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

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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.

Scene and character: interdisciplinary analysis of musical and sound symbols for higher education

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Josep Gustems Carnicer

2017-01-01

Full Text Available The aim of this paper is to analyze interdisciplinary and educationally the descriptive aspects of the characters in literature in the world of music (opera, ballet, musical theater, program music, audiovisual, etc. through a wide range of resources and creative processes in various skills that include or encompass the sound. Because of that a literature review and multidisciplinary documentary is done from the most relevant texts and principal authors of the dynamic and stable personality models, from the analysis of vocal features in the scene and in the audiovisuals, from the leitmotiv as a symbol and sound representation of the character, from the the conflicts faced by the characters and how they can overcome them and how we could translated into music those transitions. The subject of myths brought to the world of music scene, character stereotypes and sound symbols that may characterize these scenic and literary content is also addressed. Notably, there is a broad consensus on the use of sound resources to characterize the different characters throughout the history of Western music in its various styles and genres. Furthermore, indications for their use are given and suggestions for activities to higher education suggest.

The Effect of Teaching Experience and Specialty (Vocal or Instrumental) on Vocal Health Ratings of Music Teachers

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Hackworth, Rhonda S.

2010-01-01

The current study sought to determine the relationship among music teachers' length of teaching experience, specialty (vocal or instrumental), and ratings of behaviors and teaching activities related to vocal health. Participants (N = 379) were experienced (n = 208) and preservice (n = 171) music teachers, further categorized by specialty, either…

Musical Sound, Instruments, and Equipment

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Photinos, Panos

2017-12-01

'Musical Sound, Instruments, and Equipment' offers a basic understanding of sound, musical instruments and music equipment, geared towards a general audience and non-science majors. The book begins with an introduction of the fundamental properties of sound waves, and the perception of the characteristics of sound. The relation between intensity and loudness, and the relation between frequency and pitch are discussed. The basics of propagation of sound waves, and the interaction of sound waves with objects and structures of various sizes are introduced. Standing waves, harmonics and resonance are explained in simple terms, using graphics that provide a visual understanding. The development is focused on musical instruments and acoustics. The construction of musical scales and the frequency relations are reviewed and applied in the description of musical instruments. The frequency spectrum of selected instruments is explored using freely available sound analysis software. Sound amplification and sound recording, including analog and digital approaches, are discussed in two separate chapters. The book concludes with a chapter on acoustics, the physical factors that affect the quality of the music experience, and practical ways to improve the acoustics at home or small recording studios. A brief technical section is provided at the end of each chapter, where the interested reader can find the relevant physics and sample calculations. These quantitative sections can be skipped without affecting the comprehension of the basic material. Questions are provided to test the reader's understanding of the material. Answers are given in the appendix.

The Influence of Distracting Familiar Vocal Music on Cognitive Performance of Introverts and Extraverts

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Avila, Christina; Furnham, Adrian; McClelland, Alastair

2012-01-01

This study investigates the effect of familiar musical distractors on the cognitive performance of introverts and extraverts. Participants completed a verbal, numerical and logic test in three music conditions: vocal music, instrumental music and silence. It was predicted that introverts would perform worse with vocal music, better with…

Disturbance effect of music on processing of verbal and spatial memories.

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Iwanaga, Makoto; Ito, Takako

2002-06-01

The purpose of the present study was to examine the disturbance effect of music on performances of memory tasks. Subjects performed a verbal memory task and a spatial memory task in 4 sound conditions, including the presence of vocal music, instrumental music, a natural sound (murmurings of a stream), and no music. 47 undergraduate volunteers were randomly assigned to perform tasks under each condition. Perceived disturbance was highest under the vocal music condition regardless of the type of task. A disturbance in performance by music was observed only with the verbal memory task under the vocal and the instrumental music conditions. These findings were discussed from the perspectives of the working memory hypothesis and the changing state model.

The Effect of Vocal Hygiene and Behavior Modification Instruction on the Self-Reported Vocal Health Habits of Public School Music Teachers

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Hackworth, Rhonda S.

2007-01-01

This study examined the effects of vocal hygiene and behavior modification instruction on self-reported behaviors of music teachers. Subjects (N = 76) reported daily behaviors for eight weeks: water consumption, warm-up, talking over music/noise, vocal rest, nonverbal commands, and vocal problems. Subjects were in experimental group 1 or 2, or the…

The Individual vocal expression in future music teacher's personal competence development

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Jucevičiūtė-Bartkevičienė, Vaiva

2011-01-01

In music education, individual vocal expression is a significant fact contributing to future teachers’ emotional, spiritual and intellectual perfection. This article examines aspects of the individual vocal expression of future music teachers in the context of education related to becoming a competent member of the music teacher’s profession. Using the methods of analysis of the education documents and quantitative analysis, the results of the research, which was conducted in Lithuania, are p...

The Effects of Vocal Register Use and Age on the Perceived Vocal Health of Male Elementary Music Teachers

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Fisher, Ryan A.; Scott, Julie K.

2014-01-01

The purpose of this study was to examine the effects of vocal register use and age on the perceived vocal health of male elementary music teachers. Participants (N = 160) consisted of male elementary music teachers from two neighboring states in the south-central region of the United States. Participants responded to various demographic questions…

Vocal Noise Cancellation From Respiratory Sounds

National Research Council Canada - National Science Library

Moussavi, Zahra

2001-01-01

Although background noise cancellation for speech or electrocardiographic recording is well established, however when the background noise contains vocal noises and the main signal is a breath sound...

Musical Sounds, Motor Resonance, and Detectable Agency

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Jacques Launay

2015-09-01

Full Text Available This paper discusses the paradox that while human music making evolved and spread in an environment where it could only occur in groups, it is now often apparently an enjoyable asocial phenomenon. Here I argue that music is, by definition, sound that we believe has been in some way organized by a human agent, meaning that listening to any musical sounds can be a social experience. There are a number of distinct mechanisms by which we might associate musical sound with agency. While some of these mechanisms involve learning motor associations with that sound, it is also possible to have a more direct relationship from musical sound to agency, and the relative importance of these potentially independent mechanisms should be further explored. Overall, I conclude that the apparent paradox of solipsistic musical engagement is in fact unproblematic, because the way that we perceive and experience musical sounds is inherently social.

On Sound: Reconstructing a Zhuangzian Perspective of Music

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So Jeong Park

2015-12-01

Full Text Available A devotion to music in Chinese classical texts is worth noticing. Early Chinese thinkers saw music as a significant part of human experience and a core practice for philosophy. While Confucian endorsement of ritual and music has been discussed in the field, Daoist understanding of music was hardly explored. This paper will make a careful reading of the Xiánchí 咸池 music story in the Zhuangzi, one of the most interesting, but least noticed texts, and reconstruct a Zhuangzian perspective from it. While sounds had been regarded as mere building blocks of music and thus depreciated in the hierarchical understanding of music in the mainstream discourse of early China, sound is the alpha and omega of music in the Zhuangzian perspective. All kinds of sounds, both human and natural, are invited into musical discourse. Sound is regarded as the real source of our being moved by music, and therefore, musical consummation is depicted as embodiment through sound.

Fear across the senses: brain responses to music, vocalizations and facial expressions.

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Aubé, William; Angulo-Perkins, Arafat; Peretz, Isabelle; Concha, Luis; Armony, Jorge L

2015-03-01

Intrinsic emotional expressions such as those communicated by faces and vocalizations have been shown to engage specific brain regions, such as the amygdala. Although music constitutes another powerful means to express emotions, the neural substrates involved in its processing remain poorly understood. In particular, it is unknown whether brain regions typically associated with processing 'biologically relevant' emotional expressions are also recruited by emotional music. To address this question, we conducted an event-related functional magnetic resonance imaging study in 47 healthy volunteers in which we directly compared responses to basic emotions (fear, sadness and happiness, as well as neutral) expressed through faces, non-linguistic vocalizations and short novel musical excerpts. Our results confirmed the importance of fear in emotional communication, as revealed by significant blood oxygen level-dependent signal increased in a cluster within the posterior amygdala and anterior hippocampus, as well as in the posterior insula across all three domains. Moreover, subject-specific amygdala responses to fearful music and vocalizations were correlated, consistent with the proposal that the brain circuitry involved in the processing of musical emotions might be shared with the one that have evolved for vocalizations. Overall, our results show that processing of fear expressed through music, engages some of the same brain areas known to be crucial for detecting and evaluating threat-related information. © The Author (2014). Published by Oxford University Press. For Permissions, please email: journals.permissions@oup.com.

Hemispheric processing of vocal emblem sounds.

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Neumann-Werth, Yael; Levy, Erika S; Obler, Loraine K

2013-01-01

Vocal emblems, such as shh and brr, are speech sounds that have linguistic and nonlinguistic features; thus, it is unclear how they are processed in the brain. Five adult dextral individuals with left-brain damage and moderate-severe Wernicke's aphasia, five adult dextral individuals with right-brain damage, and five Controls participated in two tasks: (1) matching vocal emblems to photographs ('picture task') and (2) matching vocal emblems to verbal translations ('phrase task'). Cross-group statistical analyses on items on which the Controls performed at ceiling revealed lower accuracy by the group with left-brain damage (than by Controls) on both tasks, and lower accuracy by the group with right-brain damage (than by Controls) on the picture task. Additionally, the group with left-brain damage performed significantly less accurately than the group with right-brain damage on the phrase task only. Findings suggest that comprehension of vocal emblems recruits more left- than right-hemisphere processing.

Thinking Sound and Body-Motion Shapes in Music: Public Peer Review of “Gesture and the Sonic Event in Karnatak Music” by Lara Pearson

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Rolfe Inge Godøy

2013-12-01

Full Text Available It seems that the majority of research on music-related body motion has so far been focused on Western music, so this paper by Lara Pearson on music-related body motion in Indian vocal music is a most welcome contribution to this field. But research on music-related body motion does present us with a number of challenges, ranging from issues of method to fundamental issues of perception and multi-modal integration in music. In such research, thinking of perceptually salient features in different modalities (sound, motion, touch, etc. as shapes seems to go well with our cognitive apparatus, and also be quite practical in representing the features in question. The research reported in this paper gives us an insight into how tracing shapes by hand motion is an integral part of teaching Indian vocal music, and the approach of this paper also holds promise for fruitful future research.

BASIC APPROACHES TO THE ORGANIZATION OF PEDAGOGICAL INTERACTION IN SCHOOL VOCAL CHOIRS

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Anatolii Kuzmenko

2016-04-01

Full Text Available The article reveals the basic approaches to the school music teacher’s creative and educational interaction with vocal and choral group. The significance of singing in the national artistic culture of Ukraine is singled out. Students’ practical work on study singing is generalized, it allows to form a vocal and choral musical education system that recreates the natural child’s sound and provides euphonious cantilena voice sounding and availability of mastering this kind of activity. The author also singles out some components such as orientation (it involves goals, content, tasks, volume of learning information; competence one (it is defined as musical and educational complex which includes the high level of knowledge, skills in sound production and psychological peculiarities of learning children of different ages to sing; communication one (it is the process of teacher and pupils’ interaction with the help of different communication means, sharing learning information and its discussion using different technical tools; executive one ( it provides the level of students’ performance skills and creative interpretation of vocal and choral works. The main attention is paid to proper planning and practices at school music lessons, rehearsals, vocal choirs, ensembles, presentations, concerts. It is proved that efficient using methods of achieving content filling of creative and educational interaction of the conductor with a school choral group is due to defining necessary principles that determine his experience. They include effective mastering choirmaster skills, accurate diagnostics and analysis of information and problem material, that sounds jarringly; paying attention to those imperfections which should be corrected in each case for getting positive results.

Vocal tract shapes in different singing functions used in musical theater singing-a pilot study.

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Echternach, Matthias; Popeil, Lisa; Traser, Louisa; Wienhausen, Sascha; Richter, Bernhard

2014-09-01

Singing styles in Musical Theater singing might differ in many ways from Western Classical singing. However, vocal tract adjustments are not understood in detail. Vocal tract shapes of a single professional Music Theater female subject were analyzed concerning different aspects of singing styles using dynamic real-time magnetic resonance imaging technology with a frame rate of 8 fps. The different tasks include register differences, belting, and vibrato strategies. Articulatory differences were found between head register, modal register, and belting. Also, some vibrato strategies ("jazzy" vibrato) do involve vocal tract adjustments, whereas others (classical vibrato) do not. Vocal tract shaping might contribute to the establishment of different singing functions in Musical Theater singing. Copyright © 2014 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Verbal learning in the context of background music: no influence of vocals and instrumentals on verbal learning.

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Jäncke, Lutz; Brügger, Eliane; Brummer, Moritz; Scherrer, Stephanie; Alahmadi, Nsreen

2014-03-26

Whether listening to background music enhances verbal learning performance is still a matter of dispute. In this study we investigated the influence of vocal and instrumental background music on verbal learning. 226 subjects were randomly assigned to one of five groups (one control group and 4 experimental groups). All participants were exposed to a verbal learning task. One group served as control group while the 4 further groups served as experimental groups. The control group learned without background music while the 4 experimental groups were exposed to vocal or instrumental musical pieces during learning with different subjective intensity and valence. Thus, we employed 4 music listening conditions (vocal music with high intensity: VOC_HIGH, vocal music with low intensity: VOC_LOW, instrumental music with high intensity: INST_HIGH, instrumental music with low intensity: INST_LOW) and one control condition (CONT) during which the subjects learned the word lists. Since it turned out that the high and low intensity groups did not differ in terms of the rated intensity during the main experiment these groups were lumped together. Thus, we worked with 3 groups: one control group and two groups, which were exposed to background music (vocal and instrumental) during verbal learning. As dependent variable, the number of learned words was used. Here we measured immediate recall during five learning sessions (recall 1 - recall 5) and delayed recall for 15 minutes (recall 6) and 14 days (recall 7) after the last learning session. Verbal learning improved during the first 5 recall sessions without any strong difference between the control and experimental groups. Also the delayed recalls were similar for the three groups. There was only a trend for attenuated verbal learning for the group passively listened to vocals. This learning attenuation diminished during the following learning sessions. The exposure to vocal or instrumental background music during encoding did not

Prevalence of Vocal Problems: Speech-Language Pathologists' Evaluation of Music and Non-Music Teacher Recordings

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Hackworth, Rhonda S.

2013-01-01

The current study, a preliminary examination of whether music teachers are more susceptible to vocal problems than teachers of other subjects, asked for expert evaluation of audio recordings from licensed speech-language pathologists. Participants (N = 41) taught music (n = 23) or another subject (n = 18) in either elementary (n = 21), middle (n =…

Preservice Music Teacher Voice Use, Vocal Health, and Voice Function before and during Student Teaching

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Brunkan, Melissa C.

2018-01-01

Preservice music teachers often use their voices differently during the semesters leading up to student teaching as compared to during the semester itself. Vocal demands often increase and change as students move from a student role to full-time teacher role. Consequently, music student teachers frequently experience vocal distress symptoms that…

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.

