge heterogeneity of theoretical approaches in music therapy, an integrative model of working ingredients in music therapy is useful as a starting point for empirical studies in order to question what specifically works in music therapy. For this purpose, a heuristic model, consisting of five music therapy working factors (attention modulation, emotion modulation, cognition modulation, behavior modulation, and communication modulation) has been developed by the Center for Music Therapy Research (Viktor Dulger Institute) in Heidelberg. Evidence shows the effectiveness of music therapy for treating certain diseases, but the question of what it is in music therapy that works remains largely unanswered. The authors conclude with some questions to neuroscientists, which we hope may help elucidate relevant aspects of a possible link between the two disciplines.

Constructing Music History in the Classroom

Directory of Open Access Journals (Sweden)

Maria Rosa De Luca

2016-12-01

Full Text Available The paper focuses on some aspects of the teaching-learning of Music History in the school education system. It concentrates upon contents, strategies and methods of teaching transposition of historical and musical knowledge as a training model for music education oriented on the comprehension of music as culture. Based on this branch of teaching’s model, epistemological assumptions are discussed and relied to various degrees of education, considering also the challenges that the teacher faces in the didactic transposition process of topics.

Music therapy in dementia

DEFF Research Database (Denmark)

McDermott, Orii; Crellin, Nadia; Ridder, Hanne Mette Ochsner

2013-01-01

Objective Recent reviews on music therapy for people with dementia have been limited to attempting to evaluate whether it is effective, but there is a need for a critical assessment of the literature to provide insight into the possible mechanisms of actions of music therapy. This systematic review......, five studies investigated hormonal and physiological changes, and five studies focused on social and relational aspects of music therapy. The musical interventions in the studies were diverse, but singing featured as an important medium for change. Conclusions Evidence for short-term improvement...... in mood and reduction in behavioural disturbance was consistent, but there were no high-quality longitudinal studies that demonstrated long-term benefits of music therapy. Future music therapy studies need to define a theoretical model, include better-focused outcome measures, and discuss how the findings...

Fast Estimation of Optimal Sparseness of Music Signals

DEFF Research Database (Denmark)

la Cour-Harbo, Anders

2006-01-01

We want to use a variety of sparseness measured applied to ‘the minimal L1 norm representation' of a music signal in an overcomplete dictionary as features for automatic classification of music. Unfortunately, the process of computing the optimal L1 norm representation is rather slow, and we...

The importance of music for people with dementia: the perspectives of people with dementia, family carers, staff and music therapists

Science.gov (United States)

McDermot, Orii; Orrell, Martin; Ridder, Hanne Mette

2014-01-01

Objectives Despite the popularity of music-based interventions in dementia care, there is a limited knowledge of how and why people with dementia find music beneficial for their well-being. A qualitative study was conducted to develop further insights into the musical experiences of people with dementia and explore the meaning of music in their lives. Method Separate focus groups and interviews with (1) care home residents with dementia and their families, (2) day hospital clients with dementia, (3) care home staff, and (4) music therapists, were conducted. The findings of the thematic analysis were investigated further in the light of psychosocial factors with the aim of developing a theoretical model on music in dementia. Results Six key themes were identified. The accessibility of music for people at all stages of dementia, close links between music, personal identity and life events, the importance of relationship-building through music making were particularly highlighted as valuable. The psychosocial model of music in dementia was developed. The model revealed the importance of music to support the personal psychology of people with dementia and the social psychology of the care home environment. Conclusion The effects of music go beyond the reduction of behavioural and psychological symptoms. Individual preference of music is preserved throughout the process of dementia. Sustaining musical and interpersonal connectedness would help value who the person is and maintain the quality of their life. PMID:24410398

Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood.

Science.gov (United States)

Bonneville-Roussy, Arielle; Rentfrow, Peter J; Xu, Man K; Potter, Jeff

2013-10-01

Are there developmental trends in how individuals experience and engage with music? Data from 2 large cross-sectional studies involving more than a quarter of a million individuals were used to investigate age differences in musical attitudes and preferences from adolescence through middle age. Study 1 investigated age trends in musical engagement. Results indicated that (a) the degree of importance attributed to music declines with age but that adults still consider music important, (b) young people listen to music significantly more often than do middle-aged adults, and (c) young people listen to music in a wide variety of contexts, whereas adults listen to music primarily in private contexts. Study 2 examined age trends in musical preferences. Results indicated that (a) musical preferences can be conceptualized in terms of a 5-dimensional age-invariant model, (b) certain music-preference dimensions decrease with age (e.g., Intense, Contemporary), whereas preferences for other music dimensions increase with age (e.g., Unpretentious, Sophisticated), and (c) age trends in musical preferences are closely associated with personality. Normative age trends in musical preferences corresponded with developmental changes in psychosocial development, personality, and auditory perception. Overall, the findings suggest that musical preferences are subject to a variety of developmental influences throughout the life span.

Music, videos and the risk for CERN

CERN Multimedia

Computer Security Team

2012-01-01

Do you like listening to music while you work? What about watching videos during your leisure time? Sure this is fun. Having your colleagues participate in this is even more fun. However, this fun is usually not free. There are artists and the music and film companies who earn their living from music and videos.   Thus, if you want to listen to music or watch films at CERN, make sure that you own the proper rights to do so (and that you have the agreement of your supervisor to do this during working hours). Note that these rights are personal: you usually do not have the right to share music or videos with third parties without violating copyrights. Therefore, making copyrighted music and videos public, or sharing music and videos as well as other copyrighted material, is forbidden at CERN and outside CERN. It violates the CERN Computing Rules and it contradicts CERN's Code of Conduct, which expects each of us to behave ethically and honestly, and to credit others for their c...

Visual Representation in GENESIS as a tool for Physical Modeling, Sound Synthesis and Musical Composition

OpenAIRE

Villeneuve, Jérôme; Cadoz, Claude; Castagné, Nicolas

2015-01-01

The motivation of this paper is to highlight the importance of visual representations for artists when modeling and simulating mass-interaction physical networks in the context of sound synthesis and musical composition. GENESIS is a musician-oriented software environment for sound synthesis and musical composition. However, despite this orientation, a substantial amount of effort has been put into building a rich variety of tools based on static or dynamic visual representations of models an...

Music analysis and point-set compression

DEFF Research Database (Denmark)

Meredith, David

2015-01-01

COSIATEC, SIATECCompress and Forth’s algorithm are point-set compression algorithms developed for discovering repeated patterns in music, such as themes and motives that would be of interest to a music analyst. To investigate their effectiveness and versatility, these algorithms were evaluated...... on three analytical tasks that depend on the discovery of repeated patterns: classifying folk song melodies into tune families, discovering themes and sections in polyphonic music, and discovering subject and countersubject entries in fugues. Each algorithm computes a compressed encoding of a point......-set representation of a musical object in the form of a list of compact patterns, each pattern being given with a set of vectors indicating its occurrences. However, the algorithms adopt different strategies in their attempts to discover encodings that maximize compression.The best-performing algorithm on the folk...

Modeling Musical Complexity: Commentary on Eerola (2016

Directory of Open Access Journals (Sweden)

Joshua Albrecht

2016-07-01

Full Text Available In his paper, "Expectancy violation and information-theoretic models of melodic complexity," Eerola compares a number of models that correlate musical features of monophonic melodies with participant ratings of perceived melodic complexity. He finds that fairly strong results can be achieved using several different approaches to modeling perceived melodic complexity. The data used in this study are gathered from several previously published studies that use widely different types of melodies, including isochronous folk melodies, isochronous 12-tone rows, and rhythmically complex African folk melodies. This commentary first briefly reviews the article's method and main findings, then suggests a rethinking of the theoretical framework of the study. Finally, some of the methodological issues of the study are discussed.

Investigation of Higher Brain Functions in Music Composition Using Models of the Cortex Based on Physical System Analogies.

Science.gov (United States)

Leng, Xiaodan

The trion model was developed using the Mountcastle organizational principle for the column as the basic neuronal network in the cortex and the physical system analogy of Fisher's ANNNI spin model. An essential feature is that it is highly structured in time and in spatial connections. Simulations of a network of trions have shown that large numbers of quasi-stable, periodic spatial-temporal firing patterns can be excited. Characteristics of these patterns include the quality of being readily enhanced by only a small change in connection strengths, and that the patterns evolve in certain natural sequences from one to another. With only somewhat different parameters than used for studying memory and pattern recognition, much more flowing and intriguing patterns emerged from the simulations. The results were striking when these probabilistic evolutions were mapped onto pitches and instruments to produce music: For example different simple mappings of the same evolution give music having the "flavor" of a minuet, a waltz, folk music, or styles of specific periods. A theme can be learned so that evolutions have this theme and its variations reoccurring more often. That the trion model is a viable model for the coding of musical structure in human composition and perception is suggested. It is further proposed that model is relevant for examining creativity in the higher cognitive functions of mathematics and chess, which are similar to music. An even higher level of cortical organization was modeled by coupling together several trion networks. Further, one of the crucial features of higher brain function, especially in music composition or appreciation, is the role of emotion and mood as controlled by the many neuromodulators or neuropeptides. The MILA model whose underlying basis is zero-level representation of Kac-Moody algebra is used to modulate periodically the firing threshold of each network. Our preliminary results show that the introduction of "neuromodulation

77 FR 70464 - Certain Electronic Devices, Including Wireless Communication Devices, Portable Music and Data...

Science.gov (United States)

2012-11-26

... INTERNATIONAL TRADE COMMISSION [Investigation No. 337-TA-794] Certain Electronic Devices, Including Wireless Communication Devices, Portable Music and Data Processing Devices, and Tablet Computers... wireless communication devices, portable music and data processing devices, and tablet computers, by reason...

Preservice Music Teachers' Attitudes toward Popular Music in the Music Classroom

Science.gov (United States)

Springer, D. Gregory; Gooding, Lori F.

2013-01-01

The purpose of this study was to examine preservice music educators' attitudes toward popular music in the music classroom. On a survey instrument designed by the investigators, participants ("N" = 82) rated (a) the effectiveness of popular music in addressing the National Standards for Music Education, (b) the appropriateness of popular…

Immersion Music: a Progress Report

OpenAIRE

Nakra, Teresa M.