Sound Stories for General Music

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Cardany, Audrey Berger

2013-01-01

Language and music literacy share a similar process of understanding that progresses from sensory experience to symbolic representation. The author identifies Bruner’s modes of understanding as they relate to using narrative in the music classroom to enhance music reading at iconic and symbolic levels. Two sound stories are included for…

MOTIVATIONAL AND ADAPTATIVE ASPECT OF PROSPECTIVE MUSIC TEACHERS’ VOCAL TRAINING

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Lin Ye

2016-04-01

Full Text Available The article deals with motivational and adaptive direction of vocal training of the Art Faculty students of the Pedagogical University. Motivational and adaptive phase consisted in identifying the real state of prospective music teachers’ readiness to work with educational vocal choirs. The criterion of formation of motivational and adaptive component is defined as personal motivation in acquiring high-quality vocal and choral training. The author developed an experimental technique that involves a number of empirical research methods: special and long-term monitoring of the content and progress of the educational process; analysis, control and objectivity of teaching methods; testing; perform creative tasks; test activities; conversations and interviews that were conducted among students, faculty and trainers professional disciplines teaching practice.The mentioned criterion implies that Chinese students have sustained professional focus on improving their own vocal and choral training, awareness of the importance and prospects of this profession in their practical activities in educational conditions in China. Motivation in learning vocal and choral activities, Chinese students made the so-called "immunity" to the difficulties related with the new learning environment in universities Ukraine increases the desire to intensify and optimize the process of conducting and choral training, there is awareness of the need for new development knowledge, skills, new experience and carry it into practice national music and teacher education.

Vocal pedagogy and contemporary commercial music : reflections on higher education non-classical vocal pedagogy in the United States and Finland

OpenAIRE

Keskinen, Anu Katri

2013-01-01

This study is focused on the discipline of higher education contemporary commercial music (CCM) vocal pedagogy through the experiences of two vocal pedagogy teachers, the other in the USA and the other in Finland. The aim of this study has been to find out how the discipline presently looks from a vocal pedagogy teacher's viewpoint, what has the process of building higher education CCM vocal pedagogy courses been like, and where is the field headed. The discussion on CCM pedagogy, also kn...

Psychiatry and music

OpenAIRE

Nizamie, Shamsul Haque; Tikka, Sai Krishna

2014-01-01

Vocal and/or instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotion is music. Brain, mind and music are remarkably related to each other and music has got a strong impact on psychiatry. With the advent of music therapy, as an efficient form of alternative therapy in treating major psychiatric conditions, this impact has been further strengthened. In this review, we deliberate upon the historical aspects of the relationship between psychiatry...

Comparison of Effects Produced by Physiological Versus Traditional Vocal Warm-up in Contemporary Commercial Music Singers.

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Portillo, María Priscilla; Rojas, Sandra; Guzman, Marco; Quezada, Camilo

2018-03-01

The present study aimed to observe whether physiological warm-up and traditional singing warm-up differently affect aerodynamic, electroglottographic, acoustic, and self-perceived parameters of voice in Contemporary Commercial Music singers. Thirty subjects were asked to perform a 15-minute session of vocal warm-up. They were randomly assigned to one of two types of vocal warm-up: physiological (based on semi-occluded exercises) or traditional (singing warm-up based on open vowel [a:]). Aerodynamic, electroglottographic, acoustic, and self-perceived voice quality assessments were carried out before (pre) and after (post) warm-up. No significant differences were found when comparing both types of vocal warm-up methods, either in subjective or in objective measures. Furthermore, the main positive effect observed in both groups when comparing pre and post conditions was a better self-reported quality of voice. Additionally, significant differences were observed for sound pressure level (decrease), glottal airflow (increase), and aerodynamic efficiency (decrease) in the traditional warm-up group. Both traditional and physiological warm-ups produce favorable voice sensations. Moreover, there are no evident differences in aerodynamic and electroglottographic variables when comparing both types of vocal warm-ups. Some changes after traditional warm-up (decreased intensity, increased airflow, and decreased aerodynamic efficiency) could imply an early stage of vocal fatigue. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Non-musical sound branding – a conceptualization and research overview

DEFF Research Database (Denmark)

Graakjær, Nicolai J.; Bonde, Anders

2018-01-01

Purpose The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound. Design/methodology/approach Using four mutually exclusive and collectively exhaustive types of non......-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields. Findings The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine...... in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds. Research limitations/implications The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding. Practical...

Comparison of voice-use profiles between elementary classroom and music teachers.

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Morrow, Sharon L; Connor, Nadine P

2011-05-01

Among teachers, music teachers are roughly four times more likely than classroom teachers to develop voice-related problems. Although it has been established that music teachers use their voices at high intensities and durations in the course of their workday, voice-use profiles concerning the amount and intensity of vocal use and vocal load have neither been quantified nor has vocal load for music teachers been compared with classroom teachers using these same voice-use parameters. In this study, total phonation time, fundamental frequency (F₀), and vocal intensity (dB SPL [sound pressure level]) were measured or estimated directly using a KayPENTAX Ambulatory Phonation Monitor (KayPENTAX, Lincoln Park, NJ). Vocal load was calculated as cycle and distance dose, as defined by Švec et al (2003), which integrates total phonation time, F₀, and vocal intensity. Twelve participants (n = 7 elementary music teachers and n = 5 elementary classroom teachers) were monitored during five full teaching days of one workweek to determine average vocal load for these two groups of teachers. Statistically significant differences in all measures were found between the two groups (P vocal loads for music teachers are substantially higher than those experienced by classroom teachers (P vocal load may have immediate clinical and educational benefits in vocal health in music teachers. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The electronic cry: Voice and gender in electroacoustic music

NARCIS (Netherlands)

Bosma, H.M.

2013-01-01

The voice provides an entrance to discuss gender and related fundamental issues in electroacoustic music that are relevant as well in other musical genres and outside of music per se: the role of the female voice; the use of language versus non-verbal vocal sounds; the relation of voice, embodiment

Let the music play! A short-term but no long-term detrimental effect of vocal background music with familiar language lyrics on foreign language vocabulary learning

NARCIS (Netherlands)

de Groot, A.M.B.; Smedinga, H.E.

2014-01-01

Participants learned foreign vocabulary by means of the paired-associates learning procedure in three conditions: (a) in silence, (b) with vocal music with lyrics in a familiar language playing in the background, or (c) with vocal music with lyrics in an unfamiliar language playing in the

Analysis and Synthesis of Musical Instrument Sounds

Science.gov (United States)

Beauchamp, James W.

For synthesizing a wide variety of musical sounds, it is important to understand which acoustic properties of musical instrument sounds are related to specific perceptual features. Some properties are obvious: Amplitude and fundamental frequency easily control loudness and pitch. Other perceptual features are related to sound spectra and how they vary with time. For example, tonal "brightness" is strongly connected to the centroid or tilt of a spectrum. "Attack impact" (sometimes called "bite" or "attack sharpness") is strongly connected to spectral features during the first 20-100 ms of sound, as well as the rise time of the sound. Tonal "warmth" is connected to spectral features such as "incoherence" or "inharmonicity."

The Contribution of Sound Intensity in Vocal Emotion Perception: Behavioral and Electrophysiological Evidence

Science.gov (United States)

Chen, Xuhai; Yang, Jianfeng; Gan, Shuzhen; Yang, Yufang

2012-01-01

Although its role is frequently stressed in acoustic profile for vocal emotion, sound intensity is frequently regarded as a control parameter in neurocognitive studies of vocal emotion, leaving its role and neural underpinnings unclear. To investigate these issues, we asked participants to rate the angry level of neutral and angry prosodies before and after sound intensity modification in Experiment 1, and recorded electroencephalogram (EEG) for mismatching emotional prosodies with and without sound intensity modification and for matching emotional prosodies while participants performed emotional feature or sound intensity congruity judgment in Experiment 2. It was found that sound intensity modification had significant effect on the rating of angry level for angry prosodies, but not for neutral ones. Moreover, mismatching emotional prosodies, relative to matching ones, induced enhanced N2/P3 complex and theta band synchronization irrespective of sound intensity modification and task demands. However, mismatching emotional prosodies with reduced sound intensity showed prolonged peak latency and decreased amplitude in N2/P3 complex and smaller theta band synchronization. These findings suggest that though it cannot categorically affect emotionality conveyed in emotional prosodies, sound intensity contributes to emotional significance quantitatively, implying that sound intensity should not simply be taken as a control parameter and its unique role needs to be specified in vocal emotion studies. PMID:22291928

The contribution of sound intensity in vocal emotion perception: behavioral and electrophysiological evidence.

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Xuhai Chen

Full Text Available Although its role is frequently stressed in acoustic profile for vocal emotion, sound intensity is frequently regarded as a control parameter in neurocognitive studies of vocal emotion, leaving its role and neural underpinnings unclear. To investigate these issues, we asked participants to rate the angry level of neutral and angry prosodies before and after sound intensity modification in Experiment 1, and recorded electroencephalogram (EEG for mismatching emotional prosodies with and without sound intensity modification and for matching emotional prosodies while participants performed emotional feature or sound intensity congruity judgment in Experiment 2. It was found that sound intensity modification had significant effect on the rating of angry level for angry prosodies, but not for neutral ones. Moreover, mismatching emotional prosodies, relative to matching ones, induced enhanced N2/P3 complex and theta band synchronization irrespective of sound intensity modification and task demands. However, mismatching emotional prosodies with reduced sound intensity showed prolonged peak latency and decreased amplitude in N2/P3 complex and smaller theta band synchronization. These findings suggest that though it cannot categorically affect emotionality conveyed in emotional prosodies, sound intensity contributes to emotional significance quantitatively, implying that sound intensity should not simply be taken as a control parameter and its unique role needs to be specified in vocal emotion studies.

In Search of the Golden Age Hip-Hop Sound (1986–1996

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Ben Duinker

2017-09-01

Full Text Available The notion of a musical repertoire's "sound" is frequently evoked in journalism and scholarship, but what parameters comprise such a sound? This question is addressed through a statistically-driven corpus analysis of hip-hop music released during the genre's Golden Age era. The first part of the paper presents a methodology for developing, transcribing, and analyzing a corpus of 100 hip-hop tracks released during the Golden Age. Eight categories of aurally salient musical and production parameters are analyzed: tempo, orchestration and texture, harmony, form, vocal and lyric profiles, global and local production effects, vocal doubling and backing, and loudness and compression. The second part of the paper organizes the analysis data into three trend categories: trends of change (parameters that change over time, trends of prevalence (parameters that remain generally constant across the corpus, and trends of similarity (parameters that are similar from song to song. These trends form a generalized model of the Golden Age hip-hop sound which considers both global (the whole corpus and local (unique songs within the corpus contexts. By operationalizing "sound" as the sum of musical and production parameters, aspects of popular music that are resistant to traditional music-analytical methods can be considered.

Sound Exposure During Outdoor Music Festivals

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Tronstad, Tron V.; Gelderblom, Femke B.

2016-01-01

Most countries have guidelines to regulate sound exposure at concerts and music festivals. These guidelines limit the allowed sound pressure levels and the concert/festival's duration. In Norway, where there is such a guideline, it is up to the local authorities to impose the regulations. The need to prevent hearing-loss among festival participants is self-explanatory, but knowledge of the actual dose received by visitors is extremely scarce. This study looks at two Norwegian music festivals where only one was regulated by the Norwegian guideline for concert and music festivals. At each festival the sound exposure of four participants was monitored with noise dose meters. This study compared the exposures experienced at the two festivals, and tested them against the Norwegian guideline and the World Health Organization's recommendations. Sound levels during the concerts were higher at the festival not regulated by any guideline, and levels there exceeded both the national and the Worlds Health Organization's recommendations. The results also show that front-of-house measurements reliably predict participant exposure. PMID:27569410

Sound exposure during outdoor music festivals

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Tron V Tronstad

2016-01-01

Full Text Available Most countries have guidelines to regulate sound exposure at concerts and music festivals. These guidelines limit the allowed sound pressure levels and the concert/festival’s duration. In Norway, where there is such a guideline, it is up to the local authorities to impose the regulations. The need to prevent hearing-loss among festival participants is self-explanatory, but knowledge of the actual dose received by visitors is extremely scarce. This study looks at two Norwegian music festivals where only one was regulated by the Norwegian guideline for concert and music festivals. At each festival the sound exposure of four participants was monitored with noise dose meters. This study compared the exposures experienced at the two festivals, and tested them against the Norwegian guideline and the World Health Organization’s recommendations. Sound levels during the concerts were higher at the festival not regulated by any guideline, and levels there exceeded both the national and the Worlds Health Organization’s recommendations. The results also show that front-of-house measurements reliably predict participant exposure.

School Music and Society: A Content Analysis of the Midwestern Conference on School Vocal and Instrumental Music, 1946-1996

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West, Chad

2013-01-01

This article provides an analysis of the session content presented in the first fifty years (1946-1996) of the (Michigan) state music education conference," The Midwestern Conference on School Vocal and Instrumental Music." The purpose of this study was to examine instructional techniques, technology, social/societal, and multicultural…

Hearing speech in music.

Science.gov (United States)

Ekström, Seth-Reino; Borg, Erik

2011-01-01

The masking effect of a piano composition, played at different speeds and in different octaves, on speech-perception thresholds was investigated in 15 normal-hearing and 14 moderately-hearing-impaired subjects. Running speech (just follow conversation, JFC) testing and use of hearing aids increased the everyday validity of the findings. A comparison was made with standard audiometric noises [International Collegium of Rehabilitative Audiology (ICRA) noise and speech spectrum-filtered noise (SPN)]. All masking sounds, music or noise, were presented at the same equivalent sound level (50 dBA). The results showed a significant effect of piano performance speed and octave (Ptempo had the largest effect; and high octave and slow tempo, the smallest. Music had a lower masking effect than did ICRA noise with two or six speakers at normal vocal effort (Pmusic offers an interesting opportunity for studying masking under realistic conditions, where spectral and temporal features can be varied independently. The results have implications for composing music with vocal parts, designing acoustic environments and creating a balance between speech perception and privacy in social settings.

The Effectiveness of Using Vocal Music as the Content Area of English Immersion Classes for Japanese Children

Science.gov (United States)

Morgan, Steven Gene

2012-01-01

This study set out to determine if English can be taught effectively to Japanese children through a content-based instruction program that uses vocal music as the content area. A total of 240 children participated in the study. The treatment group at a private elementary school in Tokyo received weekly vocal music lessons taught in English for one…

Let the Music Play!--A Short-Term but No Long-Term Detrimental Effect of Vocal Background Music with Familiar Language Lyrics on Foreign Language Vocabulary Learning

Science.gov (United States)

de Groot, Annette M. B.; Smedinga, Hilde E.

2014-01-01

Participants learned foreign vocabulary by means of the paired-associates learning procedure in three conditions: (a) in silence, (b) with vocal music with lyrics in a familiar language playing in the background, or (c) with vocal music with lyrics in an unfamiliar language playing in the background. The vocabulary to learn varied in concreteness…

Contemporary Commercial Music Singing Students-Voice Quality and Vocal Function at the Beginning of Singing Training.

Science.gov (United States)

Sielska-Badurek, Ewelina M; Sobol, Maria; Olszowska, Katarzyna; Niemczyk, Kazimierz

2017-10-03

The purpose of this study was to assess the voice quality and the vocal tract function in popular singing students at the beginning of their singing training at the High School of Music. This is a retrospective cross-sectional study. The study consisted of 45 popular singing students (35 females and 10 males, mean age: 19.9 ± 2.8 years). They were assessed in the first 2 months of their 4-year singing training at the High School of Music, between 2013 and 2016. Voice quality and vocal tract function were evaluated using videolaryngostroboscopy, palpation of the vocal tract structures, the perceptual speaking and singing voice assessment, acoustic analysis, maximal phonation time, the Voice Handicap Index, and the Singing Voice Handicap Index (SVHI). Twenty-two percent of Contemporary Commercial Music singing students began their education in the High School, with vocal nodules. Palpation of the vocal tract structure showed in 50% correct motions and tension in speaking and in 39.3% in singing. Perceptual voice assessment showed in 80% proper speaking voice quality and in 82.4% proper singing voice quality. The mean vocal fundamental frequency while speaking in females was 214 Hz and in males was 116 Hz. Dysphonia Severity Index was at the level of 2, and maximum phonation time was 17.7 seconds. The Voice Handicap Index and the SVHI remained within the normal range: 7.5 and 19, respectively. Perceptual singing voice assessment correlated with the SVHI (P = 0.006). Twenty-two percent of the Contemporary Commercial Music singing students began their education in the High School, with organic vocal fold lesions. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The effect of vocal fold vertical stiffness gradient on sound production

Science.gov (United States)

Geng, Biao; Xue, Qian; Zheng, Xudong

2015-11-01

It is observed in some experimental studies on canine vocal folds (VFs) that the inferior aspect of the vocal fold (VF) is much stiffer than the superior aspect under relatively large strain. Such vertical difference is supposed to promote the convergent-divergent shape during VF vibration and consequently facilitate the production of sound. In this study, we investigate the effect of vertical variation of VF stiffness on sound production using a numerical model. The vertical variation of stiffness is produced by linearly increasing the Young's modulus and shear modulus from the superior to inferior aspects in the cover layer, and its effect on phonation is examined in terms of aerodynamic and acoustic quantities such as flow rate, open quotient, skewness of flow wave form, sound intensity and vocal efficiency. The flow-induced vibration of the VF is solved with a finite element solver coupled with 1D Bernoulli equation, which is further coupled with a digital waveguide model. This study is designed to find out whether it's beneficial to artificially induce the vertical stiffness gradient by certain implanting material in VF restoring surgery, and if it is beneficial, what gradient is the most favorable.

Sound and Music Interventions in Psychiatry at Aalborg University Hospital

DEFF Research Database (Denmark)

Lund, Helle Nystrup; Bertelsen, Lars Rye; Bonde, Lars Ole

2016-01-01

to their needs here-and-now. In the study, we focus on how self-selected music may lead to decrease of anxiety and pain or improved relaxation/sleep. The article describes and discusses the theory-driven development of the sound/music milieu, relevant empirical studies, the novel method of data collection......This article reports on the ongoing project development and research study called “A New Sound and Music Milieu at Aalborg University Hospital”. Based on a number of pilot studies in AUH Psychiatry, investigating how special playlists and sound equipment (“sound pillows” and portable players) can...... be used by hospital patients and administered by hospital staff supervised by music therapists, the new project aims to prepare the ground for a systematic application of sound and music in the hospital environment. A number of playlists have been developed, based on theoretical and empirical research...

FeelSound: interactive acoustic music making

NARCIS (Netherlands)

Fikkert, F.W.; Hakvoort, Michiel; Hakvoort, M.C.; van der Vet, P.E.; Nijholt, Antinus

2009-01-01

FeelSound is a multi-user, multi-touch application that aims to collaboratively compose, in an entertaining way, acoustic music. Simultaneous input by each of up to four users enables collaborative composing. This process as well as the resulting music are entertaining. Sensor-packed intelligent

Sound Levels and Risk Perceptions of Music Students During Classes.

Science.gov (United States)

Rodrigues, Matilde A; Amorim, Marta; Silva, Manuela V; Neves, Paula; Sousa, Aida; Inácio, Octávio

2015-01-01

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians' exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.

Physics and music the science of musical sound

CERN Document Server

White, Harvey E

2014-01-01

Comprehensive and accessible, this foundational text surveys general principles of sound, musical scales, characteristics of instruments, mechanical and electronic recording devices, and many other topics. More than 300 illustrations plus questions, problems, and projects.

Effects of musical training on sound pattern processing in high-school students.

Science.gov (United States)

Wang, Wenjung; Staffaroni, Laura; Reid, Errold; Steinschneider, Mitchell; Sussman, Elyse

2009-05-01

Recognizing melody in music involves detection of both the pitch intervals and the silence between sequentially presented sounds. This study tested the hypothesis that active musical training in adolescents facilitates the ability to passively detect sequential sound patterns compared to musically non-trained age-matched peers. Twenty adolescents, aged 15-18 years, were divided into groups according to their musical training and current experience. A fixed order tone pattern was presented at various stimulus rates while electroencephalogram was recorded. The influence of musical training on passive auditory processing of the sound patterns was assessed using components of event-related brain potentials (ERPs). The mismatch negativity (MMN) ERP component was elicited in different stimulus onset asynchrony (SOA) conditions in non-musicians than musicians, indicating that musically active adolescents were able to detect sound patterns across longer time intervals than age-matched peers. Musical training facilitates detection of auditory patterns, allowing the ability to automatically recognize sequential sound patterns over longer time periods than non-musical counterparts.

The Traditional/Acoustic Music Project: a study of vocal demands and vocal health.

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Erickson, Molly L

2012-09-01

The Traditional/Acoustic Music Project seeks to identify the musical and performance characteristics of traditional/acoustic musicians and determine the vocal demands they face with the goals of (1) providing information and outreach to this important group of singers and (2) providing information to physicians, speech-language pathologists, and singing teachers who will enable them to provide appropriate services. Descriptive cross-sectional study. Data have been collected through administration of a 53-item questionnaire. The questionnaire was administered to artists performing at local venues in Knoxville, Tennessee and also to musicians attending the 2008 Folk Alliance Festival in Memphis, Tennessee. Approximately 41% of the respondents have had no vocal training, whereas approximately 34% of the respondents have had some form of formal vocal training (private lessons or group instruction). About 41% of the participants had experienced a tired voice, whereas about 30% of the participants had experienced either a loss of the top range of the voice or a total loss of voice at least once in their careers. Approximately 31% of the respondents had no health insurance. Approximately 69% of the respondents reported that they get their information about healthy singing practices solely from fellow musicians or that they do not get any information at all. Traditional/acoustic musicians are a poorly studied population at risk for the development of voice disorders. Continued research is necessary with the goal of a large sample that can be analyzed for associations, identification of subpopulations, and formulation of specific hypotheses that lend themselves to experimental research. Appropriate models of information and service delivery tailored for the singer-instrumentalist are needed. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Transfer Effect of Speech-sound Learning on Auditory-motor Processing of Perceived Vocal Pitch Errors.

Science.gov (United States)

Chen, Zhaocong; Wong, Francis C K; Jones, Jeffery A; Li, Weifeng; Liu, Peng; Chen, Xi; Liu, Hanjun

2015-08-17

Speech perception and production are intimately linked. There is evidence that speech motor learning results in changes to auditory processing of speech. Whether speech motor control benefits from perceptual learning in speech, however, remains unclear. This event-related potential study investigated whether speech-sound learning can modulate the processing of feedback errors during vocal pitch regulation. Mandarin speakers were trained to perceive five Thai lexical tones while learning to associate pictures with spoken words over 5 days. Before and after training, participants produced sustained vowel sounds while they heard their vocal pitch feedback unexpectedly perturbed. As compared to the pre-training session, the magnitude of vocal compensation significantly decreased for the control group, but remained consistent for the trained group at the post-training session. However, the trained group had smaller and faster N1 responses to pitch perturbations and exhibited enhanced P2 responses that correlated significantly with their learning performance. These findings indicate that the cortical processing of vocal pitch regulation can be shaped by learning new speech-sound associations, suggesting that perceptual learning in speech can produce transfer effects to facilitating the neural mechanisms underlying the online monitoring of auditory feedback regarding vocal production.

Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions

Science.gov (United States)

Reybrouck, Mark; Eerola, Tuomas

2017-01-01

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. PMID:28421015

Complex coevolution of wing, tail, and vocal sounds of courting male bee hummingbirds.

Science.gov (United States)

Clark, Christopher J; McGuire, Jimmy A; Bonaccorso, Elisa; Berv, Jacob S; Prum, Richard O

2018-03-01

Phenotypic characters with a complex physical basis may have a correspondingly complex evolutionary history. Males in the "bee" hummingbird clade court females with sound from tail-feathers, which flutter during display dives. On a phylogeny of 35 species, flutter sound frequency evolves as a gradual, continuous character on most branches. But on at least six internal branches fall two types of major, saltational changes: mode of flutter changes, or the feather that is the sound source changes, causing frequency to jump from one discrete value to another. In addition to their tail "instruments," males also court females with sound from their syrinx and wing feathers, and may transfer or switch instruments over evolutionary time. In support of this, we found a negative phylogenetic correlation between presence of wing trills and singing. We hypothesize this transference occurs because wing trills and vocal songs serve similar functions and are thus redundant. There are also three independent origins of self-convergence of multiple signals, in which the same species produces both a vocal (sung) frequency sweep, and a highly similar nonvocal sound. Moreover, production of vocal, learned song has been lost repeatedly. Male bee hummingbirds court females with a diverse, coevolving array of acoustic traits. © 2018 The Author(s). Evolution © 2018 The Society for the Study of Evolution.

Musician effect on perception of spectro-temporally degraded speech, vocal emotion, and music in young adolescents.

NARCIS (Netherlands)

Başkent, Deniz; Fuller, Christina; Galvin, John; Schepel, Like; Gaudrain, Etienne; Free, Rolien

2018-01-01

In adult normal-hearing musicians, perception of music, vocal emotion, and speech in noise has been previously shown to be better than non-musicians, sometimes even with spectro-temporally degraded stimuli. In this study, melodic contour identification, vocal emotion identification, and speech

Music Structure Analysis from Acoustic Signals

Science.gov (United States)

Dannenberg, Roger B.; Goto, Masataka

Music is full of structure, including sections, sequences of distinct musical textures, and the repetition of phrases or entire sections. The analysis of music audio relies upon feature vectors that convey information about music texture or pitch content. Texture generally refers to the average spectral shape and statistical fluctuation, often reflecting the set of sounding instruments, e.g., strings, vocal, or drums. Pitch content reflects melody and harmony, which is often independent of texture. Structure is found in several ways. Segment boundaries can be detected by observing marked changes in locally averaged texture.

A Joyful Noise: The Vocal Health of Worship Leaders and Contemporary Christian Singers.

Science.gov (United States)

Neto, Leon; Meyer, David

2017-03-01

Contemporary commercial music (CCM) is a term that encompasses many styles of music. A growing subset of CCM is contemporary Christian music, a genre that has outpaced other popular styles such as Latin, jazz, and classical music. Contemporary Christian singers (CCSs) and worship leaders (WLs) are a subset of CCM musicians that face unique vocal demands and risks. They typically lack professional training and often perform in acoustically disadvantageous venues with substandard sound reinforcement systems. The vocal needs and risks of these singers are not well understood, and because of this, their training and care may be suboptimal. The aim of the present study was to investigate the vocal health of this growing population and their awareness of standard vocal hygiene principles. An online questionnaire was designed and administered to participants in the Americas, Europe, Australia, and Asia. A total of 614 participants responded to the questionnaire, which is made available in English, Portuguese, and Spanish. Many participants reported vocal symptoms such as vocal fatigue (n = 213; 34.7%), tickling or choking sensation (n = 149; 24.3%), loss of upper range (n = 172; 28%), and complete loss of voice (n = 25; 4.1%). One third of the participants (n = 210; 34%) indicated that they do not warm up their voices before performances and over half of the participants (n = 319; 52%) have no formal vocal training. Results suggest that this population demonstrates low awareness of vocal hygiene principles, frequently experience difficulty with their voices, and may face elevated risk of vocal pathology. Future studies of this population may confirm the vocal risks that our preliminary findings suggest. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Ecoacoustic Music for Geoscience: Sonic Physiographies and Sound Casting

Science.gov (United States)

Burtner, M.

2017-12-01

The author describes specific ecoacoustic applications in his original compositions, Sonic Physiography of a Time-Stretched Glacier (2015), Catalog of Roughness (2017), Sound Cast of Matanuska Glacier (2016) and Ecoacoustic Concerto (Eagle Rock) (2014). Ecoacoustic music uses technology to map systems from nature into music through techniques such as sonification, material amplification, and field recording. The author aspires for this music to be descriptive of the data (as one would expect from a visualization) and also to function as engaging and expressive music/sound art on its own. In this way, ecoacoustic music might provide a fitting accompaniment to a scientific presentation (such as music for a science video) while also offering an exemplary concert hall presentation for a dedicated listening public. The music can at once support the communication of scientific research, and help science make inroads into culture. The author discusses how music created using the data, sounds and methods derived from earth science can recast this research into a sonic art modality. Such music can amplify the communication and dissemination of scientific knowledge by broadening the diversity of methods and formats we use to bring excellent scientific research to the public. Music can also open the public's imagination to science, inspiring curiosity and emotional resonance. Hearing geoscience as music may help a non-scientist access scientific knowledge in new ways, and it can greatly expand the types of venues in which this work can appear. Anywhere music is played - concert halls, festivals, galleries, radio, etc - become a venue for scientific discovery.

The sound of music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm

DEFF Research Database (Denmark)

Vuust, Peter; Brattico, Elvira; Seppänen, Miia

2012-01-01

to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical......Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style....../genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music...

A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors.

Science.gov (United States)

Prickett, Carol A.; Bridges, Madeline S.

2000-01-01

Explores whether the basic song repertoire of vocal/choral music education majors is significantly better than instrumental music education majors. Participants attempted to identify 25 standard songs. Reveals no significant difference between the two groups, indicating that neither had developed a strong repertoire of songs. (CMK)

[Music therapy in adults with cochlear implants : Effects on music perception and subjective sound quality].

Science.gov (United States)

Hutter, E; Grapp, M; Argstatter, H

2016-12-01

People with severe hearing impairments and deafness can achieve good speech comprehension using a cochlear implant (CI), although music perception often remains impaired. A novel concept of music therapy for adults with CI was developed and evaluated in this study. This study included 30 adults with a unilateral CI following postlingual deafness. The subjective sound quality of the CI was rated using the hearing implant sound quality index (HISQUI) and musical tests for pitch discrimination, melody recognition and timbre identification were applied. As a control 55 normally hearing persons also completed the musical tests. In comparison to normally hearing subjects CI users showed deficits in the perception of pitch, melody and timbre. Specific effects of therapy were observed in the subjective sound quality of the CI, in pitch discrimination into a high and low pitch range and in timbre identification, while general learning effects were found in melody recognition. Music perception shows deficits in CI users compared to normally hearing persons. After individual music therapy in the rehabilitation process, improvements in this delicate area could be achieved.

Hearing speech in music

Directory of Open Access Journals (Sweden)

Seth-Reino Ekström

2011-01-01

Full Text Available The masking effect of a piano composition, played at different speeds and in different octaves, on speech-perception thresholds was investigated in 15 normal-hearing and 14 moderately-hearing-impaired subjects. Running speech (just follow conversation, JFC testing and use of hearing aids increased the everyday validity of the findings. A comparison was made with standard audiometric noises [International Collegium of Rehabilitative Audiology (ICRA noise and speech spectrum-filtered noise (SPN]. All masking sounds, music or noise, were presented at the same equivalent sound level (50 dBA. The results showed a significant effect of piano performance speed and octave (P<.01. Low octave and fast tempo had the largest effect; and high octave and slow tempo, the smallest. Music had a lower masking effect than did ICRA noise with two or six speakers at normal vocal effort (P<.01 and SPN (P<.05. Subjects with hearing loss had higher masked thresholds than the normal-hearing subjects (P<.01, but there were smaller differences between masking conditions (P<.01. It is pointed out that music offers an interesting opportunity for studying masking under realistic conditions, where spectral and temporal features can be varied independently. The results have implications for composing music with vocal parts, designing acoustic environments and creating a balance between speech perception and privacy in social settings.