2003-01-01

This paper describes the artistic projects undertaken at ImmersionMusic, Inc. (www.immersionmusic.org) during its three-yearexistence. We detail work in interactive performance systems,computer-based training systems, and concert production.

Effect of Pop Music on Students' Attitudes to Music Lessons

Science.gov (United States)

Özdemir, Gökhan; Çiftçibasi, M. Can

2017-01-01

This study aims to identify whether the use of popular music in teaching song creates a significant difference in attitudes of middle school students to music lessons. "Pretest-posttest design" from experimental models was used. The experimental and control groups consists of 8 classes of continuing education from four different middle…

77 FR 60720 - Certain Electronic Devices, Including Wireless Commmunication Devices, Portable Music and Data...

Science.gov (United States)

2012-10-04

... INTERNATIONAL TRADE COMMISSION [Investigation No. 337-TA-794] Certain Electronic Devices, Including Wireless Commmunication Devices, Portable Music and Data Processing Devices, and Tablet Computers... communication devices, portable music and data processing devices, and tablet computers, imported by Apple Inc...

(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music

Science.gov (United States)

Bell, Adam Patrick

2017-01-01

What does it mean to experience disability in music? Based on interviews with Patrick Anderson--arguably the greatest wheelchair basketball player of all time--this article presents insights into the complexities of the experience of disability in sports and music. Contrasted with music education's tendency to adhere to a medicalized model of…

The Digital Music Lab: A Big Data Infrastructure for Digital Musicology

OpenAIRE

Abdallah, S.; Benetos, E.; Gold, N. E.; Hargreaves, S.; Weyde, T.; Wolff, D.

2017-01-01

In musicology and music research generally, the increasing availability of digital music, storage capacities, and computing power enable and require new and intelligent systems. In the transition from traditional to digital musicology, many techniques and tools have been developed for the analysis of individual pieces of music, but large-scale music data that are increasingly becoming available require research methods and systems that work on the collection-level and at scale. Although many ...

The digital music lab: A big data infrastructure for digital musicology

OpenAIRE

Abdallah, S.; Benetos, E.; Gold, N.; Hargreaves, S.; Weyde, T.; Wolff, D.

2017-01-01

In musicology and music research generally, the increasing availability of digital music, storage capacities, and computing power enable and require new and intelligent systems. In the transition from traditional to digital musicology, many techniques and tools have been developed for the analysis of individual pieces of music, but large-scale music data that are increasingly becoming available require research methods and systems that work on the collection-level and at scale. Although many ...

EyeMusic: Making Music with the Eyes

OpenAIRE

Hornof, Anthony J.; Sato, Linda

2004-01-01

Though musical performers routinely use eye movements to communicate with each other during musical performances, very few performers or composers have used eye tracking devices to direct musical compositions and performances. EyeMusic is a system that uses eye movements as an input to electronic music compositions. The eye movements can directly control the music, or the music can respond to the eyes moving around a visual scene. EyeMusic is implemented so that any composer using established...

TSaT-MUSIC: a novel algorithm for rapid and accurate ultrasonic 3D localization

Science.gov (United States)

Mizutani, Kyohei; Ito, Toshio; Sugimoto, Masanori; Hashizume, Hiromichi

2011-12-01

We describe a fast and accurate indoor localization technique using the multiple signal classification (MUSIC) algorithm. The MUSIC algorithm is known as a high-resolution method for estimating directions of arrival (DOAs) or propagation delays. A critical problem in using the MUSIC algorithm for localization is its computational complexity. Therefore, we devised a novel algorithm called Time Space additional Temporal-MUSIC, which can rapidly and simultaneously identify DOAs and delays of mul-ticarrier ultrasonic waves from transmitters. Computer simulations have proved that the computation time of the proposed algorithm is almost constant in spite of increasing numbers of incoming waves and is faster than that of existing methods based on the MUSIC algorithm. The robustness of the proposed algorithm is discussed through simulations. Experiments in real environments showed that the standard deviation of position estimations in 3D space is less than 10 mm, which is satisfactory for indoor localization.

The MusIC method: a fast and quasi-optimal solution to the muscle forces estimation problem

OpenAIRE

Muller , Antoine; Pontonnier , Charles; Dumont , Georges

2018-01-01

International audience; The present paper aims at presenting a fast and quasi-optimal method of muscle forces estimation: the MusIC method. It consists in interpolating a first estimation in a database generated offline thanks to a classical optimization problem, and then correcting it to respect the motion dynamics. Three different cost functions – two polynomial criteria and a min/max criterion – were tested on a planar musculoskeletal model. The MusIC method provides a computation frequenc...

Effect of listening to music and essential oil inhalation on patients undergoing screening CT colonography: A randomized controlled trial

Energy Technology Data Exchange (ETDEWEB)

Nagata, Koichi, E-mail: Nagata7@aol.com [Department of Radiology, Kameda Medical Center, 929 Higashi-cho, Kamogawa, Chiba 296-8602 (Japan); Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Cancer Screening Technology Division, Research Center for Cancer Prevention and Screening, National Cancer Center, 5-1-1, Tsukiji, Chuo-ku, Tokyo 104-0045 (Japan); Iida, Nao, E-mail: n.iida-xray@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Kanazawa, Hidenori, E-mail: r0713hk@jichi.ac.jp [Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Fujiwara, Masanori, E-mail: m_fujiwara@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Mogi, Tomohiro, E-mail: mogi-xray@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Mitsushima, Toru, E-mail: mitsushima@kameda.jp [Department of Gastroenterology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Lefor, Alan T., E-mail: alefor@jichi.ac.jp [Department of Surgery, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Sugimoto, Hideharu, E-mail: sugimoto@jichi.ac.jp [Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan)

2014-12-15

Highlights: • Music does not decrease patients’ perceived pain or acceptance during CTC. • Aromatherapy does not affect patients’ perceived pain or experience during CTC. • Music and aroma had little effect on vital signs during CTC. • More participants who listened to music requested music during the next CTC. • More participants who inhaled aroma requested aroma during the next CTC. - Abstract: Objective: To prospectively evaluate the effect of listening to music and inhaling aroma oil on patients undergoing screening computed tomography colonography. Materials and methods: Two hundred and twenty four participants were randomly allocated to one of the four groups including: (1) combined music and aroma, (2) music alone, (3) aroma alone, and (4) control. The visual analog scale for pain and a questionnaire were used for subjective outcomes. We also used a pre-test–post-test design to compare the differences in blood pressure and heart rate as objective outcomes. Results: There were no statistical differences between the control group and other groups in the visual analog scale or changes in heart rate. Changes in blood pressure were similar. Participants reported good overall experiences. There were no differences in terms of overall satisfaction, pain rating, willingness to repeat the computed tomography colonography procedure in the future, or preference between colonoscopy and computed tomography colonography. More participants using music and/or aroma requested music and/or aroma during the next computed tomography colonography (P < 0.0001). Conclusion: Although audio and olfactory intervention had little effect on perceived pain or discomfort and vital signs, participants who listened to music and inhaled aroma during the computed tomography colonography preferred music and aroma during the next computed tomography colonography.

Effect of listening to music and essential oil inhalation on patients undergoing screening CT colonography: A randomized controlled trial

International Nuclear Information System (INIS)

Nagata, Koichi; Iida, Nao; Kanazawa, Hidenori; Fujiwara, Masanori; Mogi, Tomohiro; Mitsushima, Toru; Lefor, Alan T.; Sugimoto, Hideharu

2014-01-01

Highlights: • Music does not decrease patients’ perceived pain or acceptance during CTC. • Aromatherapy does not affect patients’ perceived pain or experience during CTC. • Music and aroma had little effect on vital signs during CTC. • More participants who listened to music requested music during the next CTC. • More participants who inhaled aroma requested aroma during the next CTC. - Abstract: Objective: To prospectively evaluate the effect of listening to music and inhaling aroma oil on patients undergoing screening computed tomography colonography. Materials and methods: Two hundred and twenty four participants were randomly allocated to one of the four groups including: (1) combined music and aroma, (2) music alone, (3) aroma alone, and (4) control. The visual analog scale for pain and a questionnaire were used for subjective outcomes. We also used a pre-test–post-test design to compare the differences in blood pressure and heart rate as objective outcomes. Results: There were no statistical differences between the control group and other groups in the visual analog scale or changes in heart rate. Changes in blood pressure were similar. Participants reported good overall experiences. There were no differences in terms of overall satisfaction, pain rating, willingness to repeat the computed tomography colonography procedure in the future, or preference between colonoscopy and computed tomography colonography. More participants using music and/or aroma requested music and/or aroma during the next computed tomography colonography (P < 0.0001). Conclusion: Although audio and olfactory intervention had little effect on perceived pain or discomfort and vital signs, participants who listened to music and inhaled aroma during the computed tomography colonography preferred music and aroma during the next computed tomography colonography

Channel Parameter Estimation for Scatter Cluster Model Using Modified MUSIC Algorithm

Directory of Open Access Journals (Sweden)

Jinsheng Yang

2012-01-01

Full Text Available Recently, the scatter cluster models which precisely evaluate the performance of the wireless communication system have been proposed in the literature. However, the conventional SAGE algorithm does not work for these scatter cluster-based models because it performs poorly when the transmit signals are highly correlated. In this paper, we estimate the time of arrival (TOA, the direction of arrival (DOA, and Doppler frequency for scatter cluster model by the modified multiple signal classification (MUSIC algorithm. Using the space-time characteristics of the multiray channel, the proposed algorithm combines the temporal filtering techniques and the spatial smoothing techniques to isolate and estimate the incoming rays. The simulation results indicated that the proposed algorithm has lower complexity and is less time-consuming in the dense multipath environment than SAGE algorithm. Furthermore, the estimations’ performance increases with elements of receive array and samples length. Thus, the problem of the channel parameter estimation of the scatter cluster model can be effectively addressed with the proposed modified MUSIC algorithm.