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

Slowing down Presentation of Facial Movements and Vocal Sounds Enhances Facial Expression Recognition and Induces Facial-Vocal Imitation in Children with Autism

Science.gov (United States)

Tardif, Carole; Laine, France; Rodriguez, Melissa; Gepner, Bruno

2007-01-01

This study examined the effects of slowing down presentation of facial expressions and their corresponding vocal sounds on facial expression recognition and facial and/or vocal imitation in children with autism. Twelve autistic children and twenty-four normal control children were presented with emotional and non-emotional facial expressions on…

A MISCELLANY ON INDIAN TRADITIONAL MUSIC

Directory of Open Access Journals (Sweden)

Rauf Kerimov

2013-06-01

Full Text Available Indian music has a very long, unbroken tradition and is an accumulated heritage of centuries. Music in India was popular among all the sections of society and intertwined in life and culture from birth to death. Indian music was formed with the evolution of ancient religious and secular music. The Indian culture absorbed all the best that was brought by other nations in the process of historical development. The Indian music is quite diverse: there are classical instrumental and vocal works and traditional singing of sacred hymns, folk songs and music of different nations. In contrast to the music scholarship, where typically image is a certain regularity, discipline and harmony, beauty of the traditional Indian music in the free improvisation, which is used by the performer. Listening carefully of this music, the man in a new world, a different sounds and explore a different idea of music for himself. The aim of the Indian music, unlike European musical culture define, explore, create and move depths to people's moods. And the Indian instruments is a miracle, that could reflect all these philosophical and aesthetic views. Along with the vocal art, this musical tradition has rich variety of melodic and rhythmic instruments.

Vocalisation Repertoire of Female Bluefin Gurnard (Chelidonichthys kumu in Captivity: Sound Structure, Context and Vocal Activity.

Directory of Open Access Journals (Sweden)

Craig A Radford

Full Text Available Fish vocalisation is often a major component of underwater soundscapes. Therefore, interpretation of these soundscapes requires an understanding of the vocalisation characteristics of common soniferous fish species. This study of captive female bluefin gurnard, Chelidonichthys kumu, aims to formally characterise their vocalisation sounds and daily pattern of sound production. Four types of sound were produced and characterised, twice as many as previously reported in this species. These sounds fit two aural categories; grunt and growl, the mean peak frequencies for which ranged between 129 to 215 Hz. This species vocalized throughout the 24 hour period at an average rate of (18.5 ± 2.0 sounds fish-1 h-1 with an increase in vocalization rate at dawn and dusk. Competitive feeding did not elevate vocalisation as has been found in other gurnard species. Bluefin gurnard are common in coastal waters of New Zealand, Australia and Japan and, given their vocalization rate, are likely to be significant contributors to ambient underwater soundscape in these areas.

Assessment of sound quality perception in cochlear implant users during music listening.

Science.gov (United States)

Roy, Alexis T; Jiradejvong, Patpong; Carver, Courtney; Limb, Charles J

2012-04-01

Although cochlear implant (CI) users frequently report deterioration of sound quality when listening to music, few methods exist to quantify these subjective claims. 1) To design a novel research method for quantifying sound quality perception in CI users during music listening; 2) To validate this method by assessing one attribute of music perception, bass frequency perception, which is hypothesized to be relevant to overall musical sound quality perception. Limitations in bass frequency perception contribute to CI-mediated sound quality deteriorations. The proposed method will quantify this deterioration by measuring CI users' impaired ability to make sound quality discriminations among musical stimuli with variable amounts of bass frequency removal. A method commonly used in the audio industry (multiple stimulus with hidden reference and anchor [MUSHRA]) was adapted for CI users, referred to as CI-MUSHRA. CI users and normal hearing controls were presented with 7 sound quality versions of a musical segment: 5 high pass filter cutoff versions (200-, 400-, 600-, 800-, 1000-Hz) with decreasing amounts of bass information, an unaltered version ("hidden reference"), and a highly altered version (1,000-1,200 Hz band pass filter; "anchor"). Participants provided sound quality ratings between 0 (very poor) and 100 (excellent) for each version; ratings reflected differences in perceived sound quality among stimuli. CI users had greater difficulty making overall sound quality discriminations as a function of bass frequency loss than normal hearing controls, as demonstrated by a significantly weaker correlation between bass frequency content and sound quality ratings. In particular, CI users could not perceive sound quality difference among stimuli missing up to 400 Hz of bass frequency information. Bass frequency impairments contribute to sound quality deteriorations during music listening for CI users. CI-MUSHRA provided a systematic and quantitative assessment of this

Augmenting the Sound Experience at Music Festivals using Mobile Phones

DEFF Research Database (Denmark)

Larsen, Jakob Eg; Stopczynski, Arkadiusz; Larsen, Jan

2011-01-01

In this paper we describe experiments carried out at the Nibe music festival in Denmark involving the use of mobile phones to augment the participants' sound experience at the concerts. The experiments involved N=19 test participants that used a mobile phone with a headset playing back sound...... “in-the-wild” experiments augmenting the sound experience at two concerts at this music festival....

FeelSound : Collaborative Composing of Acoustic Music

NARCIS (Netherlands)

Fikkert, Wim; Hakvoort, Michiel; van der Vet, Paul; Nijholt, Anton

2009-01-01

FeelSound is a multi-user application for collaboratively composing music in an entertaining way. Up to four composers can jointly create acoustic music on a top-projection multitouch sensitive table. The notes of an acoustic instrument are represented on a harmonic table and, by drawing shapes on

Singing and Vocal Interventions in Palliative and Cancer Care: Music Therapists' Perceptions of Usage.

Science.gov (United States)

Clements-Cortés, Amy

2017-11-01

Music therapists in palliative and cancer care settings often use singing and vocal interventions. Although benefits for these interventions are emerging, more information is needed on what type of singing interventions are being used by credentialed music therapists, and what goal areas are being addressed. To assess music therapists' perceptions on how they use singing and vocal interventions in palliative and cancer care environments. Eighty credentialed music therapists from Canada and the United States participated in this two-part convergent mixed-methods study that began with an online survey, followed by individual interviews with 50% (n = 40) of the survey participants. In both palliative and cancer care, singing client-preferred music and singing for relaxation were the most frequently used interventions. In palliative care, the most commonly addressed goals were to increase self-expression, improve mood, and create a feeling of togetherness between individuals receiving palliative care and their family. In cancer care, the most commonly addressed goals were to support breathing, improve mood, and support reminiscence. Seven themes emerged from therapist interviews: containing the space, connection, soothing, identity, freeing the voice within, letting go, and honoring. Music therapists use singing to address the physical, emotional, social, and spiritual goals of patients, and described singing interventions as accessible and effective. Further research is recommended to examine intervention efficacy and identify factors responsible that contribute to clinical benefit. © the American Music Therapy Association 2017. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com

Melodic multi-feature paradigm reveals auditory profiles in music-sound encoding

Directory of Open Access Journals (Sweden)

Mari eTervaniemi

2014-07-01

Full Text Available Musical expertise modulates preattentive neural sound discrimination. However, this evidence up to great extent originates from paradigms using very simple stimulation. Here we use a novel melody paradigm (revealing the auditory profile for six sound parameters in parallel to compare memory-related MMN and attention-related P3a responses recorded from non-musicians and Finnish Folk musicians. MMN emerged in both groups of participants for all sound changes (except for rhythmic changes in non-musicians. In Folk musicians, the MMN was enlarged for mistuned sounds when compared with non-musicians. This is taken to reflect their familiarity with pitch information which is in key position in Finnish folk music when compared with e.g., rhythmic information. The MMN was followed by P3a after timbre changes, rhythm changes, and melody transposition. The MMN and P3a topographies differentiated the groups for all sound changes. Thus, the melody paradigm offers a fast and cost-effective means for determining the auditory profile for music-sound encoding and also, importantly, for probing the effects of musical expertise on it.

Melodic multi-feature paradigm reveals auditory profiles in music-sound encoding.

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Tervaniemi, Mari; Huotilainen, Minna; Brattico, Elvira

2014-01-01

Musical expertise modulates preattentive neural sound discrimination. However, this evidence up to great extent originates from paradigms using very simple stimulation. Here we use a novel melody paradigm (revealing the auditory profile for six sound parameters in parallel) to compare memory-related mismatch negativity (MMN) and attention-related P3a responses recorded from non-musicians and Finnish Folk musicians. MMN emerged in both groups of participants for all sound changes (except for rhythmic changes in non-musicians). In Folk musicians, the MMN was enlarged for mistuned sounds when compared with non-musicians. This is taken to reflect their familiarity with pitch information which is in key position in Finnish folk music when compared with e.g., rhythmic information. The MMN was followed by P3a after timbre changes, rhythm changes, and melody transposition. The MMN and P3a topographies differentiated the groups for all sound changes. Thus, the melody paradigm offers a fast and cost-effective means for determining the auditory profile for music-sound encoding and also, importantly, for probing the effects of musical expertise on it.

The sound of music: differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm.

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Vuust, Peter; Brattico, Elvira; Seppänen, Miia; Näätänen, Risto; Tervaniemi, Mari

2012-06-01

Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style/genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, rock/pop) and in non-musicians. Jazz and classical musicians scored higher in the musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. These results were extended by the MMN findings: jazz musicians had larger MMN-amplitude than all other experimental groups across the six different sound features, indicating a greater overall sensitivity to auditory outliers. In particular, we found enhanced processing of pith and sliding up to pitches in jazz musicians only. Furthermore, we observed a more frontal MMN to pitch and location compared to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical context. Musicians' brain is hence shaped by the type of training, musical style/genre, and listening experiences. Copyright © 2012 Elsevier Ltd. All rights reserved.

Sounds of Modified Flight Feathers Reliably Signal Danger in a Pigeon.

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Murray, Trevor G; Zeil, Jochen; Magrath, Robert D

2017-11-20

In his book on sexual selection, Darwin [1] devoted equal space to non-vocal and vocal communication in birds. Since then, vocal communication has become a model for studies of neurobiology, learning, communication, evolution, and conservation [2, 3]. In contrast, non-vocal "instrumental music," as Darwin called it, has only recently become subject to sustained inquiry [4, 5]. In particular, outstanding work reveals how feathers, often highly modified, produce distinctive sounds [6-9], and suggests that these sounds have evolved at least 70 times, in many orders [10]. It remains to be shown, however, that such sounds are signals used in communication. Here we show that crested pigeons (Ochyphaps lophotes) signal alarm with specially modified wing feathers. We used video and feather-removal experiments to demonstrate that the highly modified 8 th primary wing feather (P8) produces a distinct note during each downstroke. The sound changes with wingbeat frequency, so that birds fleeing danger produce wing sounds with a higher tempo. Critically, a playback experiment revealed that only if P8 is present does the sound of escape flight signal danger. Our results therefore indicate, nearly 150 years after Darwin's book, that modified feathers can be used for non-vocal communication, and they reveal an intrinsically reliable alarm signal. Copyright © 2017 Elsevier Ltd. All rights reserved.

Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages

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David Huron

2006-09-01

Full Text Available Bolinger, Ohala, Morton and others have established that vocal pitch height is perceived to be associated with social signals of dominance and submissiveness: higher vocal pitch is associated with submissiveness, whereas lower vocal pitch is associated with social dominance. An experiment was carried out to test this relationship in the perception of non-vocal melodies. Results show a parallel situation in music: higher-pitched melodies sound more submissive (less threatening than lower-pitched melodies.

Vocal Music Therapy for Chronic Pain Management in Inner-City African Americans: A Mixed Methods Feasibility Study.

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Bradt, Joke; Norris, Marisol; Shim, Minjung; Gracely, Edward J; Gerrity, Patricia

2016-01-01

To date, research on music for pain management has focused primarily on listening to prerecorded music for acute pain. Research is needed on the impact of active music therapy interventions on chronic pain management. The aim of this mixed methods research study was to determine feasibility and estimates of effect of vocal music therapy for chronic pain management. Fifty-five inner-city adults, predominantly African Americans, with chronic pain were randomized to an 8-week vocal music therapy treatment group or waitlist control group. Consent and attrition rates, treatment compliance, and instrument appropriateness/burden were tracked. Physical functioning (pain interference and general activities), self-efficacy, emotional functioning, pain intensity, pain coping, and participant perception of change were measured at baseline, 4, 8, and 12 weeks. Focus groups were conducted at the 12-week follow-up. The consent rate was 77%. The attrition rate was 27% at follow-up. We established acceptability of the intervention. Large effect sizes were obtained for self-efficacy at weeks 8 and 12; a moderate effect size was found for pain interference at week 8; no improvements were found for general activities and emotional functioning. Moderate effect sizes were obtained for pain intensity and small effect sizes for coping, albeit not statistically significant. Qualitative findings suggested that the treatment resulted in enhanced self-management, motivation, empowerment, a sense of belonging, and reduced isolation. This study suggests that vocal music therapy may be effective in building essential stepping-stones for effective chronic pain management, namely enhanced self-efficacy, motivation, empowerment, and social engagement. © the American Music Therapy Association 2016. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

Music and Sound in Time Processing of Children with ADHD.

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Carrer, Luiz Rogério Jorgensen

2015-01-01

ADHD involves cognitive and behavioral aspects with impairments in many environments of children and their families' lives. Music, with its playful, spontaneous, affective, motivational, temporal, and rhythmic dimensions can be of great help for studying the aspects of time processing in ADHD. In this article, we studied time processing with simple sounds and music in children with ADHD with the hypothesis that children with ADHD have a different performance when compared with children with normal development in tasks of time estimation and production. The main objective was to develop sound and musical tasks to evaluate and correlate the performance of children with ADHD, with and without methylphenidate, compared to a control group with typical development. The study involved 36 participants of age 6-14 years, recruited at NANI-UNIFESP/SP, subdivided into three groups with 12 children in each. Data was collected through a musical keyboard using Logic Audio Software 9.0 on the computer that recorded the participant's performance in the tasks. Tasks were divided into sections: spontaneous time production, time estimation with simple sounds, and time estimation with music. (1) performance of ADHD groups in temporal estimation of simple sounds in short time intervals (30 ms) were statistically lower than that of control group (p < 0.05); (2) in the task comparing musical excerpts of the same duration (7 s), ADHD groups considered the tracks longer when the musical notes had longer durations, while in the control group, the duration was related to the density of musical notes in the track. The positive average performance observed in the three groups in most tasks perhaps indicates the possibility that music can, in some way, positively modulate the symptoms of inattention in ADHD.

The effect of vocal and instrumental music on cardio respiratory variables, energy expenditure and exertion levels during sub maximal treadmill exercise.

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Savitha, D; Sejil, T V; Rao, Shwetha; Roshan, C J; Roshan, C J

2013-01-01

The purpose of the study was to investigate the effect of vocal and instrumental music on various physiological parameters during submaximal exercise. Each subject underwent three sessions of exercise protocol without music, with vocal music, and instrumental versions of same piece of music. The protocol consisted of 10 min treadmill exercise at 70% HR(max) and 20 min of recovery. Minute to minute heart rate and breath by breath recording of respiratory parameters, rate of energy expenditure and perceived exertion levels were measured. Music, irrespective of the presence or absence of lyrics, enabled the subjects to exercise at a significantly lower heart rate and oxygen consumption, reduced the metabolic cost and perceived exertion levels of exercise (P Music having a relaxant effect could have probably increased the parasympathetic activation leading to these effects.

The sounds of safety: stress and danger in music perception.