Aesthetics in Young Children's Lives: From Music Technology Curriculum Perspective

Science.gov (United States)

Ko, Chia-Hui; Chou, Mei-Ju

2013-01-01

Music technology is a term commonly used to refer to electronic form of the musical arts, particularly devices and computer software that enable the facilitation, playback, recording, composition, storage, and performance of various musical compositions. There has been a growing awareness of the importance of aesthetics in early childhood…

Construction and communication of meanings in popular music

Directory of Open Access Journals (Sweden)

Julián Céspedes Guevara

2010-11-01

Full Text Available Both musicology and the psychology of music have traditionally approached the construction and communication of musical meanings using a functionalist model of communication. The purpose of this research is to study these phenomena within the context of popular music, using a constructivist theoretical framework. Two songs from a funk-rock band and 2 songs from a jazz band were heard individually by 6 members of the bands and by 14 participants without formal musical training. The participants were asked to indicate the moments in which the music called their attention, and to elaborate on the meaning of each song. The findings were interpreted as evidence that musical meaning is not inherent to music, that popular music is not always perceived an expression of emotions, and that musical communication depends on the existence of shared symbolic referents by musicians and listeners. As a conclusion, a constructivist conceptual model of musical communication is proposed

The Self-Regulated Learning Model and Music Education

OpenAIRE

Maja Marijan

2017-01-01

Self-regulation and self-regulated learning (SRL) are important features in music education. In this research self-regulated learning model is presented as a complex, multidimensional structure. SRL starts with the self-regulation. Self-regulation is formed through interaction with the environment, thus self-learning, self-analysis, self-judgment, self-instruction, and self-monitoring are the main functions in self-regulatory structure. Co-regulation is needed, and helps self-regulation to be...

Is it the music? Peer substance use as a mediator of the link between music preferences and adolescent substance use.

Science.gov (United States)

Mulder, Juul; Ter Bogt, Tom F M; Raaijmakers, Quinten A W; Nic Gabhainn, Saoirse; Monshouwer, Karin; Vollebergh, Wilma A M

2010-06-01

Both music preferences and the substance use behavior of peers are important elements in explaining adolescent substance use. The extent to which music preference and peer use overlap in explaining adolescent substance use remains to be determined. A nationally representative sample of 7324 Dutch school-going adolescents (aged 12-16) provided data on music preferences, substance use behaviors and perceived number of peers using substances. Factor analyses showed that preferences for eight music genres factored into four styles: Pop (chart music, Dutch pop), Adult (classical music, jazz), Urban (rap/hiphop, soul/R&B) and Hard (punk/hardcore, techno/hardhouse); substance use was indicated by smoking, drinking, and cannabis use. Structural equation modeling revealed that the relationship between music preference and substance use was either wholly or partially mediated by perceived peer use. Music can model substance use and fans of different types of music may select friends with use patterns that reinforce their own substance use inclinations.

Music and communication in music psychology

OpenAIRE

Cross, Ian Ralph

2014-01-01

There is a general consensus that music is both universal and communicative, and musical dialogue is a key element in much music-therapeutic practice. However, the idea that music is a communicative medium has, to date, received little attention within the cognitive sciences, and the limited amount of research that addresses how and what music communicates has resulted in findings that appear to be of limited relevance to music therapy. This paper will draw on ethnomusicological evidence and ...

Music-reading deficiencies and the brain

Directory of Open Access Journals (Sweden)

Lola L. Cuddy

2006-01-01

Full Text Available This paper reviews the literature on brain damage and music-reading for the past 25 years. Acquired patterns of selective loss and sparing are described, including both the association and dissociation of music and text reading, and association and dissociation among components of music reading. As well, we suggest that developmental music - reading deficiencies may be isolated in a form analogous to developmental dyslexia for text or congenital amusia for auditory music processing. Finally, we propose that the results of brain damage studies can contribute to the development of a model of normal music reading.

Analysis, Synthesis, and Perception of Musical Sounds The Sound of Music

CERN Document Server

Beauchamp, James W

2007-01-01

Analysis, Synthesis, and Perception of Musical Sounds contains a detailed treatment of basic methods for analysis and synthesis of musical sounds, including the phase vocoder method, the McAulay-Quatieri frequency-tracking method, the constant-Q transform, and methods for pitch tracking with several examples shown. Various aspects of musical sound spectra such as spectral envelope, spectral centroid, spectral flux, and spectral irregularity are defined and discussed. One chapter is devoted to the control and synthesis of spectral envelopes. Two advanced methods of analysis/synthesis are given: "Sines Plus Transients Plus Noise" and "Spectrotemporal Reassignment" are covered. Methods for timbre morphing are given. The last two chapters discuss the perception of musical sounds based on discrimination and multidimensional scaling timbre models.

EEG and MEG source localization using recursively applied (RAP) MUSIC

Energy Technology Data Exchange (ETDEWEB)

Mosher, J.C. [Los Alamos National Lab., NM (United States); Leahy, R.M. [University of Southern California, Los Angeles, CA (United States). Signal and Image Processing Inst.

1996-12-31

The multiple signal characterization (MUSIC) algorithm locates multiple asynchronous dipolar sources from electroencephalography (EEG) and magnetoencephalography (MEG) data. A signal subspace is estimated from the data, then the algorithm scans a single dipole model through a three-dimensional head volume and computes projections onto this subspace. To locate the sources, the user must search the head volume for local peaks in the projection metric. Here we describe a novel extension of this approach which we refer to as RAP (Recursively APplied) MUSIC. This new procedure automatically extracts the locations of the sources through a recursive use of subspace projections, which uses the metric of principal correlations as a multidimensional form of correlation analysis between the model subspace and the data subspace. The dipolar orientations, a form of `diverse polarization,` are easily extracted using the associated principal vectors.

Music Therapy and Music Therapy Research. Response

DEFF Research Database (Denmark)

Pedersen, Inge Nygaard

2002-01-01

This response to Keynote by Prof. Even Ruud (N)"Music Education and Music Therapy seeks to define these two areas with specific focus on tools and methods for analysis of music as these methods are developed in music therapy. This includes that the music therapist, the music and the client create...

Proceedings of the 6th International Workshop on Folk Music Analysis, 15-17 June, 2016

OpenAIRE

Beauguitte, Pierre; Duggan, Bryan; Kelleher, John

2016-01-01

The Folk Music Analysis Workshop brings together computational music analysis and ethnomusicology. Both symbolic and audio representations of music are considered, with a broad range of scientific approaches being applied (signal processing, graph theory, deep learning). The workshop features a range of interesting talks from international researchers in areas such as Indian classical music, Iranian singing, Ottoman-Turkish Makam music scores, Flamenco singing, Irish traditional music, Georgi...

Chill-inducing music enhances altruism in humans

Directory of Open Access Journals (Sweden)

Hajime eFukui

2014-10-01

Full Text Available Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the Dictator Game that an individual’s listening to preferred chill-inducing music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the In-group (IG and the Out-group (OG, and they acted as dictators. The dictators listened to their own preferred chill-inducing music, to music they disliked, or to silence, and then played the Dictator Game. In this hypothetical experiment, the dictators were given real money (which they did not keep and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the Dictator Game both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred chill-inducing music promotes altruistic behavior.

Chill-inducing music enhances altruism in humans.

Science.gov (United States)

Fukui, Hajime; Toyoshima, Kumiko

2014-01-01

Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the dictator game (DG) that an individual's listening to preferred "chill-inducing" music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the in-group and the out-group, and they acted as dictators. The dictators listened to their own preferred "chill-inducing" music, to music they disliked, or to silence, and then played the DG. In this hypothetical experiment, the dictators were given real money (which they did not keep) and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the DG both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred "chill-inducing" music promotes altruistic behavior.

Generation of Variations on Theme Music Based on Impressions of Story Scenes Considering Human's Feeling of Music and Stories

Directory of Open Access Journals (Sweden)

Kenkichi Ishizuka

2008-01-01

Full Text Available This paper describes a system which generates variations on theme music fitting to story scenes represented by texts and/or pictures. Inputs to the present system are original theme music and numerical information on given story scenes. The present system varies melodies, tempos, tones, tonalities, and accompaniments of given theme music based on impressions of story scenes. Genetic algorithms (GAs using modular neural network (MNN models as fitness functions are applied to music generation in order to reflect user's feeling of music and stories. The present system adjusts MNN models for each user on line. This paper also describes the evaluation experiments to confirm whether the generated variations on theme music reflect impressions of story scenes appropriately or not.

A Model-Based Approach to Constructing Music Similarity Functions

Directory of Open Access Journals (Sweden)

Lamere Paul

2007-01-01

Full Text Available Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine-learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated.

A Model-Based Approach to Constructing Music Similarity Functions

Science.gov (United States)

West, Kris; Lamere, Paul

2006-12-01

Several authors have presented systems that estimate the audio similarity of two pieces of music through the calculation of a distance metric, such as the Euclidean distance, between spectral features calculated from the audio, related to the timbre or pitch of the signal. These features can be augmented with other, temporally or rhythmically based features such as zero-crossing rates, beat histograms, or fluctuation patterns to form a more well-rounded music similarity function. It is our contention that perceptual or cultural labels, such as the genre, style, or emotion of the music, are also very important features in the perception of music. These labels help to define complex regions of similarity within the available feature spaces. We demonstrate a machine-learning-based approach to the construction of a similarity metric, which uses this contextual information to project the calculated features into an intermediate space where a music similarity function that incorporates some of the cultural information may be calculated.

Melodic pattern extraction in large collections of music recordings using time series mining techniques

OpenAIRE

Gulati, Sankalp; Serrà, Joan; Ishwar, Vignesh; Serra, Xavier

2014-01-01

We demonstrate a data-driven unsupervised approach for the discovery of melodic patterns in large collections of Indian art music recordings. The approach first works on single recordings and subsequently searches in the entire music collection. Melodic similarity is based on dynamic time warping. The task being computationally intensive, lower bounding and early abandoning techniques are applied during distance computation. Our dataset comprises 365 hours of music, containing 1,764 audio rec...