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Schäfer, Thomas; Huron, David; Shanahan, Daniel; Sedlmeier, Peter

2015-01-01

As with any sensory input, music might be expected to incorporate the processing of information about the safety of the environment. Little research has been done on how such processing has evolved and how different kinds of sounds may affect the experience of certain environments. In this article, we investigate if music, as a form of auditory information, can trigger the experience of safety. We hypothesized that (1) there should be an optimal, subjectively preferred degree of information density of musical sounds, at which safety-related information can be processed optimally; (2) any deviation from the optimum, that is, both higher and lower levels of information density, should elicit experiences of higher stress and danger; and (3) in general, sonic scenarios with music should reduce experiences of stress and danger more than other scenarios. In Experiment 1, the information density of short music-like rhythmic stimuli was manipulated via their tempo. In an initial session, listeners adjusted the tempo of the stimuli to what they deemed an appropriate tempo. In an ensuing session, the same listeners judged their experienced stress and danger in response to the same stimuli, as well as stimuli exhibiting tempo variants. Results are consistent with the existence of an optimum information density for a given rhythm; the preferred tempo decreased for increasingly complex rhythms. The hypothesis that any deviation from the optimum would lead to experiences of higher stress and danger was only partly fit by the data. In Experiment 2, listeners should indicate their experience of stress and danger in response to different sonic scenarios: music, natural sounds, and silence. As expected, the music scenarios were associated with lowest stress and danger whereas both natural sounds and silence resulted in higher stress and danger. Overall, the results largely fit the hypothesis that music seemingly carries safety-related information about the environment.

Social functioning and autonomic nervous system sensitivity across vocal and musical emotion in Williams syndrome and autism spectrum disorder.

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Järvinen, Anna; Ng, Rowena; Crivelli, Davide; Neumann, Dirk; Arnold, Andrew J; Woo-VonHoogenstyn, Nicholas; Lai, Philip; Trauner, Doris; Bellugi, Ursula

2016-01-01

Both Williams syndrome (WS) and autism spectrum disorders (ASD) are associated with unusual auditory phenotypes with respect to processing vocal and musical stimuli, which may be shaped by the atypical social profiles that characterize the syndromes. Autonomic nervous system (ANS) reactivity to vocal and musical emotional stimuli was examined in 12 children with WS, 17 children with ASD, and 20 typically developing (TD) children, and related to their level of social functioning. The results of this small-scale study showed that after controlling for between-group differences in cognitive ability, all groups showed similar emotion identification performance across conditions. Additionally, in ASD, lower autonomic reactivity to human voice, and in TD, to musical emotion, was related to more normal social functioning. Compared to TD, both clinical groups showed increased arousal to vocalizations. A further result highlighted uniquely increased arousal to music in WS, contrasted with a decrease in arousal in ASD and TD. The ASD and WS groups exhibited arousal patterns suggestive of diminished habituation to the auditory stimuli. The results are discussed in the context of the clinical presentation of WS and ASD. © 2015 Wiley Periodicals, Inc.

Sound or Expression: Dilemmas in the Phenomenological Aesthetics of 20th Century Music (Sound or Expression: Dilemmas in the Phenomenological Aesthetics of 20th Century Music

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Martina Stratilková

2016-12-01

Full Text Available Phenomenology, as a philosophy of the twentieth century, is often confronted with music of the same period, which in contrast with the classical-romantic repertoire recedes from previously codified means for the organisation of musical structure (namely tonality and holds up the actual matter of the music – sound – for admiration. So musical experience dwells more at the sound and its direct appearance rather than rushing to the musical meanings intended through sensuous moments. From this aspect music in the first decades of the twentieth century complemented the other arts undergoing a similar development. Romantic art was replaced by artistic creativity relying on the objectivity of the musical material and not on the emotional quality. The paper considers circumstances under which some of the phenomenological approaches adopt a positive approach to the music of the twentieth century (those which stress the immediacy of the perceptive presence and some of which tend to reject it (those which apply the requirement of expressive intentionality.

Music and language expertise influence the categorization of speech and musical sounds: behavioral and electrophysiological measurements.

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Elmer, Stefan; Klein, Carina; Kühnis, Jürg; Liem, Franziskus; Meyer, Martin; Jäncke, Lutz

2014-10-01

In this study, we used high-density EEG to evaluate whether speech and music expertise has an influence on the categorization of expertise-related and unrelated sounds. With this purpose in mind, we compared the categorization of speech, music, and neutral sounds between professional musicians, simultaneous interpreters (SIs), and controls in response to morphed speech-noise, music-noise, and speech-music continua. Our hypothesis was that music and language expertise will strengthen the memory representations of prototypical sounds, which act as a perceptual magnet for morphed variants. This means that the prototype would "attract" variants. This so-called magnet effect should be manifested by an increased assignment of morphed items to the trained category, by a reduced maximal slope of the psychometric function, as well as by differential event-related brain responses reflecting memory comparison processes (i.e., N400 and P600 responses). As a main result, we provide first evidence for a domain-specific behavioral bias of musicians and SIs toward the trained categories, namely music and speech. In addition, SIs showed a bias toward musical items, indicating that interpreting training has a generic influence on the cognitive representation of spectrotemporal signals with similar acoustic properties to speech sounds. Notably, EEG measurements revealed clear distinct N400 and P600 responses to both prototypical and ambiguous items between the three groups at anterior, central, and posterior scalp sites. These differential N400 and P600 responses represent synchronous activity occurring across widely distributed brain networks, and indicate a dynamical recruitment of memory processes that vary as a function of training and expertise.

Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters.

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McAdams, S; Beauchamp, J W; Meneguzzi, S

1999-02-01

The perceptual salience of several outstanding features of quasiharmonic, time-variant spectra was investigated in musical instrument sounds. Spectral analyses of sounds from seven musical instruments (clarinet, flute, oboe, trumpet, violin, harpsichord, and marimba) produced time-varying harmonic amplitude and frequency data. Six basic data simplifications and five combinations of them were applied to the reference tones: amplitude-variation smoothing, coherent variation of amplitudes over time, spectral-envelope smoothing, forced harmonic-frequency variation, frequency-variation smoothing, and harmonic-frequency flattening. Listeners were asked to discriminate sounds resynthesized with simplified data from reference sounds resynthesized with the full data. Averaged over the seven instruments, the discrimination was very good for spectral envelope smoothing and amplitude envelope coherence, but was moderate to poor in decreasing order for forced harmonic frequency variation, frequency variation smoothing, frequency flattening, and amplitude variation smoothing. Discrimination of combinations of simplifications was equivalent to that of the most potent constituent simplification. Objective measurements were made on the spectral data for harmonic amplitude, harmonic frequency, and spectral centroid changes resulting from simplifications. These measures were found to correlate well with discrimination results, indicating that listeners have access to a relatively fine-grained sensory representation of musical instrument sounds.

Blah, Blah, Blah: Making Sense of Nonsense in Irish Vocal Music

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Catherine E. Mullins

2014-11-01

Full Text Available This paper seeks to provide a foundation for understanding lilting, a traditional type of vocal music found in Ireland that involves improvising non-lexical vocables to dance tunes, in order to help preserve this genre in its traditional form as well as encourage its transformation and incorporation into modern music. Through a case study, this research paper demonstrates certain features and patterns that may characterize traditional lilting. A recording of Seamus Fay’s performance of the traditional folk jig, “Humours of Ballyloughlin,” has been transcribed for analysis and examined for possible relationships of vocables or vowels to music and vocables to other vocables. Characteristics suggested by the transcription include the importance of [d], the extent of the vocable vocabulary used throughout the piece, the typical arrangement of vocables in relation to one another, and the connection between vocables to metric accents and vowels to agogic accents.

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics.

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Olsen, Kirk N; Dean, Roger T; Leung, Yvonne

2016-01-01

Phrasing facilitates the organization of auditory information and is central to speech and music. Not surprisingly, aspects of changing intensity, rhythm, and pitch are key determinants of musical phrases and their boundaries in instrumental note-based music. Different kinds of speech (such as tone- vs. stress-languages) share these features in different proportions and form an instructive comparison. However, little is known about whether or how musical phrasing is perceived in sound-based music, where the basic musical unit from which a piece is created is commonly non-instrumental continuous sounds, rather than instrumental discontinuous notes. This issue forms the target of the present paper. Twenty participants (17 untrained in music) were presented with six stimuli derived from sound-based music, note-based music, and environmental sound. Their task was to indicate each occurrence of a perceived phrase and qualitatively describe key characteristics of the stimulus associated with each phrase response. It was hypothesized that sound-based music does elicit phrase perception, and that this is primarily associated with temporal changes in intensity and timbre, rather than rhythm and pitch. Results supported this hypothesis. Qualitative analysis of participant descriptions showed that for sound-based music, the majority of perceived phrases were associated with intensity or timbral change. For the note-based piano piece, rhythm was the main theme associated with perceived musical phrasing. We modeled the occurrence in time of perceived musical phrases with recurrent event 'hazard' analyses using time-series data representing acoustic predictors associated with intensity, spectral flatness, and rhythmic density. Acoustic intensity and timbre (represented here by spectral flatness) were strong predictors of perceived musical phrasing in sound-based music, and rhythm was only predictive for the piano piece. A further analysis including five additional spectral

Voice Use Among Music Theory Teachers: A Voice Dosimetry and Self-Assessment Study.

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Schiller, Isabel S; Morsomme, Dominique; Remacle, Angélique

2017-07-25

This study aimed (1) to investigate music theory teachers' professional and extra-professional vocal loading and background noise exposure, (2) to determine the correlation between vocal loading and background noise, and (3) to determine the correlation between vocal loading and self-evaluation data. Using voice dosimetry, 13 music theory teachers were monitored for one workweek. The parameters analyzed were voice sound pressure level (SPL), fundamental frequency (F0), phonation time, vocal loading index (VLI), and noise SPL. Spearman correlation was used to correlate vocal loading parameters (voice SPL, F0, and phonation time) and noise SPL. Each day, the subjects self-assessed their voice using visual analog scales. VLI and self-evaluation data were correlated using Spearman correlation. Vocal loading parameters and noise SPL were significantly higher in the professional than in the extra-professional environment. Voice SPL, phonation time, and female subjects' F0 correlated positively with noise SPL. VLI correlated with self-assessed voice quality, vocal fatigue, and amount of singing and speaking voice produced. Teaching music theory is a profession with high vocal demands. More background noise is associated with increased vocal loading and may indirectly increase the risk for voice disorders. Correlations between VLI and self-assessments suggest that these teachers are well aware of their vocal demands and feel their effect on voice quality and vocal fatigue. Visual analog scales seem to represent a useful tool for subjective vocal loading assessment and associated symptoms in these professional voice users. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Exposure to excessive sounds and hearing status in academic classical music students

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Małgorzata Pawlaczyk-Łuszczyńska

2017-02-01

Full Text Available Objectives: The aim of this study was to assess hearing of music students in relation to their exposure to excessive sounds. Material and Methods: Standard pure-tone audiometry (PTA was performed in 168 music students, aged 22.5±2.5 years. The control group included 67 subjects, non-music students and non-musicians, aged 22.8±3.3 years. Data on the study subjects’ musical experience, instruments in use, time of weekly practice and additional risk factors for noise-induced hearing loss (NIHL were identified by means of a questionnaire survey. Sound pressure levels produced by various groups of instruments during solo and group playing were also measured and analyzed. The music students’ audiometric hearing threshold levels (HTLs were compared with the theoretical predictions calculated according to the International Organization for Standardization standard ISO 1999:2013. Results: It was estimated that the music students were exposed for 27.1±14.3 h/week to sounds at the A-weighted equivalent-continuous sound pressure level of 89.9±6.0 dB. There were no significant differences in HTLs between the music students and the control group in the frequency range of 4000–8000 Hz. Furthermore, in each group HTLs in the frequency range 1000–8000 Hz did not exceed 20 dB HL in 83% of the examined ears. Nevertheless, high frequency notched audiograms typical of the noise-induced hearing loss were found in 13.4% and 9% of the musicians and non-musicians, respectively. The odds ratio (OR of notching in the music students increased significantly along with higher sound pressure levels (OR = 1.07, 95% confidence interval (CI: 1.014–1.13, p < 0.05. The students’ HTLs were worse (higher than those of a highly screened non-noise-exposed population. Moreover, their hearing loss was less severe than that expected from sound exposure for frequencies of 3000 Hz and 4000 Hz, and it was more severe in the case of frequency of 6000 Hz. Conclusions: The

Exposure to excessive sounds and hearing status in academic classical music students.

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Pawlaczyk-Łuszczyńska, Małgorzata; Zamojska-Daniszewska, Małgorzata; Dudarewicz, Adam; Zaborowski, Kamil

2017-02-21

The aim of this study was to assess hearing of music students in relation to their exposure to excessive sounds. Standard pure-tone audiometry (PTA) was performed in 168 music students, aged 22.5±2.5 years. The control group included 67 subjects, non-music students and non-musicians, aged 22.8±3.3 years. Data on the study subjects' musical experience, instruments in use, time of weekly practice and additional risk factors for noise-induced hearing loss (NIHL) were identified by means of a questionnaire survey. Sound pressure levels produced by various groups of instruments during solo and group playing were also measured and analyzed. The music students' audiometric hearing threshold levels (HTLs) were compared with the theoretical predictions calculated according to the International Organization for Standardization standard ISO 1999:2013. It was estimated that the music students were exposed for 27.1±14.3 h/week to sounds at the A-weighted equivalent-continuous sound pressure level of 89.9±6.0 dB. There were no significant differences in HTLs between the music students and the control group in the frequency range of 4000-8000 Hz. Furthermore, in each group HTLs in the frequency range 1000-8000 Hz did not exceed 20 dB HL in 83% of the examined ears. Nevertheless, high frequency notched audiograms typical of the noise-induced hearing loss were found in 13.4% and 9% of the musicians and non-musicians, respectively. The odds ratio (OR) of notching in the music students increased significantly along with higher sound pressure levels (OR = 1.07, 95% confidence interval (CI): 1.014-1.13, p students' HTLs were worse (higher) than those of a highly screened non-noise-exposed population. Moreover, their hearing loss was less severe than that expected from sound exposure for frequencies of 3000 Hz and 4000 Hz, and it was more severe in the case of frequency of 6000 Hz. The results confirm the need for further studies and development of a hearing conservation program for

What Does Music Sound Like for a Cochlear Implant User?

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Jiam, Nicole T; Caldwell, Meredith T; Limb, Charles J

2017-09-01

Cochlear implant research and product development over the past 40 years have been heavily focused on speech comprehension with little emphasis on music listening and enjoyment. The relatively little understanding of how music sounds in a cochlear implant user stands in stark contrast to the overall degree of importance the public places on music and quality of life. The purpose of this article is to describe what music sounds like to cochlear implant users, using a combination of existing research studies and listener descriptions. We examined the published literature on music perception in cochlear implant users, particularly postlingual cochlear implant users, with an emphasis on the primary elements of music and recorded music. Additionally, we administered an informal survey to cochlear implant users to gather first-hand descriptions of music listening experience and satisfaction from the cochlear implant population. Limitations in cochlear implant technology lead to a music listening experience that is significantly distorted compared with that of normal hearing listeners. On the basis of many studies and sources, we describe how music is frequently perceived as out-of-tune, dissonant, indistinct, emotionless, and weak in bass frequencies, especially for postlingual cochlear implant users-which may in part explain why music enjoyment and participation levels are lower after implantation. Additionally, cochlear implant users report difficulty in specific musical contexts based on factors including but not limited to genre, presence of lyrics, timbres (woodwinds, brass, instrument families), and complexity of the perceived music. Future research and cochlear implant development should target these areas as parameters for improvement in cochlear implant-mediated music perception.

Exploring the effect of sound and music on health in hospital settings: A narrative review.