Extraction Of Audio Features For Emotion Recognition System Based On Music

Directory of Open Access Journals (Sweden)

Kee Moe Han

2015-08-01

Full Text Available Music is the combination of melody linguistic information and the vocalists emotion. Since music is a work of art analyzing emotion in music by computer is a difficult task. Many approaches have been developed to detect the emotions included in music but the results are not satisfactory because emotion is very complex. In this paper the evaluations of audio features from the music files are presented. The extracted features are used to classify the different emotion classes of the vocalists. Musical features extraction is done by using Music Information Retrieval MIR tool box in this paper. The database of 100 music clips are used to classify the emotions perceived in music clips. Music may contain many emotions according to the vocalists mood such as happy sad nervous bored peace etc. In this paper the audio features related to the emotions of the vocalists are extracted to use in emotion recognition system based on music.

Popular Music Genres, Music Producers, and Song Creation in the General Music Classroom

Science.gov (United States)

Colquhoun, Shane

2018-01-01

In secondary general music classes, music educators have the opportunity to bridge the gap between the music students' experiences in school and the music they engage with outside of school. According to Williams, nontraditional music students have musical lives outside of school but choose not to participate in traditional ensembles. In this…

Music expertise shapes audiovisual temporal integration windows for speech, sinewave speech and music

Directory of Open Access Journals (Sweden)

Hwee Ling eLee

2014-08-01

Full Text Available This psychophysics study used musicians as a model to investigate whether musical expertise shapes the temporal integration window for audiovisual speech, sinewave speech or music. Musicians and non-musicians judged the audiovisual synchrony of speech, sinewave analogues of speech, and music stimuli at 13 audiovisual stimulus onset asynchronies (±360, ±300 ±240, ±180, ±120, ±60, and 0 ms. Further, we manipulated the duration of the stimuli by presenting sentences/melodies or syllables/tones. Critically, musicians relative to non-musicians exhibited significantly narrower temporal integration windows for both music and sinewave speech. Further, the temporal integration window for music decreased with the amount of music practice, but not with age of acquisition. In other words, the more musicians practiced piano in the past three years, the more sensitive they became to the temporal misalignment of visual and auditory signals. Collectively, our findings demonstrate that music practicing fine-tunes the audiovisual temporal integration window to various extents depending on the stimulus class. While the effect of piano practicing was most pronounced for music, it also generalized to other stimulus classes such as sinewave speech and to a marginally significant degree to natural speech.

Music and Music Intervention for Therapeutic Purposes in Patients with Ventilator Support; Gamelan Music Perspective

OpenAIRE

Suhartini Suhartini

2011-01-01

Background: Gamelan music is one of folk music for Javanese people. Several research studies testing the effects of music were conducted in Western countries. The music studies for therapeutic purposes used classical music commonly. Even in Indonesia, some researchers may use that music for therapeutic purposes. This concern article explains the perspective music and music intervention as therapeutic purposes, view with Javanese classical music.Objectives: To explore the evidence of music and...

The neuroaesthetics of music

DEFF Research Database (Denmark)

Brattico, Elvira

2017-01-01

The present chapter offers an overview on the state-of-the-art research under the agenda of the neuroaesthetics of music. This research agenda, inspired by the neuroaesthetics of visual art, represents a paradigm shift from neuroimaging studies focused exclusively on music perception, cognition...... and emotion to studies that consider aesthetic responses such as liking, preference, and aesthetic judgments. The existing models depicting information processing stages of the musical aesthetic experiences and their loci in the brain are summarized. The latest findings point at a synergy between neural...... systems, and particularly between superior temporal gyrus and limbic reward areas for issuing aesthetic responses to music. Future challenges for the field are the discovery of the neural mechanisms of inter-subject communication during musical performance leading to an efficacious aesthetic experience....

Black Swans and Many Worlds: Contemporary models in music, the arts and ideas

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Barry Barbara

2013-01-01

Full Text Available Black Swans and Many Worlds are new models to help explain musical structures, and by extension, events in the social environment and in internal human experience. Many Worlds takes its departure point from quantum physics, and especially the work of Hugh Everett III, who used the defining point of a measurement in the sub-atomic world as initiating alternative courses of action. Everett extrapolated this idea to the macro-world: a defining point may initiate multiple outcomes, each with its own character and events, as parallel worlds. One application of this model is to consider musical works within a genre as Many Worlds. Black Swans derive from Nassim Taleb, who proposes that social, political, and in fact all aspects of today’s world are not understandable by logical processes or incremental change but are often rocked by extreme, unpredictable shocks. If Many Worlds provide new ways of thinking about potentiality, probability and innovation, Black Swans arrest us in our tracks by eruptions that threaten to derail contemporary life, and with it, music, the arts and ideas.

Advanced Music Therapy Supervision Training

DEFF Research Database (Denmark)

Pedersen, Inge Nygaard

2009-01-01

supervision training excerpts live in the workshop will be offered. The workshop will include demonstrating a variety of supervision methods and techniques used in A) post graduate music therapy training programs b) a variety of work contexts such as psychiatry and somatic music psychotherapy. The workshop......The presentation will illustrate training models in supervision for experienced music therapists where transference/counter transference issues are in focus. Musical, verbal and body related tools will be illustrated from supervision practice by the presenters. A possibility to experience small...

OK, Computer: File Sharing, the Music Industry, and Why We Need the Pirate Party

Directory of Open Access Journals (Sweden)

Adrian Cosstick

2009-03-01

Full Text Available The Pirate Party believes the state and big business are in the process of protecting stale and inefficient models of business for their own monetary benefit by limiting our right to share information. The Pirate Party suggests that they are achieving this goal through the amendment of intellectual property legislation. In the dawn of the digital era, the Pirate Party advocates that governments and multinational corporations are using intellectual property to: crack down on file sharing which limits the ability to share knowledge and information; increase the terms and length of copyright to raise profits; and build code into music files which limits their ability to be shared (Pirate Party, 2009. There are a number of ‘copyright industries’ that are affected by these issues, none more so than the music industry. Its relationship with file sharing is topical and makes an excellent case study to address the impact big business has had on intellectual property and the need for the Pirate Party’s legislative input. The essay will then examine the central issues raised by illegal file sharing. In particular, the future for record companies in an environment that increasingly demands flexibility, and whether the Pirate Party’s proposal is a viable solution to the music industry’s problems

How does Architecture Sound for Different Musical Instrument Performances?

DEFF Research Database (Denmark)

Saher, Konca; Rindel, Jens Holger

2006-01-01

This paper discusses how consideration of sound _in particular a specific musical instrument_ impacts the design of a room. Properly designed architectural acoustics is fundamental to improve the listening experience of an instrument in rooms in a conservatory. Six discrete instruments (violin, c...... different instruments and the choir experience that could fit into same category of room. For all calculations and the auralizations, a computational model is used: ODEON 7.0....

The importance of music for people with dementia

DEFF Research Database (Denmark)

McDermott, Orii; Orrell, Martin; Ridder, Hanne Mette Ochsner

2014-01-01

with dementia and explore the meaning of music in their lives.Method: Separate focus groups and interviews with (1) care home residents with dementia and their families, (2) day hospital clients with dementia, (3) care home staff, and (4) music therapists, were conducted. The findings of the thematic analysis......, the importance of relationship-building through music making were particularly highlighted as valuable. The psychosocial model of music in dementia was developed. The model revealed the importance of music to support the personal psychology of people with dementia and the social psychology of the care home...

Musicians and music making as a model for the study of brain plasticity.

Science.gov (United States)

Schlaug, Gottfried

2015-01-01

Playing a musical instrument is an intense, multisensory, and motor experience that usually commences at an early age and requires the acquisition and maintenance of a range of sensory and motor skills over the course of a musician's lifetime. Thus, musicians offer an excellent human model for studying behavioral-cognitive as well as brain effects of acquiring, practicing, and maintaining these specialized skills. Research has shown that repeatedly practicing the association of motor actions with specific sound and visual patterns (musical notation), while receiving continuous multisensory feedback will strengthen connections between auditory and motor regions (e.g., arcuate fasciculus) as well as multimodal integration regions. Plasticity in this network may explain some of the sensorimotor and cognitive enhancements that have been associated with music training. Furthermore, the plasticity of this system as a result of long term and intense interventions suggest the potential for music making activities (e.g., forms of singing) as an intervention for neurological and developmental disorders to learn and relearn associations between auditory and motor functions such as vocal motor functions. © 2015 Elsevier B.V. All rights reserved.

"If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music.

Science.gov (United States)

Hansen, Niels Chr; Vuust, Peter; Pearce, Marcus

2016-01-01

Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music.

Additional considerations to the model of musical empathic engagement: Empathy facets, preferences, and openness. Comment on "Music, empathy, and cultural understanding" by E. Clarke et al.

Science.gov (United States)

Greenberg, David M.

2015-12-01

Recent research has shown that empathy plays an important role in musical experience including perception, preference, and performance [9,11,13,16,17]. Clarke, DeNora, and Vuoskoski's [4] timely review extends this work by establishing a framework for how ;music empathic engagement; can facilitate cultural understanding. In this commentary I raise attention to some additional factors that may be at play in their model.

Mind as Music

Directory of Open Access Journals (Sweden)

Dan eLloyd

2011-04-01

Full Text Available Cognitive neuroscience typically develops hypotheses to explain phenomena that are localized in space and time. Determining functions of brain regions in spatial and temporal isolation is generally regarded as the first step toward understanding the conjoint operation of the whole brain. In other words, if the task of cognitive neuroscience is to interpret the neural code, then the first step has been semantic, searching for the meanings (functions of localized elements, prior to exploring neural syntax, the mutual constraints among elements synchronically and diachronically. Researchers generally assume that neural semantics is a precondition for determining neural syntax. Furthermore, it is often assumed that the syntax of the brain is too complex for our present technology and understanding. A corollary of this view holds that functional MRI lacks the spatial and temporal resolution needed to identify the dynamic syntax of neural computation. This paper examines these assumptions with a novel analysis of fMRI image series, resting on the conjecture that any computational code will exhibit aggregate features that can be detected even if the meaning of the code is unknown. Specifically, computational codes will be sparse or dense in different degrees. A sparse code is one that uses only a few of the many possible patterns of activity (in the brain or symbols (in a human-made code. Considering sparseness at different scales and as measured by different techniques, this approach clearly distinguishes two conventional coding systems, namely, language and music. Considering 99 subjects in three different fMRI protocols, in comparison with 194 musical examples and 700 language passages, it is observed that fMRI activity is more similar to music than it is to language, as measured over single symbols, as well as symbol combinations in pairs and triples. Tools from cognitive musicology may therefore be useful in characterizing the brain as a dynamical

Music Researchers' Musical Engagement

Science.gov (United States)

Wollner, Clemens; Ginsborg, Jane; Williamon, Aaron

2011-01-01

There is an increasing awareness of the importance of reflexivity across various disciplines, which encourages researchers to scrutinize their research perspectives. In order to contextualize and reflect upon research in music, this study explores the musical background, current level of musical engagement and the listening habits of music…

Cross-cultural perspectives on music and musicality.

Science.gov (United States)

Trehub, Sandra E; Becker, Judith; Morley, Iain

2015-03-19

Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music--what it is and where it originates--as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition. © 2015 The Author(s) Published by the Royal Society. All rights reserved.

Action-based effects on music perception.

Science.gov (United States)

Maes, Pieter-Jan; Leman, Marc; Palmer, Caroline; Wanderley, Marcelo M

2014-01-03

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance.

Action-based effects on music perception

Science.gov (United States)

Maes, Pieter-Jan; Leman, Marc; Palmer, Caroline; Wanderley, Marcelo M.

2013-01-01

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance. PMID:24454299

Action-based effects on music perception

Directory of Open Access Journals (Sweden)

Pieter-Jan eMaes

2014-01-01

Full Text Available The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral phenomena. In contrast, embodied accounts to music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework capturing the ways that the human motor system, and the actions it produces, can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modelling, and vice versa, to predict the sensory outcomes of planned actions (forward modelling. Embodied accounts typically adhere to inverse modelling to explain action effects on music perception (Leman, 2007. We extent this account by pinpointing forward modelling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system, and the action it produces, suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music cognition in the sense that it needs to be considered as a dynamic process, in which aspects of action, perception, introspection, and social interaction are of crucial

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference.

Science.gov (United States)

Schäfer, Thomas

2016-01-01

Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people's lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.

How musical are music video game players?

Science.gov (United States)

Pasinski, Amanda C; Hannon, Erin E; Snyder, Joel S

2016-10-01

Numerous studies have shown that formal musical training is associated with sensory, motor, and cognitive advantages in individuals of various ages. However, the nature of the observed differences between musicians and nonmusicians is poorly understood, and little is known about the listening skills of individuals who engage in alternative types of everyday musical activities. Here, we show that people who have frequently played music video games outperform nonmusicians controls on a battery of music perception tests. These findings reveal that enhanced musical aptitude can be found among individuals who play music video games, raising the possibility that music video games could potentially enhance music perception skills in individuals across a broad spectrum of society who are otherwise unable to invest the time and/or money required to learn a musical instrument.

Reading the Music and Understanding the Therapeutic Process: Documentation, Analysis and Interpretation of Improvisational Music Therapy

Directory of Open Access Journals (Sweden)

Deborah Parker

2011-01-01

Full Text Available This article is concerned primarily with the challenges of presenting clinical material from improvisational music therapy. My aim is to propose a model for the transcription of music therapy material, or “musicotherapeutic objects” (comparable to Bion’s “psychoanalytic objects”, which preserves the integrated “gestalt” of the musical experience as far as possible, whilst also supporting detailed analysis and interpretation. Unwilling to resort to use of visual documentation, but aware that many important indicators in music therapy are non-sounding, I propose a richly annotated score, where traditional music notation is integrated with graphic and verbal additions, in order to document non-sounding events. This model is illustrated within the context of a clinical case with a high functioning autistic woman. The four transcriptions, together with the original audio tracks, present significant moments during the course of music therapy, attesting to the development of the dyadic relationship, with reference to John Bowlby’s concept of a “secure base” as the most appropriate dynamic environment for therapy.

Using listener-based perceptual features as intermediate representations in music information retrieval.

Science.gov (United States)

Friberg, Anders; Schoonderwaldt, Erwin; Hedblad, Anton; Fabiani, Marco; Elowsson, Anders

2014-10-01

The notion of perceptual features is introduced for describing general music properties based on human perception. This is an attempt at rethinking the concept of features, aiming to approach the underlying human perception mechanisms. Instead of using concepts from music theory such as tones, pitches, and chords, a set of nine features describing overall properties of the music was selected. They were chosen from qualitative measures used in psychology studies and motivated from an ecological approach. The perceptual features were rated in two listening experiments using two different data sets. They were modeled both from symbolic and audio data using different sets of computational features. Ratings of emotional expression were predicted using the perceptual features. The results indicate that (1) at least some of the perceptual features are reliable estimates; (2) emotion ratings could be predicted by a small combination of perceptual features with an explained variance from 75% to 93% for the emotional dimensions activity and valence; (3) the perceptual features could only to a limited extent be modeled using existing audio features. Results clearly indicated that a small number of dedicated features were superior to a "brute force" model using a large number of general audio features.

Affordances and the musically extended mind

OpenAIRE

Joel eKrueger

2014-01-01

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotion-granting regulative processes, drawing novel exper...

Models of Music Therapy Intervention in School Settings

Science.gov (United States)

Wilson, Brian L., Ed.

2002-01-01

This completely revised 2nd edition edited by Brian L. Wilson, addresses both theoretical issues and practical applications of music therapy in educational settings. 17 chapters written by a variety of authors, each dealing with a different setting or issue. A valuable resource for demonstrating the efficacy of music therapy to school…

Discovering Music Structure via Similarity Fusion

DEFF Research Database (Denmark)

for representing music structure is studied in a simplified scenario consisting of 4412 songs and two similarity measures among them. The results suggest that the PLSA model is a useful framework to combine different sources of information, and provides a reasonable space for song representation.......Automatic methods for music navigation and music recommendation exploit the structure in the music to carry out a meaningful exploration of the “song space”. To get a satisfactory performance from such systems, one should incorporate as much information about songs similarity as possible; however...... semantics”, in such a way that all observed similarities can be satisfactorily explained using the latent semantics. Therefore, one can think of these semantics as the real structure in music, in the sense that they can explain the observed similarities among songs. The suitability of the PLSA model...

Discovering Music Structure via Similarity Fusion

DEFF Research Database (Denmark)

Arenas-García, Jerónimo; Parrado-Hernandez, Emilio; Meng, Anders

Automatic methods for music navigation and music recommendation exploit the structure in the music to carry out a meaningful exploration of the “song space”. To get a satisfactory performance from such systems, one should incorporate as much information about songs similarity as possible; however...... semantics”, in such a way that all observed similarities can be satisfactorily explained using the latent semantics. Therefore, one can think of these semantics as the real structure in music, in the sense that they can explain the observed similarities among songs. The suitability of the PLSA model...... for representing music structure is studied in a simplified scenario consisting of 4412 songs and two similarity measures among them. The results suggest that the PLSA model is a useful framework to combine different sources of information, and provides a reasonable space for song representation....

Musical activity and emotional competence - a twin study.

Science.gov (United States)

Theorell, Töres P; Lennartsson, Anna-Karin; Mosing, Miriam A; Ullén, Fredrik

2014-01-01

The hypothesis was tested that musical activities may contribute to the prevention of alexithymia. We tested whether musical creative achievement and musical practice are associated with lower alexithymia. 8000 Swedish twins aged 27-54 were studied. Alexithymia was assessed using the Toronto Alexithymia Scale-20. Musical achievement was rated on a 7-graded scale. Participants estimated number of hours of music practice during different ages throughout life. A total life estimation of number of accumulated hours was made. They were also asked about ensemble playing. In addition, twin modelling was used to explore the genetic architecture of the relation between musical practice and alexithymia. Alexithymia was negatively associated with (i) musical creative achievement, (ii) having played a musical instrument as compared to never having played, and - for the subsample of participants that had played an instrument - (iii) total hours of musical training (r = -0.12 in men and -0.10 in women). Ensemble playing added significant variance. Twin modelling showed that alexithymia had a moderate heritability of 36% and that the association with musical practice could be explained by shared genetic influences. Associations between musical training and alexithymia remained significant when controlling for education, depression, and intelligence. Musical achievement and musical practice are associated with lower levels of alexithymia in both men and women. Musical engagement thus appears to be associated with higher emotional competence, although effect sizes are small. The association between musical training and alexithymia appears to be entirely genetically mediated, suggesting genetic pleiotropy.

Joint Sparse Recovery With Semisupervised MUSIC

Science.gov (United States)

Wen, Zaidao; Hou, Biao; Jiao, Licheng

2017-05-01

Discrete multiple signal classification (MUSIC) with its low computational cost and mild condition requirement becomes a significant noniterative algorithm for joint sparse recovery (JSR). However, it fails in rank defective problem caused by coherent or limited amount of multiple measurement vectors (MMVs). In this letter, we provide a novel sight to address this problem by interpreting JSR as a binary classification problem with respect to atoms. Meanwhile, MUSIC essentially constructs a supervised classifier based on the labeled MMVs so that its performance will heavily depend on the quality and quantity of these training samples. From this viewpoint, we develop a semisupervised MUSIC (SS-MUSIC) in the spirit of machine learning, which declares that the insufficient supervised information in the training samples can be compensated from those unlabeled atoms. Instead of constructing a classifier in a fully supervised manner, we iteratively refine a semisupervised classifier by exploiting the labeled MMVs and some reliable unlabeled atoms simultaneously. Through this way, the required conditions and iterations can be greatly relaxed and reduced. Numerical experimental results demonstrate that SS-MUSIC can achieve much better recovery performances than other MUSIC extended algorithms as well as some typical greedy algorithms for JSR in terms of iterations and recovery probability.

Can Music and Animation Improve the Flow and Attainment in Online Learning?