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Iyendo, Timothy Onosahwo

2016-11-01

Sound in hospital space has traditionally been considered in negative terms as both intrusive and unwanted, and based mainly on sound levels. However, sound level is only one aspect of the soundscape. There is strong evidence that exploring the positive aspect of sound in a hospital context can evoke positive feelings in both patients and nurses. Music psychology studies have also shown that music intervention in health care can have a positive effect on patient's emotions and recuperating processes. In this way, hospital spaces have the potential to reduce anxiety and stress, and make patients feel comfortable and secure. This paper describes a review of the literature exploring sound perception and its effect on health care. This review sorted the literature and main issues into themes concerning sound in health care spaces; sound, stress and health; positive soundscape; psychological perspective of music and emotion; music as a complementary medicine for improving health care; contradicting arguments concerning the use of music in health care; and implications for clinical practice. Using Web of Science, PubMed, Scopus, ProQuest Central, MEDLINE, and Google, a literature search on sound levels, sound sources and the impression of a soundscape was conducted. The review focused on the role and use of music on health care in clinical environments. In addition, other pertinent related materials in shaping the understanding of the field were retrieved, scanned and added into this review. The result indicated that not all noises give a negative impression within healthcare soundscapes. Listening to soothing music was shown to reduce stress, blood pressure and post-operative trauma when compared to silence. Much of the sound conveys meaningful information that is positive for both patients and nurses, in terms of soft wind, bird twitter, and ocean sounds. Music perception was demonstrated to bring about positive change in patient-reported outcomes such as eliciting

Animal signals and emotion in music: Coordinating affect across groups

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Gregory A. Bryant

2013-12-01

Full Text Available Researchers studying the emotional impact of music have not traditionally been concerned with the principled relationship between form and function in evolved animal signals. The acoustic structure of musical forms is related in important ways to emotion perception, and thus research on nonhuman animal vocalizations is relevant for understanding emotion in music. Musical behavior occurs in cultural contexts that include many other coordinated activities which mark group identity, and can allow people to communicate within and between social alliances. The emotional impact of music might be best understood as a proximate mechanism serving an ultimately social function. Here I describe recent work that reveals intimate connections between properties of certain animal signals and evocative aspects of human music, including 1 examinations of the role of nonlinearities (e.g., broadband noise in nonhuman animal vocalizations, and the analogous production and perception of these features in human music, and 2 an analysis of group musical performances and possible relationships to nonhuman animal chorusing and emotional contagion effects. Communicative features in music are likely due primarily to evolutionary byproducts of phylogenetically older, but still intact communication systems. But in some cases, such as the coordinated rhythmic sounds produced by groups of musicians, our appreciation and emotional engagement might be due to the operation of an adaptive social signaling system. Future empirical work should examine human musical behavior through the comparative lens of behavioral ecology and an adaptationist cognitive science. By this view, particular coordinated sound combinations generated by musicians exploit evolved perceptual response biases—many shared across species—and proliferate through cultural evolutionary processes.

The effects of noncontingent music and response interruption and redirection on vocal stereotypy.

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Gibbs, Ashley R; Tullis, Christopher A; Thomas, Raven; Elkins, Brittany

2018-06-17

Vocal stereotypy is a commonly occurring challenging behavior in children with autism spectrum disorder (ASD) that is frequently maintained by automatic reinforcement and often interferes with skill acquisition. Matched stimulation (MS), and response interruption and redirection (RIRD) are two interventions that have been demonstrated to be effective in reducing the occurrence of vocal stereotypy with participants with ASD. The current study sought to determine if the combination of MS (noncontingent music) and RIRD was more effective at reducing vocal stereotypy than RIRD alone and if the parents of children with ASD found the combination of MS and RIRD more socially valid than RIRD alone. The results suggested that the combined intervention resulted in greater suppression of vocal stereotypy and increased occurrences of on-task behavior in both participants. Additionally, RIRD required fewer implementations and had a shorter duration when combined with MS. Results suggest that the combination of MS and RIRD may be an effective intervention outside of highly controlled settings. © 2018 Society for the Experimental Analysis of Behavior.

On the Music of Sounds and the Music of Things (EMS2017, Nagoya, Japan)

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Richards, John; Landy, Leigh

2017-01-01

After a century of great upheaval in music, the twenty-first century is demonstrating that it will provide electroacoustic (or sound-based) music with continued radical developments although they may very well be of a different sort. Technological developments certainly dictated most of the twentieth century changes in music and this influence is in no way decreasing. The key change is less in terms of radical change regarding content; instead, our thesis is that production and distribution w...

Superior analgesic effect of an active distraction versus pleasant unfamiliar sounds and music

DEFF Research Database (Denmark)

Garza Villarreal, Eduardo A.; Brattico, Elvira; Vase, Lene

2012-01-01

Previous studies have shown a superior analgesic effect of favorite music over other passive or active distractive tasks. However, it is unclear what mediates this effect. In this study we investigated to which extent distraction, emotional valence and cognitive styles may explain part...... questionnaires concerning cognitive styles (Baron – Cohen and self-report). Active distraction with PASAT led to significantly less pain intensity and unpleasantness as compared to music and sound. In turn, both music and sound relieved pain significantly more than noise. When music and sound had the same level...... of valence they relieved pain to a similar degree. The emotional ratings of the conditions were correlated with the amount of pain relief and cognitive styles seemed to influence the analgesia effect. These findings suggest that the pain relieving effect previously seen in relation to music may be at least...

Effects of melody and technique on acoustical and musical features of western operatic singing voices.

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Larrouy-Maestri, Pauline; Magis, David; Morsomme, Dominique

2014-05-01

The operatic singing technique is frequently used in classical music. Several acoustical parameters of this specific technique have been studied but how these parameters combine remains unclear. This study aims to further characterize the Western operatic singing technique by observing the effects of melody and technique on acoustical and musical parameters of the singing voice. Fifty professional singers performed two contrasting melodies (popular song and romantic melody) with two vocal techniques (with and without operatic singing technique). The common quality parameters (energy distribution, vibrato rate, and extent), perturbation parameters (standard deviation of the fundamental frequency, signal-to-noise ratio, jitter, and shimmer), and musical features (fundamental frequency of the starting note, average tempo, and sound pressure level) of the 200 sung performances were analyzed. The results regarding the effect of melody and technique on the acoustical and musical parameters show that the choice of melody had a limited impact on the parameters observed, whereas a particular vocal profile appeared depending on the vocal technique used. This study confirms that vocal technique affects most of the parameters examined. In addition, the observation of quality, perturbation, and musical parameters contributes to a better understanding of the Western operatic singing technique. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

P1-18: The Effect of Background Music on Working Memory

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Ding-Hao Liu

2012-10-01

Full Text Available Many studies do visual working memory research under sundry sound conditions (Alley & Greene, 2008 Current Psychology 27 277–289; Iwanaga & Ito, 2002 Perceptual Motor Skills 94 1251–1258; Pring & Walker, 1994 Current Psychology 13 165–171. In order to understand more about background music, we modified previous studies to examine how the performance of working memory is affected by four different music conditions. Participants were randomly assigned into two groups to listen to two different pop songs to see if they have the similar effect on the performance of working memory. They were required to do six trials of digit span tasks under each music condition (silence, classical music, non-vocal music, vocal music. After being shown ten digits, each for 800 ms, participants were asked to recall and write down the digits in the correct order within 20 s. The results showed that there was no significant difference between two pop songs. Therefore, data were pooled for further analysis and indicated that there are significant differences and correlations in working memory among the four music conditions. The finding that the effect of non-vocal music affects working memory is greater in this study than in that of western films (Alley & Greene, 2008; Pring & Walker, 1994, which is consistent with the previous study in Japan (Iwanaga & Ito, 2002. The application of this study will be discussed in detail.

Introducing the Oxford Vocal (OxVoc Sounds Database: A validated set of non-acted affective sounds from human infants, adults and domestic animals

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Christine eParsons

2014-06-01

Full Text Available Sound moves us. Nowhere is this more apparent than in our responses to genuine emotional vocalisations, be they heartfelt distress cries or raucous laughter. Here, we present perceptual ratings and a description of a freely available, large database of natural affective vocal sounds from human infants, adults and domestic animals, the Oxford Vocal (OxVoc Sounds database. This database consists of 173 non-verbal sounds expressing a range of happy, sad and neutral emotional states. Ratings are presented for the sounds on a range of dimensions from a number of independent participant samples. Perceptions related to valence, including distress, vocaliser mood, and listener mood are presented in Study 1. Perceptions of the arousal of the sound, listener motivation to respond and valence (positive, negative are presented in Study 2. Perceptions of the emotional content of the stimuli in both Study 1 and Study 2 were consistent with the predefined categories (e.g., laugh stimuli perceived as positive. While the adult vocalisations received more extreme valence ratings, rated motivation to respond to the sounds was highest for the infant sounds. The major advantages of this database are the inclusion of vocalisations from naturalistic situations, which represent genuine expressions of emotion, and the inclusion of vocalisations from animals and infants, providing comparison stimuli for use in cross-species and developmental studies. The associated website provides a detailed description of the physical properties of the each sound stimulus along with cross-category descriptions.

A neurally inspired musical instrument classification system based upon the sound onset.

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Newton, Michael J; Smith, Leslie S

2012-06-01

Physiological evidence suggests that sound onset detection in the auditory system may be performed by specialized neurons as early as the cochlear nucleus. Psychoacoustic evidence shows that the sound onset can be important for the recognition of musical sounds. Here the sound onset is used in isolation to form tone descriptors for a musical instrument classification task. The task involves 2085 isolated musical tones from the McGill dataset across five instrument categories. A neurally inspired tone descriptor is created using a model of the auditory system's response to sound onset. A gammatone filterbank and spiking onset detectors, built from dynamic synapses and leaky integrate-and-fire neurons, create parallel spike trains that emphasize the sound onset. These are coded as a descriptor called the onset fingerprint. Classification uses a time-domain neural network, the echo state network. Reference strategies, based upon mel-frequency cepstral coefficients, evaluated either over the whole tone or only during the sound onset, provide context to the method. Classification success rates for the neurally-inspired method are around 75%. The cepstral methods perform between 73% and 76%. Further testing with tones from the Iowa MIS collection shows that the neurally inspired method is considerably more robust when tested with data from an unrelated dataset.

INNOVATIVE TENDENCIES OF FUTURE MUSIC TEACHERS’ SINGING TRAINING IN THE PROCESS OF PROFESSIONAL TRAINING

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Si Daofen

2017-04-01

Full Text Available In the article the innovative tendencies of singing training of Art institutes students at pedagogical universities is presented. The issue introduced in the article is relevant as processes of modernization of higher art and pedagogical education require implementing new scientific approaches and innovative technologies into future music teachers’ training to ensure the comprehensive development of a young generation in modern conditions. So the aim of the article is to disclose the main features of implementing innovative technologies into future music teachers’ training. The analysis of pedagogical and psychological literature shows that the main features of methodological training to work with schoolchildren are the following: mastering professional knowledge, taking into account characteristics of adults’ and children’s phonation; considering aesthetical and value qualities of vocal sound according to modern standards of singers’ training; comprehensive development of vocal, melodic and harmonic hearing; an ability to get schoolchildren’s correct vocal sound; developing skills of methodological analysis of singing process. Due to analysis of scientific works by V. Antoniuk, N. Hrebeniuk, V. Morozov it is reported that efficiency of students and singers’ performance depends on their readiness to make independent decisions in practical creative and performing process, that is a general tendency in the singing training. That’s why one of the main objectives of future music teacher training to performing activities during the years of study is thought to be developing singers’ independence. Among the most effective innovative technologies of future music teachers’ singing training the author proposes technologies of vocal and choral performance by V. Yemelianova, V. Morozova, H. Struve. It is proved that none of innovative concepts, discussed in the article, cannot be mechanically implemented in current national conditions

Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences

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Mark Reybrouck

2015-03-01

Full Text Available Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active “agent” coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component, which result in lasting changes of the internal state of the “agent”. In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.

Benefits of music training are widespread and lifelong: a bibliographic review of their non-musical effects.

Science.gov (United States)

Dawson, William J

2014-06-01

Recent publications indicate that musical training has effects on non-musical activities, some of which are lifelong. This study reviews recent publications collected from the Performing Arts Medicine Association bibliography. Music training, whether instrumental or vocal, produces beneficial and long-lasting changes in brain anatomy and function. Anatomic changes occur in brain areas devoted to hearing, speech, hand movements, and coordination between both sides of the brain. Functional benefits include improved sound processing and motor skills, especially in the upper extremities. Training benefits extend beyond music skills, resulting in higher IQs and school grades, greater specialized sensory and auditory memory/recall, better language memory and processing, heightened bilateral hand motor functioning, and improved integration and synchronization of sensory and motor functions. These changes last long after music training ends and can minimize or prevent age-related loss of brain cells and some mental functions. Early institution of music training and prolonged duration of training both appear to contribute to these positive changes.

Cognitive flexibility modulates maturation and music-training-related changes in neural sound discrimination.

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Saarikivi, Katri; Putkinen, Vesa; Tervaniemi, Mari; Huotilainen, Minna

2016-07-01

Previous research has demonstrated that musicians show superior neural sound discrimination when compared to non-musicians, and that these changes emerge with accumulation of training. Our aim was to investigate whether individual differences in executive functions predict training-related changes in neural sound discrimination. We measured event-related potentials induced by sound changes coupled with tests for executive functions in musically trained and non-trained children aged 9-11 years and 13-15 years. High performance in a set-shifting task, indexing cognitive flexibility, was linked to enhanced maturation of neural sound discrimination in both musically trained and non-trained children. Specifically, well-performing musically trained children already showed large mismatch negativity (MMN) responses at a young age as well as at an older age, indicating accurate sound discrimination. In contrast, the musically trained low-performing children still showed an increase in MMN amplitude with age, suggesting that they were behind their high-performing peers in the development of sound discrimination. In the non-trained group, in turn, only the high-performing children showed evidence of an age-related increase in MMN amplitude, and the low-performing children showed a small MMN with no age-related change. These latter results suggest an advantage in MMN development also for high-performing non-trained individuals. For the P3a amplitude, there was an age-related increase only in the children who performed well in the set-shifting task, irrespective of music training, indicating enhanced attention-related processes in these children. Thus, the current study provides the first evidence that, in children, cognitive flexibility may influence age-related and training-related plasticity of neural sound discrimination. © 2016 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

Communicative Musicality

DEFF Research Database (Denmark)

Holck, Ulla

2010-01-01

university, Stephen Malloch listened to tapes of mothers and their babies ‘chatting’ with each other, recorded by Trevarthen in the 70’s. One of the first tapes was the vocal interaction of Laura and her mother. “As I listened, intrigued by the fluid give and take of the communication, and the lilting speech...... of the mother as she chatted with her baby, I began to tap my foot. I am, by training, a musician, so I was very used to automatically feeling the beat as I listened to musical sounds.… I replaced the tape, and again, I could sense a distinct rhythmicity and melodious give and take to the gentle prompting...... therapy as purely protomusic. But with Malloch & Trevarthen’s focus on musicality as the innate human abilities that make music production and appreciation possible, this discussion can easily move on. These and many other essential discussions await us – thanks to this comprehensive – and demanding...

Musical Narratives: A Study of a Young Child's Identity Work in and through Music-Making

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Barrett, Margaret S.

2011-01-01

The investigation of infants' and young children's early musical engagement as singers, song-makers, and music-makers has provided some insight into children's early vocal and musical development. Recent research has highlighted the vital role of interactive vocalization or "communicative musicality" in infants' general development, including…

Harmonic Frequency Lowering: Effects on the Perception of Music Detail and Sound Quality.