Science.gov (United States)

Grice, Sue; Hughes, Janet

2009-01-01

Despite the wide use of music in various areas of society to influence listeners in different ways, one area often neglected is the use of music within online learning environments. This paper describes a study of the effects of music and animation upon learners in a computer mediated environment. A test was developed in which each learner was…

Umbanda, Music and Music Therapy

OpenAIRE

Gregorio José Pereira de Queiroz

2015-01-01

This article discusses the use of music in religious rites of Umbanda and the possible correlations among the role played by music in this rite and its role in music therapy process, especially in some of its approaches.

Modeling Goal-Directed User Exploration in Human-Computer Interaction

Science.gov (United States)

2011-02-01

sculptures architecture Theater Musicians & Composers Cinema , Television, & Broadcasting Music Dance Musical Instruments” The text entered for the...Pirolli, Chen & Pitkow, 2001), Scent- based Navigation and Information Foraging in the ACT cognitive architecture 1.0 (SNIF-ACT 1.0; Pirolli & Fu...2003) is the first of two process models of Web navigation based on Information Foraging Theory and implemented in the ACT-R cognitive architecture

Towards Statistical Unsupervised Online Learning for Music Listening with Hearing Devices

DEFF Research Database (Denmark)

Purwins, Hendrik; Marchini, Marco; Marxer, Richard

of sounds into phonetic/instrument categories and learning of instrument event sequences is performed jointly using a Hierarchical Dirichlet Process Hidden Markov Model. Whereas machines often learn by processing a large data base and subsequently updating parameters of the algorithm, humans learn...... and their respective transition counts. We propose to use online learning for the co-evolution of both CI user and machine in (re-)learning musical language. [1] Marco Marchini and Hendrik Purwins. Unsupervised analysis and generation of audio percussion sequences. In International Symposium on Computer Music Modeling...... categories) as well as the temporal context horizon (e.g. storing up to 2-note sequences or up to 10-note sequences) is adaptable. The framework in [1] is based on two cognitively plausible principles: unsupervised learning and statistical learning. Opposed to supervised learning in primary school children...

Predicting the emotions expressed in music

DEFF Research Database (Denmark)

Madsen, Jens

With the ever-growing popularity and availability of digital music through streaming services and digital download, making sense of the millions of songs, is ever more pertinent. However the traditional approach of creating music systems has treated songs like items in a store, like books...... and movies. However music is special, having origins in a number of evolutionary adaptations. The fundamental needs and goals of a users use of music, was investigated to create the next generation of music systems. People listen to music to regulate their mood and emotions was found to be the most important...... fundamental reason. (Mis)matching peoples mood with the emotions expressed in music was found to be an essential underlying mechanism, people use to regulate their emotions. This formed the basis and overall goal of the thesis, to investigate how to create a predictive model of emotions expressed in music...

A multiresolution model of rhythmic expectancy

NARCIS (Netherlands)

Smith, L.M.; Honing, H.; Miyazaki, K.; Hiraga, Y.; Adachi, M.; Nakajima, Y.; Tsuzaki, M.

2008-01-01

We describe a computational model of rhythmic cognition that predicts expected onset times. A dynamic representation of musical rhythm, the multiresolution analysis using the continuous wavelet transform is used. This representation decomposes the temporal structure of a musical rhythm into time

Musical Electroacupuncture May Be a Better Choice than Electroacupuncture in a Mouse Model of Alzheimer's Disease

OpenAIRE

Jiang, Jing; Liu, Gang; Shi, Suhua; Li, Zhigang

2016-01-01

Objectives. To compare musical electroacupuncture and electroacupuncture in a mouse model of Alzheimer's disease. Methods. In this study, 7.5-month-old male senescence-accelerated mouse prone 8 (SAMP8) mice were used as an Alzheimer's disease animal model. In the normal control paradigm, 7.5-month-old male SAMR1 mice were used as the blank control group (N group). After 15 days of treatment, using Morris water maze test, micro-PET, and immunohistochemistry, the differences among the musical e...

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference.

Directory of Open Access Journals (Sweden)

Thomas Schäfer

Full Text Available Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people's lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness. Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1 had a stronger intention to listen to music to attain specific goals in specific situations and (2 showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference

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Schäfer, Thomas

2016-01-01

Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people’s lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results. PMID:26985998

A model of music piracy with popularity-dependent copying costs

OpenAIRE

Piolatto, Amedeo; Schuett, Florian

2011-01-01

Anecdotal evidence and recent empirical work suggest that music piracy has differential effects on artists depending on their popularity. Existing theoretical literature cannot explain such differential effects since it is exclusively concerned with single-firm models. We present a model with two types of artists who differ in their popularity. We assume that the costs of illegal downloads increase with the scarcity of a recording, and that scarcity is negatively related to the artist’s popul...

On the biological basis of musicality.

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Honing, Henkjan

2018-03-15

In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology. A comparative study of musicality in humans and well-known animal models (monkeys, birds, pinnipeds) will further our insights on which features of musicality are exclusive to humans and which are shared between humans and nonhuman animals, contribute to an understanding of the musical phenotype, and further constrain existing evolutionary theories of music and musicality. © 2018 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals, Inc. on behalf of New York Academy of Sciences.

Music and Music Intervention for Therapeutic Purposes in Patients with Ventilator Support; Gamelan Music Perspective

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Suhartini Suhartini

2011-01-01

Full Text Available Background: Gamelan music is one of folk music for Javanese people. Several research studies testing the effects of music were conducted in Western countries. The music studies for therapeutic purposes used classical music commonly. Even in Indonesia, some researchers may use that music for therapeutic purposes. This concern article explains the perspective music and music intervention as therapeutic purposes, view with Javanese classical music.Objectives: To explore the evidence of music and music intervention for therapeutic purposes and to describe the perspective of gamelan music used in nursing interventionMethods: Using five bibliography databases (MEDLINE, CINAHL, Science Direct, Interscience, and Proquest were searched from 1999-2010 for original clinical reports or reviews that evaluated the use of complementary therapy for therapeutic intervention in patients with ventilator support. The term of complementary therapy, anxiety, and pain were used in a comprehensive search of electronic databases. Articles were screened and excluded based on the title and abstract information.Results: Music brings about helpful changes in the emotional and physical health of patients, and has the ability to provide an altered state of physical arousal and subsequent mood improvement by processing a progression of musical notes of varying tone, rhythm, and instrumentation for a pleasing effect.Conclusion: Music can be used for therapeutic purposes, for instance to reduce anxiety, to decrease pain sensation, and some effects of psychological impact. Include, the gamelan music can be offer for patients for Javanese people in Indonesia.Key words: Music, music intervention, therapeutic purposes

MUSICAL SPACE AS A WAY OF REFLECTING PUBLIC RELATIONS

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MOZGOT SVETLANA

2017-12-01

Full Text Available The semantic universality of the space category and its relationship with the extra musical experience of the person provides composers an opportunity to model various forms of public relations in music. Being guided by E. Hall’s theory and the four models of communicative space identified by him – intimate, personal, social and public – we make an attempt to define the specific features of these spatial models in music. In this paper, the principles of E. Hall’s theory are for the first time projected on music. The research methods include hermeneutics, inter-disciplinary approach and musicological analysis. The research of the samples of instrumental music written by Scarlatti, Mozart, Beethoven, Chopin and Liszt showed the specific features of the intimate space model as the basic isolation of its structure, hierarchy and a special toponymy of the man’s inner world including the invariant steady presence of certain subjects and objects. The research of other spatial models in music shows prospects of conceiving the evolution of music as a special spatial form of reflecting the patterns of public consciousness and society arrangement.

Musical emotions: Functions, origins, evolution

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Perlovsky, Leonid

2010-03-01

Theories of music origins and the role of musical emotions in the mind are reviewed. Most existing theories contradict each other, and cannot explain mechanisms or roles of musical emotions in workings of the mind, nor evolutionary reasons for music origins. Music seems to be an enigma. Nevertheless, a synthesis of cognitive science and mathematical models of the mind has been proposed describing a fundamental role of music in the functioning and evolution of the mind, consciousness, and cultures. The review considers ancient theories of music as well as contemporary theories advanced by leading authors in this field. It addresses one hypothesis that promises to unify the field and proposes a theory of musical origin based on a fundamental role of music in cognition and evolution of consciousness and culture. We consider a split in the vocalizations of proto-humans into two types: one less emotional and more concretely-semantic, evolving into language, and the other preserving emotional connections along with semantic ambiguity, evolving into music. The proposed hypothesis departs from other theories in considering specific mechanisms of the mind-brain, which required the evolution of music parallel with the evolution of cultures and languages. Arguments are reviewed that the evolution of language toward becoming the semantically powerful tool of today required emancipation from emotional encumbrances. The opposite, no less powerful mechanisms required a compensatory evolution of music toward more differentiated and refined emotionality. The need for refined music in the process of cultural evolution is grounded in fundamental mechanisms of the mind. This is why today's human mind and cultures cannot exist without today's music. The reviewed hypothesis gives a basis for future analysis of why different evolutionary paths of languages were paralleled by different evolutionary paths of music. Approaches toward experimental verification of this hypothesis in

Musical instrument technology of the 20th century

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Wheeler, Paul

2004-05-01

This paper presents a brief history of the technical development of musical instruments during the 20th century. Starting with early electronic instruments (such as the Theremin-1917) invented prior to the organization of ASA, the history includes the development of electronic organs, synthesizers, and computer music. This paper provides an introduction to the session, giving a framework for the papers which follow in the session.

Education through music--the model of the Musikkindergarten Berlin.

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Uibel, Stefanie

2012-04-01

In 2005, the pianist and conductor Daniel Barenboim initiated the Musikkindergarten Berlin as the first kindergarten in which music is not only used as an occasional add-on but as the central education medium for the child every day. The skills of specially trained kindergarten teachers combined with regular visits by professional musicians of the Staatskapelle Berlin (the Berlin State Opera orchestra) form the basis of a new educational concept, in which children experience music in all its different aspects and in its unique capability as a transfer medium into all the other educational areas. In this context, the method, the aim, and the experimental ground is not only education in or with music, but through music. This paper provides information and examples about first-hand experiences over the last six years. © 2012 New York Academy of Sciences.

Pop and World Music in Dutch Music Education: Two Cases of Authentic Learning in Music Teacher Education and Secondary Music Education

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Evelein, Frits

2006-01-01

Popular and world music play an important role in Dutch music education. This article examines two case studies that illustrate authentic music learning environments in which these types of music are prominently used. The first case follows a student during her training at the Rotterdam Academy for Music Education, in which her own musical and…

Musical Instrument Identification using Multiscale Mel-frequency Cepstral Coefficients

DEFF Research Database (Denmark)

Sturm, Bob L.; Morvidone, Marcela; Daudet, Laurent

2010-01-01

We investigate the benefits of evaluating Mel-frequency cepstral coefficients (MFCCs) over several time scales in the context of automatic musical instrument identification for signals that are monophonic but derived from real musical settings. We define several sets of features derived from MFCC...... multiscale decompositions perform significantly better than features computed using a single time-resolution....

Markov Chain Analysis of Musical Dice Games

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Volchenkov, D.; Dawin, J. R.

2012-07-01

A system for using dice to compose music randomly is known as the musical dice game. The discrete time MIDI models of 804 pieces of classical music written by 29 composers have been encoded into the transition matrices and studied by Markov chains. Contrary to human languages, entropy dominates over redundancy, in the musical dice games based on the compositions of classical music. The maximum complexity is achieved on the blocks consisting of just a few notes (8 notes, for the musical dice games generated over Bach's compositions). First passage times to notes can be used to resolve tonality and feature a composer.

Emotions evoked by the sound of music: characterization, classification, and measurement.

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Zentner, Marcel; Grandjean, Didier; Scherer, Klaus R

2008-08-01

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

Musical training software for children with cochlear implants.

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Di Nardo, W; Schinaia, L; Anzivino, R; De Corso, E; Ciacciarelli, A; Paludetti, G

2015-10-01

Although the voice in a free field has an excellent recruitment by a cochlear implant (CI), the situation is different for music because it is a much more complex process, where perceiving the pitch discrimination becomes important to appreciate it. The aim of this study is to determine the music perception abilities among children with Cis and to verify the benefit of a training period for specific musical frequency discrimination. Our main goals were to prepare a computer tool for pitch discrimination training and to assess musical improvements. Ten children, aged between 5 and 12 years, with optimal phoneme recognition in quiet and with no disabilities associated with deafness, were selected to join the training. Each patient received, before training period, two types of exams: a pitch discrimination test, consisting of discovering if two notes were different or not; and a music test consisting of two identification tasks (melodic and full version) of one music-item among 5 popular childhood songs. After assessment, a music training software was designed and utilised individually at home for a period of six months. The results following complete training showed significantly higher performance in the task of frequency discrimination. After a proper musical training identification, frequency discrimination performance was significantly higher (p musical enhancement and to achieve improvements in frequency discrimination, following pitch discrimination training.

Computational creativity

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López de Mántaras Badia, Ramon

2013-12-01

Full Text Available New technologies, and in particular artificial intelligence, are drastically changing the nature of creative processes. Computers are playing very significant roles in creative activities such as music, architecture, fine arts, and science. Indeed, the computer is already a canvas, a brush, a musical instrument, and so on. However, we believe that we must aim at more ambitious relations between computers and creativity. Rather than just seeing the computer as a tool to help human creators, we could see it as a creative entity in its own right. This view has triggered a new subfield of Artificial Intelligence called Computational Creativity. This article addresses the question of the possibility of achieving computational creativity through some examples of computer programs capable of replicating some aspects of creative behavior in the fields of music and science.Las nuevas tecnologías y en particular la Inteligencia Artificial están cambiando de forma importante la naturaleza del proceso creativo. Los ordenadores están jugando un papel muy significativo en actividades artísticas tales como la música, la arquitectura, las bellas artes y la ciencia. Efectivamente, el ordenador ya es el lienzo, el pincel, el instrumento musical, etc. Sin embargo creemos que debemos aspirar a relaciones más ambiciosas entre los ordenadores y la creatividad. En lugar de verlos solamente como herramientas de ayuda a la creación, los ordenadores podrían ser considerados agentes creativos. Este punto de vista ha dado lugar a un nuevo subcampo de la Inteligencia Artificial denominado Creatividad Computacional. En este artículo abordamos la cuestión de la posibilidad de alcanzar dicha creatividad computacional mediante algunos ejemplos de programas de ordenador capaces de replicar algunos aspectos relacionados con el comportamiento creativo en los ámbitos de la música y la ciencia.

Music Therapy: A Career in Music Therapy

Science.gov (United States)

About Music Therapy & Music Therapy Training M usic therapy is a healthcare profession that uses music to help individuals of all ages improve physical, cognitive, emotional, and social functioning. Music therapists work with children and adults with developmental ...

Emotional expression in music: contribution, linearity, and additivity of primary musical cues.

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Eerola, Tuomas; Friberg, Anders; Bresin, Roberto

2013-01-01

The aim of this study is to manipulate musical cues systematically to determine the aspects of music that contribute to emotional expression, and whether these cues operate in additive or interactive fashion, and whether the cue levels can be characterized as linear or non-linear. An optimized factorial design was used with six primary musical cues (mode, tempo, dynamics, articulation, timbre, and register) across four different music examples. Listeners rated 200 musical examples according to four perceived emotional characters (happy, sad, peaceful, and scary). The results exhibited robust effects for all cues and the ranked importance of these was established by multiple regression. The most important cue was mode followed by tempo, register, dynamics, articulation, and timbre, although the ranking varied across the emotions. The second main result suggested that most cue levels contributed to the emotions in a linear fashion, explaining 77-89% of variance in ratings. Quadratic encoding of cues did lead to minor but significant increases of the models (0-8%). Finally, the interactions between the cues were non-existent suggesting that the cues operate mostly in an additive fashion, corroborating recent findings on emotional expression in music (Juslin and Lindström, 2010).

Automatic Transcription of Polyphonic Vocal Music

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Andrew McLeod

2017-12-01

Full Text Available This paper presents a method for automatic music transcription applied to audio recordings of a cappella performances with multiple singers. We propose a system for multi-pitch detection and voice assignment that integrates an acoustic and a music language model. The acoustic model performs spectrogram decomposition, extending probabilistic latent component analysis (PLCA using a six-dimensional dictionary with pre-extracted log-spectral templates. The music language model performs voice separation and assignment using hidden Markov models that apply musicological assumptions. By integrating the two models, the system is able to detect multiple concurrent pitches in polyphonic vocal music and assign each detected pitch to a specific voice type such as soprano, alto, tenor or bass (SATB. We compare our system against multiple baselines, achieving state-of-the-art results for both multi-pitch detection and voice assignment on a dataset of Bach chorales and another of barbershop quartets. We also present an additional evaluation of our system using varied pitch tolerance levels to investigate its performance at 20-cent pitch resolution.

Student Satisfaction with Canadian Music Programmes: The Application of the American Customer Satisfaction Model in Higher Education

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Serenko, Alexander

2011-01-01

The purpose of this project is to empirically investigate several antecedents and consequences of student satisfaction (SS) with Canadian university music programmes as well as to measure students' level of programme satisfaction. For this, the American Customer Satisfaction Model was tested through a survey of 276 current Canadian music students.…

"If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music.

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Niels Chr Hansen

Full Text Available Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music.

Music Teachers and Music Therapists: Helping Children Together.

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Patterson, Allyson

2003-01-01

Provides background information on music therapy. Discusses how music therapy works in the public school setting and offers advice to music teachers. Explores music therapy and the Individuals with Disabilities Education Act, addressing the benefits of having access to music therapists. (CMK)

From tacit to verbalized knowledge. Towards a culturally informed musical analysis of Central Javanese karawitan

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Gerd Grupe

2015-12-01

Full Text Available In the music cultures of the world we encounter both tacit and verbalized musical knowledge to various degrees. In order to reconstruct emic views on musical concepts and practices which are a prerequisite of any seriously culturally informed musical analysis we need to disclose local knowledge by appropriate means even if it is not directly open to verbal discourse. Current computer technology enables us to set up interactive experiments where local experts can verbally address relevant musical features in discussing audio examples which have been prepared by the researcher. The performance of virtual musicians can be evaluated by the local experts and various relevant parameters may be investigated individually if suitable versions of customary pieces are available. Thus aspects which seem to be tacit knowledge because they usually elude verbal discourse can be made accessible and transformed into verbalized, declarative knowledge. The paper presents preliminary results of a case study on Central Javanese gamelan music (karawitan where renowned Javanese musicians commented on computer-generated versions of traditional compositions regarding the idiomatically appropriate performance practice of the virtual ensemble as well as the tuning and sound of various virtual gamelan sets emulated by the computer.

Music training and speech perception: a gene-environment interaction.

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Schellenberg, E Glenn

2015-03-01

Claims of beneficial side effects of music training are made for many different abilities, including verbal and visuospatial abilities, executive functions, working memory, IQ, and speech perception in particular. Such claims assume that music training causes the associations even though children who take music lessons are likely to differ from other children in music aptitude, which is associated with many aspects of speech perception. Music training in childhood is also associated with cognitive, personality, and demographic variables, and it is well established that IQ and personality are determined largely by genetics. Recent evidence also indicates that the role of genetics in music aptitude and music achievement is much larger than previously thought. In short, music training is an ideal model for the study of gene-environment interactions but far less appropriate as a model for the study of plasticity. Children seek out environments, including those with music lessons, that are consistent with their predispositions; such environments exaggerate preexisting individual differences. © 2015 New York Academy of Sciences.

Recognition of the Emotional Content of Music Depending on the Characteristics of the Musical Material and Experience of Students

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Knyazeva T.S.,

2015-02-01

Full Text Available We studied the effect of the factors affecting the recognition of the emotional content of the music. We tested hypotheses about the influence of the valence of the music, ethnic style and the listening experience on the success of music recognition. The empirical study involved 26 Russian musicians (average age of 25,7 years. For the study of musical perception we used bipolar semantic differential. We revealed that the valence of music material affects the recognition of the emotional content of music, and the ethno style does not. It was found that senior students recognize the emotional context of the music more effectively. The results show the universal nature of emotional and musical ear, equally successfully recognizing music of different ethnic style, as well as support the notion of higher significance of negative valence of emotional content in the process of musical perception. A study of factors influencing the emotional understanding of music is important for the development of models of emotion recognition, theoretical constructs of emotional intelligence, and for the theory and practice of music education.