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Kirchberger, Martin; Russo, Frank A

2016-02-01

A novel algorithm for frequency lowering in music was developed and experimentally tested in hearing-impaired listeners. Harmonic frequency lowering (HFL) combines frequency transposition and frequency compression to preserve the harmonic content of music stimuli. Listeners were asked to make judgments regarding detail and sound quality in music stimuli. Stimuli were presented under different signal processing conditions: original, low-pass filtered, HFL, and nonlinear frequency compressed. Results showed that participants reported perceiving the most detail in the HFL condition. In addition, there was no difference in sound quality across conditions. © The Author(s) 2016.

Melodic multi-feature paradigm reveals auditory profiles in music-sound encoding

DEFF Research Database (Denmark)

Tervaniemi, Mari; Huotilainen, Minna; Brattico, Elvira

2014-01-01

Musical expertise modulates preattentive neural sound discrimination. However, this evidence up to great extent originates from paradigms using very simple stimulation. Here we use a novel melody paradigm (revealing the auditory profile for six sound parameters in parallel) to compare memory......-related mismatch negativity (MMN) and attention-related P3a responses recorded from non-musicians and Finnish Folk musicians. MMN emerged in both groups of participants for all sound changes (except for rhythmic changes in non-musicians). In Folk musicians, the MMN was enlarged for mistuned sounds when compared...... with non-musicians. This is taken to reflect their familiarity with pitch information which is in key position in Finnish folk music when compared with e.g., rhythmic information. The MMN was followed by P3a after timbre changes, rhythm changes, and melody transposition. The MMN and P3a topographies...

Verbal learning in the context of background music: no influence of vocals and instrumentals on verbal learning.

OpenAIRE

Jancke L; Brugger E; Brummer M; Scherrer S; Alahmadi N

2014-01-01

BACKGROUND: Whether listening to background music enhances verbal learning performance is still a matter of dispute. In this study we investigated the influence of vocal and instrumental background music on verbal learning. METHODS: 226 subjects were randomly assigned to one of five groups (one control group and 4 experimental groups). All participants were exposed to a verbal learning task. One group served as control group while the 4 further groups served as experimental groups. The con...

The production and perception of emotionally expressive walking sounds: similarities between musical performance and everyday motor activity.

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Bruno L Giordano

Full Text Available Several studies have investigated the encoding and perception of emotional expressivity in music performance. A relevant question concerns how the ability to communicate emotions in music performance is acquired. In accordance with recent theories on the embodiment of emotion, we suggest here that both the expression and recognition of emotion in music might at least in part rely on knowledge about the sounds of expressive body movements. We test this hypothesis by drawing parallels between musical expression of emotions and expression of emotions in sounds associated with a non-musical motor activity: walking. In a combined production-perception design, two experiments were conducted, and expressive acoustical features were compared across modalities. An initial performance experiment tested for similar feature use in walking sounds and music performance, and revealed that strong similarities exist. Features related to sound intensity, tempo and tempo regularity were identified as been used similarly in both domains. Participants in a subsequent perception experiment were able to recognize both non-emotional and emotional properties of the sound-generating walkers. An analysis of the acoustical correlates of behavioral data revealed that variations in sound intensity, tempo, and tempo regularity were likely used to recognize expressed emotions. Taken together, these results lend support the motor origin hypothesis for the musical expression of emotions.

民族声乐教学的多样化分析%Diversity analysis of national vocal music teaching

Institute of Scientific and Technical Information of China (English)

胡水静

2015-01-01

在民族文化中，民族音乐是其中重要的组成部分之一。它不仅体现一个民族性格特征，同时也象征着一种民族凝聚力。我国有56个民族，每个民族都有独属于自身的民族文化，这就形成了我国民族音乐的多样性和差异性，然而现今单一的民族声乐所沿用的传统教学模式满足不了当前的教学需求。本文对民族声乐的类型进行阐述，分析了民族声乐的多样化，并针对其多样化，提出几点看法，以供参考。%In the national culture, national music is one of the important parts. It not only reflects a national personality characteristic, but also a symbol of a national cohesion. There are 56 peoples in our country, every nation has unique to their own national culture, it has formed the diversity and differences of Chinese national music, however, the single national vocal music today used by the traditional teaching mode can't satisfy the current requirements of teaching. In this paper, the paper expounds the types of national vocal music, analyzes the diversity of the national vocal music, and for its diversity, puts forward some views, for your reference.

Emotional recognition from dynamic facial, vocal and musical expressions following traumatic brain injury.

Science.gov (United States)

Drapeau, Joanie; Gosselin, Nathalie; Peretz, Isabelle; McKerral, Michelle

2017-01-01

To assess emotion recognition from dynamic facial, vocal and musical expressions in sub-groups of adults with traumatic brain injuries (TBI) of different severities and identify possible common underlying mechanisms across domains. Forty-one adults participated in this study: 10 with moderate-severe TBI, nine with complicated mild TBI, 11 with uncomplicated mild TBI and 11 healthy controls, who were administered experimental (emotional recognition, valence-arousal) and control tasks (emotional and structural discrimination) for each domain. Recognition of fearful faces was significantly impaired in moderate-severe and in complicated mild TBI sub-groups, as compared to those with uncomplicated mild TBI and controls. Effect sizes were medium-large. Participants with lower GCS scores performed more poorly when recognizing fearful dynamic facial expressions. Emotion recognition from auditory domains was preserved following TBI, irrespective of severity. All groups performed equally on control tasks, indicating no perceptual disorders. Although emotional recognition from vocal and musical expressions was preserved, no correlation was found across auditory domains. This preliminary study may contribute to improving comprehension of emotional recognition following TBI. Future studies of larger samples could usefully include measures of functional impacts of recognition deficits for fearful facial expressions. These could help refine interventions for emotional recognition following a brain injury.

The influence of caregiver singing and background music on vocally expressed emotions and moods in dementia care: a qualitative analysis.

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Götell, Eva; Brown, Steven; Ekman, Sirkka-Liisa

2009-04-01

Music and singing are considered to have a strong impact on human emotions. Such an effect has been demonstrated in caregiving contexts with dementia patients. The aim of the study was to illuminate vocally expressed emotions and moods in the communication between caregivers and persons with severe dementia during morning care sessions. Three types of caring sessions were compared: the "usual" way, with no music; with background music playing; and with the caregiver singing to and/or with the patient. Nine persons with severe dementia living in a nursing home in Sweden and five professional caregivers participated in this study. Qualitative content analysis was used to examine videotaped recordings of morning care sessions, with a focus on vocally expressed emotions and moods during verbal communication. Compared to no music, the presence of background music and caregiver singing improved the mutuality of the communication between caregiver and patient, creating a joint sense of vitality. Positive emotions were enhanced, and aggressiveness was diminished. Whereas background music increased the sense of playfulness, caregiver singing enhanced the sense of sincerity and intimacy in the interaction. Caregiver singing and background music can help the caregiver improve the patient's ability to express positive emotions and moods, and to elicit a sense of vitality on the part of the person with severe dementia. The results further support the value of caregiver singing as a method to improve the quality of dementia care.

"Sounds of Intent in the Early Years": A Proposed Framework of Young Children's Musical Development

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Voyajolu, Angela; Ockelford, Adam

2016-01-01

"Sounds of Intent in the Early Years" explores the musical development of children from birth to five years of age. Observational evidence has been utilised together with key literature on musical development and core concepts of zygonic theory (Ockelford, 2013) to investigate the applicability of the original "Sounds of…

Modeling vocalization with ECoG cortical activity recorded during vocal production in the macaque monkey.

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Fukushima, Makoto; Saunders, Richard C; Fujii, Naotaka; Averbeck, Bruno B; Mishkin, Mortimer

2014-01-01

Vocal production is an example of controlled motor behavior with high temporal precision. Previous studies have decoded auditory evoked cortical activity while monkeys listened to vocalization sounds. On the other hand, there have been few attempts at decoding motor cortical activity during vocal production. Here we recorded cortical activity during vocal production in the macaque with a chronically implanted electrocorticographic (ECoG) electrode array. The array detected robust activity in motor cortex during vocal production. We used a nonlinear dynamical model of the vocal organ to reduce the dimensionality of `Coo' calls produced by the monkey. We then used linear regression to evaluate the information in motor cortical activity for this reduced representation of calls. This simple linear model accounted for circa 65% of the variance in the reduced sound representations, supporting the feasibility of using the dynamical model of the vocal organ for decoding motor cortical activity during vocal production.

Tool-use-associated sound in the evolution of language.

Science.gov (United States)

Larsson, Matz

2015-09-01

Proponents of the motor theory of language evolution have primarily focused on the visual domain and communication through observation of movements. In the present paper, it is hypothesized that the production and perception of sound, particularly of incidental sound of locomotion (ISOL) and tool-use sound (TUS), also contributed. Human bipedalism resulted in rhythmic and more predictable ISOL. It has been proposed that this stimulated the evolution of musical abilities, auditory working memory, and abilities to produce complex vocalizations and to mimic natural sounds. Since the human brain proficiently extracts information about objects and events from the sounds they produce, TUS, and mimicry of TUS, might have achieved an iconic function. The prevalence of sound symbolism in many extant languages supports this idea. Self-produced TUS activates multimodal brain processing (motor neurons, hearing, proprioception, touch, vision), and TUS stimulates primate audiovisual mirror neurons, which is likely to stimulate the development of association chains. Tool use and auditory gestures involve motor processing of the forelimbs, which is associated with the evolution of vertebrate vocal communication. The production, perception, and mimicry of TUS may have resulted in a limited number of vocalizations or protowords that were associated with tool use. A new way to communicate about tools, especially when out of sight, would have had selective advantage. A gradual change in acoustic properties and/or meaning could have resulted in arbitrariness and an expanded repertoire of words. Humans have been increasingly exposed to TUS over millions of years, coinciding with the period during which spoken language evolved. ISOL and tool-use-related sound are worth further exploration.

Sensing Emotion in Voices: Negativity Bias and Gender Differences in a Validation Study of the Oxford Vocal (?OxVoc?) Sounds Database

OpenAIRE

Young, Katherine S.; Parsons, Christine E.; LeBeau, Richard T.; Tabak, Benjamin A.; Sewart, Amy R.; Stein, Alan; Kringelbach, Morten L.; Craske, Michelle G.

2016-01-01

Emotional expressions are an essential element of human interactions. Recent work has increasingly recognized that emotional vocalizations can color and shape interactions between individuals. Here we present data on the psychometric properties of a recently developed database of authentic nonlinguistic emotional vocalizations from human adults and infants (the Oxford Vocal 'OxVoc' Sounds Database; Parsons, Young, Craske, Stein, & Kringelbach, 2014). In a large sample (n = 562), we demonstrat...

Instrument Identification in Polyphonic Music: Feature Weighting to Minimize Influence of Sound Overlaps

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Goto Masataka

2007-01-01

Full Text Available We provide a new solution to the problem of feature variations caused by the overlapping of sounds in instrument identification in polyphonic music. When multiple instruments simultaneously play, partials (harmonic components of their sounds overlap and interfere, which makes the acoustic features different from those of monophonic sounds. To cope with this, we weight features based on how much they are affected by overlapping. First, we quantitatively evaluate the influence of overlapping on each feature as the ratio of the within-class variance to the between-class variance in the distribution of training data obtained from polyphonic sounds. Then, we generate feature axes using a weighted mixture that minimizes the influence via linear discriminant analysis. In addition, we improve instrument identification using musical context. Experimental results showed that the recognition rates using both feature weighting and musical context were 84.1 for duo, 77.6 for trio, and 72.3 for quartet; those without using either were 53.4, 49.6, and 46.5 , respectively.

Temporal recalibration in vocalization induced by adaptation of delayed auditory feedback.

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Kosuke Yamamoto

Full Text Available BACKGROUND: We ordinarily perceive our voice sound as occurring simultaneously with vocal production, but the sense of simultaneity in vocalization can be easily interrupted by delayed auditory feedback (DAF. DAF causes normal people to have difficulty speaking fluently but helps people with stuttering to improve speech fluency. However, the underlying temporal mechanism for integrating the motor production of voice and the auditory perception of vocal sound remains unclear. In this study, we investigated the temporal tuning mechanism integrating vocal sensory and voice sounds under DAF with an adaptation technique. METHODS AND FINDINGS: Participants produced a single voice sound repeatedly with specific delay times of DAF (0, 66, 133 ms during three minutes to induce 'Lag Adaptation'. They then judged the simultaneity between motor sensation and vocal sound given feedback. We found that lag adaptation induced a shift in simultaneity responses toward the adapted auditory delays. This indicates that the temporal tuning mechanism in vocalization can be temporally recalibrated after prolonged exposure to delayed vocal sounds. Furthermore, we found that the temporal recalibration in vocalization can be affected by averaging delay times in the adaptation phase. CONCLUSIONS: These findings suggest vocalization is finely tuned by the temporal recalibration mechanism, which acutely monitors the integration of temporal delays between motor sensation and vocal sound.

Musical ability and non-native speech-sound processing are linked through sensitivity to pitch and spectral information.

Science.gov (United States)

Kempe, Vera; Bublitz, Dennis; Brooks, Patricia J

2015-05-01

Is the observed link between musical ability and non-native speech-sound processing due to enhanced sensitivity to acoustic features underlying both musical and linguistic processing? To address this question, native English speakers (N = 118) discriminated Norwegian tonal contrasts and Norwegian vowels. Short tones differing in temporal, pitch, and spectral characteristics were used to measure sensitivity to the various acoustic features implicated in musical and speech processing. Musical ability was measured using Gordon's Advanced Measures of Musical Audiation. Results showed that sensitivity to specific acoustic features played a role in non-native speech-sound processing: Controlling for non-verbal intelligence, prior foreign language-learning experience, and sex, sensitivity to pitch and spectral information partially mediated the link between musical ability and discrimination of non-native vowels and lexical tones. The findings suggest that while sensitivity to certain acoustic features partially mediates the relationship between musical ability and non-native speech-sound processing, complex tests of musical ability also tap into other shared mechanisms. © 2014 The British Psychological Society.

Sound experiences: the vision of experimental musician on the folkloric music in modern society

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Rieko Tanaka

2016-11-01

Full Text Available This work begins narrating how folk music has always been a remnant in the influence on classical composers. It makes special mention of origin Hungarian musicians Bela Bartok, Zoltan Kodaly. This Musicians are considerate in this work as the most immediate ancestors of an experimental musicians northamericans, because both are influenced by their passion for folk music. We select as musicians principals exponents of American experimental music to John Cage, Lou Harrison and Carl Ruggles. Their works will be considered and analyzed in this text as the sounds as the experiences. Composers that will analyze the sound as experience, as feeling, as emotion, as time and origin. related traits in folk music and experimental music. Not forgetting in this work, and in his final considerations, the relationship between the musician, creation, society and art.

Auditory profiles of classical, jazz, and rock musicians: Genre-specific sensitivity to musical sound features

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Mari eTervaniemi

2016-01-01

Full Text Available When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e. varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians’ and non-musicians’ accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians, timing (classical and jazz musicians, transposition (jazz musicians, and melody contour (jazz and rock musicians. Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.

Science.gov (United States)

Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

2015-01-01

When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

Superior Analgesic Effect of an Active Distraction versus Pleasant Unfamiliar Sounds and Music: The Influence of Emotion and Cognitive Style

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Garza Villarreal, Eduardo A.; Brattico, Elvira; Vase, Lene; Østergaard, Leif; Vuust, Peter

2012-01-01

Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced) and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic) and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception. PMID:22242169

Superior analgesic effect of an active distraction versus pleasant unfamiliar sounds and music: the influence of emotion and cognitive style.