A combined model of sensory and cognitive representations underlying tonal expectations in music: from audio signals to behavior.

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Collins, Tom; Tillmann, Barbara; Barrett, Frederick S; Delbé, Charles; Janata, Petr

2014-01-01

Listeners' expectations for melodies and harmonies in tonal music are perhaps the most studied aspect of music cognition. Long debated has been whether faster response times (RTs) to more strongly primed events (in a music theoretic sense) are driven by sensory or cognitive mechanisms, such as repetition of sensory information or activation of cognitive schemata that reflect learned tonal knowledge, respectively. We analyzed over 300 stimuli from 7 priming experiments comprising a broad range of musical material, using a model that transforms raw audio signals through a series of plausible physiological and psychological representations spanning a sensory-cognitive continuum. We show that RTs are modeled, in part, by information in periodicity pitch distributions, chroma vectors, and activations of tonal space--a representation on a toroidal surface of the major/minor key relationships in Western tonal music. We show that in tonal space, melodies are grouped by their tonal rather than timbral properties, whereas the reverse is true for the periodicity pitch representation. While tonal space variables explained more of the variation in RTs than did periodicity pitch variables, suggesting a greater contribution of cognitive influences to tonal expectation, a stepwise selection model contained variables from both representations and successfully explained the pattern of RTs across stimulus categories in 4 of the 7 experiments. The addition of closure--a cognitive representation of a specific syntactic relationship--succeeded in explaining results from all 7 experiments. We conclude that multiple representational stages along a sensory-cognitive continuum combine to shape tonal expectations in music. (PsycINFO Database Record (c) 2014 APA, all rights reserved).

The Musical Self-Concept of Chinese Music Students

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Suse ePetersen

2016-05-01

Full Text Available The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry (MUSCI—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N=97. The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students.

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study's goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry-including ability, emotional, physical, cognitive, and social facets-was used to assess the students' musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students' perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students' sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self. PMID:27303337

Memory for music in Alzheimer's disease: unforgettable?

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Baird, Amee; Samson, Séverine

2009-03-01

The notion that memory for music can be preserved in patients with Alzheimer's Disease (AD) has been raised by a number of case studies. In this paper, we review the current research examining musical memory in patients with AD. In keeping with models of memory described in the non-musical domain, we propose that various forms of musical memory exist, and may be differentially impaired in AD, reflecting the pattern of neuropathological changes associated with the condition. Our synthesis of this literature reveals a dissociation between explicit and implicit musical memory functions. Implicit, specifically procedural musical memory, or the ability to play a musical instrument, can be spared in musicians with AD. In contrast, explicit musical memory, or the recognition of familiar or unfamiliar melodies, is typically impaired. Thus, the notion that music is unforgettable in AD is not wholly supported. Rather, it appears that the ability to play a musical instrument may be unforgettable in some musicians with AD.

The MusIC method: a fast and quasi-optimal solution to the muscle forces estimation problem.

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Muller, A; Pontonnier, C; Dumont, G

2018-02-01

The present paper aims at presenting a fast and quasi-optimal method of muscle forces estimation: the MusIC method. It consists in interpolating a first estimation in a database generated offline thanks to a classical optimization problem, and then correcting it to respect the motion dynamics. Three different cost functions - two polynomial criteria and a min/max criterion - were tested on a planar musculoskeletal model. The MusIC method provides a computation frequency approximately 10 times higher compared to a classical optimization problem with a relative mean error of 4% on cost function evaluation.

Quantum information, cognition, and music

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Dalla Chiara, Maria L.; Giuntini, Roberto; Leporini, Roberto; Negri, Eleonora; Sergioli, Giuseppe

2015-01-01

Parallelism represents an essential aspect of human mind/brain activities. One can recognize some common features between psychological parallelism and the characteristic parallel structures that arise in quantum theory and in quantum computation. The article is devoted to a discussion of the following questions: a comparison between classical probabilistic Turing machines and quantum Turing machines.possible applications of the quantum computational semantics to cognitive problems.parallelism in music. PMID:26539139

Nonlinearities and synchronization in musical acoustics and music psychology

CERN Document Server

Bader, Rolf

2013-01-01

Nonlinearities are a crucial and founding principle in nearly all musical systems, may they be musical instruments, timbre or rhythm perception and production, or neural networks of music perception. This volume gives an overview about present and past research in these fields. In Musical Acoustics, on the one hand the nonlinearities in musical instruments often produce the musically interesting features. On the other, musical instruments are nonlinear by nature, and tone production is the result of synchronization and self-organization within the instruments. Furthermore, as nearly all musical instruments are driven by impulses an Impulse Pattern Formulation (IPF) is suggested, an iterative framework holding for all musical instruments. It appears that this framework is able to reproduce the complex and perceptionally most salient initial transients of musical instruments. In Music Psychology, nonlinearities are present in all areas of musical features, like pitch, timbre, or rhythm perception. In terms of r...

Music

OpenAIRE

Deinert, Herbert

2010-01-01

The musical ending [of Goethe's Novelle] recalls the fascination with "music as metaphor", "the power of music", among recent and contemporary poets from Pope and Dryden and Collins to E.T.A. Hoffmann and Kleist and, of course to Goethe himself. Music saves Faust's life on Easter morning at the end of a dreadful night, and we'll encounter a similar role of music in his Trilogie der Leidenschaft which we'll read in this context.

Real-Time Analysis of Beats in Music for Entertainment Robots

OpenAIRE

Yue-Der Lin; Ting-Tsao Wu; Yu-Ren Chen; Yen-Ting Lin; Wen-Hsiu Chen; Shih-Fan Wang; Jinghom Chakhap

2012-01-01

The dancing actions for entertainment robots are usually designed in advance and saved in a database according to the beats and rhythm of the given music. This research is devoted to developing a real-time algorithm that can detect the primary information of the music needed for the actions of entertainment robots. The computation of the proposed algorithm is very efficient and can satisfy the requirement of real-time processing by a digital signal controller. The digitized music signal is fi...

Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory

OpenAIRE

Bigand, Emmanuel; Delbé, Charles; Poulin-Charronnat, Bénédicte; Leman, Marc; Tillmann, Barbara

2014-01-01

During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic sy...

Play along: effects of music and social interaction on word learning.

Science.gov (United States)

Verga, Laura; Bigand, Emmanuel; Kotz, Sonja A

2015-01-01

Learning new words is an increasingly common necessity in everyday life. External factors, among which music and social interaction are particularly debated, are claimed to facilitate this task. Due to their influence on the learner's temporal behavior, these stimuli are able to drive the learner's attention to the correct referent of new words at the correct point in time. However, do music and social interaction impact learning behavior in the same way? The current study aims to answer this question. Native German speakers (N = 80) were requested to learn new words (pseudo-words) during a contextual learning game. This learning task was performed alone with a computer or with a partner, with or without music. Results showed that music and social interaction had a different impact on the learner's behavior: Participants tended to temporally coordinate their behavior more with a partner than with music, and in both cases more than with a computer. However, when both music and social interaction were present, this temporal coordination was hindered. These results suggest that while music and social interaction do influence participants' learning behavior, they have a different impact. Moreover, impaired behavior when both music and a partner are present suggests that different mechanisms are employed to coordinate with the two types of stimuli. Whether one or the other approach is more efficient for word learning, however, is a question still requiring further investigation, as no differences were observed between conditions in a retrieval phase, which took place immediately after the learning session. This study contributes to the literature on word learning in adults by investigating two possible facilitating factors, and has important implications for situations such as music therapy, in which music and social interaction are present at the same time.

Play along: Effects of music and social interaction on word learning.

Directory of Open Access Journals (Sweden)

Laura eVerga

2015-09-01

Full Text Available Learning new words is an increasingly common necessity in everyday life. External factors, among which music and social interaction are particularly debated, are claimed to facilitate this task. Due to their influence on the learner’s temporal behavior, these stimuli are able to drive the learner's attention to the correct referent of new words at the correct point in time. However, do music and social interaction impact learning behavior in the same way? The current study aims to answer this question. Native German speakers (N = 80 were requested to learn new words (pseudo-words during a contextual learning game. This learning task was performed alone with a computer or with a partner, with or without music. Results showed that music and social interaction had a different impact on the learner’s behavior: Participants tended to temporally coordinate their behavior more with a partner than with music, and in both cases more than with a computer. However, when both music and social interaction were present, this temporal coordination was hindered. These results suggest that while music and social interaction do influence participants’ learning behavior, they have a different impact. Moreover, impaired behavior when both music and a partner are present suggests that different mechanisms are employed to coordinate with the two types of stimuli. Whether one or the other approach is more efficient for word learning, however, is a question still requiring further investigation, as no differences were observed between conditions in a retrieval phase which took place immediately after the learning session. This study contributes to the literature on word learning in adults by investigating two possible facilitating factors, and has important implications for situations such as music therapy, in which music and social interaction are present at the same time.

E-Learning Software for Improving Student's Music Performance Using Comparisons

Science.gov (United States)

Delgado, M.; Fajardo, W.; Molina-Solana, M.

2013-01-01

In the last decades there have been several attempts to use computers in Music Education. New pedagogical trends encourage incorporating technology tools in the process of learning music. Between them, those systems based on Artificial Intelligence are the most promising ones, as they can derive new information from the inputs and visualize them…

Keywords in musical free improvisation

DEFF Research Database (Denmark)

Bergstrøm-Nielsen, Carl

2016-01-01

This article presents some keywords and concepts concerning free improvised music and its recent developments drawing from ongoing bibliographical research. A radical pluralism stems from musicians' backgrounds and the mixtures and fusions of styles and idioms resulting from these mixtures....... Seemingly very different "performance-driven" and "play-driven" attitudes exist, even among musicians who share the practice of performing at concerts. New models of musical analysis aiming specifically at free improvised music provide strategical observations of interaction and structure....

A computational approach to content-based retrieval of folk song melodies