Directory of Open Access Journals (Sweden)

Eduardo A Garza Villarreal

Full Text Available Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception.

Superior analgesic effect of an active distraction versus pleasant unfamiliar sounds and music: the influence of emotion and cognitive style.

Science.gov (United States)

Villarreal, Eduardo A Garza; Brattico, Elvira; Vase, Lene; Østergaard, Leif; Vuust, Peter

2012-01-01

Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced) and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic) and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception.

Affective priming effects of musical sounds on the processing of word meaning.

Science.gov (United States)

Steinbeis, Nikolaus; Koelsch, Stefan

2011-03-01

Recent studies have shown that music is capable of conveying semantically meaningful concepts. Several questions have subsequently arisen particularly with regard to the precise mechanisms underlying the communication of musical meaning as well as the role of specific musical features. The present article reports three studies investigating the role of affect expressed by various musical features in priming subsequent word processing at the semantic level. By means of an affective priming paradigm, it was shown that both musically trained and untrained participants evaluated emotional words congruous to the affect expressed by a preceding chord faster than words incongruous to the preceding chord. This behavioral effect was accompanied by an N400, an ERP typically linked with semantic processing, which was specifically modulated by the (mis)match between the prime and the target. This finding was shown for the musical parameter of consonance/dissonance (Experiment 1) and then extended to mode (major/minor) (Experiment 2) and timbre (Experiment 3). Seeing that the N400 is taken to reflect the processing of meaning, the present findings suggest that the emotional expression of single musical features is understood by listeners as such and is probably processed on a level akin to other affective communications (i.e., prosody or vocalizations) because it interferes with subsequent semantic processing. There were no group differences, suggesting that musical expertise does not have an influence on the processing of emotional expression in music and its semantic connotations.

Correlation of vocals and lyrics with left temporal musicogenic epilepsy.

Science.gov (United States)

Tseng, Wei-En J; Lim, Siew-Na; Chen, Lu-An; Jou, Shuo-Bin; Hsieh, Hsiang-Yao; Cheng, Mei-Yun; Chang, Chun-Wei; Li, Han-Tao; Chiang, Hsing-I; Wu, Tony

2018-03-15

Whether the cognitive processing of music and speech relies on shared or distinct neuronal mechanisms remains unclear. Music and language processing in the brain are right and left temporal functions, respectively. We studied patients with musicogenic epilepsy (ME) that was specifically triggered by popular songs to analyze brain hyperexcitability triggered by specific stimuli. The study included two men and one woman (all right-handed, aged 35-55 years). The patients had sound-triggered left temporal ME in response to popular songs with vocals, but not to instrumental, classical, or nonvocal piano solo versions of the same song. Sentimental lyrics, high-pitched singing, specificity/familiarity, and singing in the native language were the most significant triggering factors. We found that recognition of the human voice and analysis of lyrics are important causal factors in left temporal ME and provide observational evidence that sounds with speech structure are predominantly processed in the left temporal lobe. A literature review indicated that language-associated stimuli triggered ME in the left temporal epileptogenic zone at a nearly twofold higher rate compared with the right temporal region. Further research on ME may enhance understanding of the cognitive neuroscience of music. © 2018 New York Academy of Sciences.

Female listeners’ autonomic responses to dramatic shifts between loud and soft music/sound passages: a study of heavy metal songs

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Tzu-Han eCheng

2016-02-01

Full Text Available Although music and the emotion it conveys unfold over time, little is known about how listeners respond to shifts in musical emotions. A special technique in heavy metal music utilizes dramatic shifts between loud and soft passages. Loud passages are penetrated by distorted sounds conveying aggression, whereas soft passages are often characterized by a clean, calm singing voice and light accompaniment. The present study used heavy metal songs and soft sea sounds to examine how female listeners’ respiration rates and heart rates responded to the arousal changes associated with auditory stimuli. The high-frequency power of heart rate variability (HF-HRV was used to assess cardiac parasympathetic activity. The results showed that the soft passages of heavy metal songs and soft sea sounds expressed lower arousal and induced significantly higher HF-HRVs than the loud passages of heavy metal songs. Listeners’ respiration rate was determined by the arousal level of the present music passage, whereas the heart rate was dependent on both the present and preceding passages. Compared with soft sea sounds, the loud music passage led to greater deceleration of the heart rate at the beginning of the following soft music passage. The sea sounds delayed the heart rate acceleration evoked by the following loud music passage. The data provide evidence that sound-induced parasympathetic activity affects listener’s heart rate in response to the following music passage. These findings have potential implications for future research of the temporal dynamics of musical emotions.

New "Field" of Vocal Music Teaching and Research: Research on the Construction of a Novel Interaction Mode

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Li, Donglan

2015-01-01

This paper, as an attempt to find a solution to the problem of "Identity Crisis" brought about by the traditional spoon-feeding Education Mode, explores to construct a new mode of vocal music teaching characterized by an interaction on an equal and democratic footing between learners and the teacher in light of Habermas' Communicative…

What Vowels Can Tell Us about the Evolution of Music

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Gertraud Fenk-Oczlon

2017-09-01

Full Text Available Whether music and language evolved independently of each other or whether both evolved from a common precursor remains a hotly debated topic. We here emphasize the role of vowels in the language-music relationship, arguing for a shared heritage of music and speech. Vowels play a decisive role in generating the sound or sonority of syllables, the main vehicles for transporting prosodic information in speech and singing. Timbre is, beyond question, the primary parameter that allows us to discriminate between different vowels, but vowels also have intrinsic pitch, intensity, and duration. There are striking correspondences between the number of vowels and the number of pitches in musical scales across cultures: an upper limit of roughly 12 elements, a lower limit of 2, and a frequency peak at 5–7 elements. Moreover, there is evidence for correspondences between vowels and scales even in specific cultures, e.g., cultures with three vowels tend to have tritonic scales. We report a match between vowel pitch and musical pitch in meaningless syllables of Alpine yodelers, and highlight the relevance of vocal timbre in the music of many non-Western cultures, in which vocal timbre/vowel timbre and musical melody are often intertwined. Studies showing the pivotal role of vowels and their musical qualities in the ontogeny of language and in infant directed speech, will be used as further arguments supporting the hypothesis that music and speech evolved from a common prosodic precursor, where the vowels exhibited both pitch and timbre variations.

Real estate ads in Emei music frog vocalizations: female preference for calls emanating from burrows.

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Cui, Jianguo; Tang, Yezhong; Narins, Peter M

2012-06-23

During female mate choice, both the male's phenotype and resources (e.g. his nest) contribute to the chooser's fitness. Animals other than humans are not known to advertise resource characteristics to potential mates through vocal communication; although in some species of anurans and birds, females do evaluate male qualities through vocal communication. Here, we demonstrate that calls of the male Emei music frog (Babina dauchina), vocalizing from male-built nests, reflect nest structure information that can be recognized by females. Inside-nest calls consisted of notes with energy concentrated at lower frequency ranges and longer note durations when compared with outside-nest calls. Centre frequencies and note durations of the inside calls positively correlate with the area of the burrow entrance and the depth of the burrow, respectively. When given a choice between outside and inside calls played back alternately, more than 70 per cent of the females (33/47) chose inside calls. These results demonstrate that males of this species faithfully advertise whether or not they possess a nest to potential mates by vocal communication, which probably facilitates optimal mate selection by females. These results revealed a novel function of advertisement calls, which is consistent with the wide variation in both call complexity and social behaviour within amphibians.

DISCO: An object-oriented system for music composition and sound design

Energy Technology Data Exchange (ETDEWEB)

Kaper, H. G.; Tipei, S.; Wright, J. M.

2000-09-05

This paper describes an object-oriented approach to music composition and sound design. The approach unifies the processes of music making and instrument building by using similar logic, objects, and procedures. The composition modules use an abstract representation of musical data, which can be easily mapped onto different synthesis languages or a traditionally notated score. An abstract base class is used to derive classes on different time scales. Objects can be related to act across time scales, as well as across an entire piece, and relationships between similar objects can replicate traditional music operations or introduce new ones. The DISCO (Digital Instrument for Sonification and Composition) system is an open-ended work in progress.

Full-Band Quasi-Harmonic Analysis and Synthesis of Musical Instrument Sounds with Adaptive Sinusoids

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Marcelo Caetano

2016-05-01

Full Text Available Sinusoids are widely used to represent the oscillatory modes of musical instrument sounds in both analysis and synthesis. However, musical instrument sounds feature transients and instrumental noise that are poorly modeled with quasi-stationary sinusoids, requiring spectral decomposition and further dedicated modeling. In this work, we propose a full-band representation that fits sinusoids across the entire spectrum. We use the extended adaptive Quasi-Harmonic Model (eaQHM to iteratively estimate amplitude- and frequency-modulated (AM–FM sinusoids able to capture challenging features such as sharp attacks, transients, and instrumental noise. We use the signal-to-reconstruction-error ratio (SRER as the objective measure for the analysis and synthesis of 89 musical instrument sounds from different instrumental families. We compare against quasi-stationary sinusoids and exponentially damped sinusoids. First, we show that the SRER increases with adaptation in eaQHM. Then, we show that full-band modeling with eaQHM captures partials at the higher frequency end of the spectrum that are neglected by spectral decomposition. Finally, we demonstrate that a frame size equal to three periods of the fundamental frequency results in the highest SRER with AM–FM sinusoids from eaQHM. A listening test confirmed that the musical instrument sounds resynthesized from full-band analysis with eaQHM are virtually perceptually indistinguishable from the original recordings.

Music algorithm for imaging of a sound-hard arc in limited-view inverse scattering problem

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Park, Won-Kwang

2017-07-01

MUltiple SIgnal Classification (MUSIC) algorithm for a non-iterative imaging of sound-hard arc in limited-view inverse scattering problem is considered. In order to discover mathematical structure of MUSIC, we derive a relationship between MUSIC and an infinite series of Bessel functions of integer order. This structure enables us to examine some properties of MUSIC in limited-view problem. Numerical simulations are performed to support the identified structure of MUSIC.

Auditory learning through active engagement with sound: Biological impact of community music lessons in at-risk children

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Nina eKraus

2014-11-01

Full Text Available The young nervous system is primed for sensory learning, facilitating the acquisition of language and communication skills. Social and linguistic impoverishment can limit these learning opportunities, eventually leading to language-related challenges such as poor reading. Music training offers a promising auditory learning strategy by directing attention to meaningful acoustic elements in the soundscape. In light of evidence that music training improves auditory skills and their neural substrates, there are increasing efforts to enact community-based programs to provide music instruction to at-risk children. Harmony Project is a community foundation that has provided free music instruction to over 1,000 children from Los Angeles gang-reduction zones over the past decade. We conducted an independent evaluation of biological effects of participating in Harmony Project by following a cohort of children for one year. Here we focus on a comparison between students who actively engaged with sound through instrumental music training vs. students who took music appreciation classes. All children began with an introductory music appreciation class, but midway through the year half of the children transitioned to an instrumental training class. After the year of training, the children who actively engaged with sound through instrumental music training had faster and more robust neural processing of speech than the children who stayed in the music appreciation class, observed in neural responses to a speech sound /d/. The neurophysiological measures found to be enhanced in the instrumentally trained children have been previously linked to reading ability, suggesting a gain in neural processes important for literacy stemming from active auditory learning. These findings speak to the potential of active engagement with sound (i.e., music-making to engender experience-dependent neuroplasticity during trand may inform the development of strategies for auditory

Auditory learning through active engagement with sound: biological impact of community music lessons in at-risk children.

Science.gov (United States)

Kraus, Nina; Slater, Jessica; Thompson, Elaine C; Hornickel, Jane; Strait, Dana L; Nicol, Trent; White-Schwoch, Travis

2014-01-01

The young nervous system is primed for sensory learning, facilitating the acquisition of language and communication skills. Social and linguistic impoverishment can limit these learning opportunities, eventually leading to language-related challenges such as poor reading. Music training offers a promising auditory learning strategy by directing attention to meaningful acoustic elements of the soundscape. In light of evidence that music training improves auditory skills and their neural substrates, there are increasing efforts to enact community-based programs to provide music instruction to at-risk children. Harmony Project is a community foundation that has provided free music instruction to over 1000 children from Los Angeles gang-reduction zones over the past decade. We conducted an independent evaluation of biological effects of participating in Harmony Project by following a cohort of children for 1 year. Here we focus on a comparison between students who actively engaged with sound through instrumental music training vs. students who took music appreciation classes. All children began with an introductory music appreciation class, but midway through the year half of the children transitioned to the instrumental training. After the year of training, the children who actively engaged with sound through instrumental music training had faster and more robust neural processing of speech than the children who stayed in the music appreciation class, observed in neural responses to a speech sound /d/. The neurophysiological measures found to be enhanced in the instrumentally-trained children have been previously linked to reading ability, suggesting a gain in neural processes important for literacy stemming from active auditory learning. Despite intrinsic constraints on our study imposed by a community setting, these findings speak to the potential of active engagement with sound (i.e., music-making) to engender experience-dependent neuroplasticity and may inform the

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.

[Biofeedback in young singer vocal training].

Science.gov (United States)

Ciochină, Paula; Ciochină, Al D; Burlui, Ada; Zaharia, D

2007-01-01

Biofeedback therapy is a learning process that is based on "operant conditioning" techniques. To estimate the significance of biofeedback to an accurate and faster control of singing voice emission. Significantly, it was discovered that professional singers active in performing of both classical and music theatre repertoire with regard to the visual-kinesthetic effect of melodic contour in musical notation as it affect vocal timbre. The results of the study also indicate that the development of new technology for youth singer vocal training, may be useful to these singers.

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...

A Computerized Tomography Study of Vocal Tract Setting in Hyperfunctional Dysphonia and in Belting.

Science.gov (United States)

Saldias, Marcelo; Guzman, Marco; Miranda, Gonzalo; Laukkanen, Anne-Maria

2018-04-03

Vocal tract setting in hyperfunctional patients is characterized by a high larynx and narrowing of the epilaryngeal and pharyngeal region. Similar observations have been made for various singing styles, eg, belting. The voice quality in belting has been described to be loud, speech like, and high pitched. It is also often described as sounding "pressed" or "tense". The above mentioned has led to the hypothesis that belting may be strenuous to the vocal folds. However, singers and teachers of belting do not regard belting as particularly strenuous. This study investigates possible similarities and differences between hyperfunctional voice production and belting. This study concerns vocal tract setting. Four male patients with hyperfunctional dysphonia and one male contemporary commercial music singer were registered with computerized tomography while phonating on [a:] in their habitual speaking pitch. Additionally, the singer used the pitch G4 in belting. The scannings were studied in sagittal and transversal dimensions by measuring lengths, widths, and areas. Various similarities were found between belting and hyperfunction: high vertical larynx position, small hypopharyngeal width, and epilaryngeal outlet. On the other hand, belting differed from dysphonia (in addition to higher pitch) by a wider lip and jaw opening, and larger volumes of the oral cavity. Belting takes advantage of "megaphone shape" of the vocal tract. Future studies should focus on modeling and simulation to address sound energy transfer. Also, they should consider aerodynamic variables and vocal fold vibration to evaluate the "price of decibels" in these phonation types. Copyright © 2018. Published by Elsevier Inc.

The power of musical sound and its implications for primary education in South Africa: An experiential discussion

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Christina Auerbach

2014-11-01

Full Text Available In this article, the power of musical sound and its transformative effects on human beings are explored, as perceived since ancient times and discussed in recent literature. An evolving research project is then reviewed, with a group of primary school children from disadvantaged backgrounds with no prior formal musical training. In essence, the aim of the study in progress is to determine how musical sound can be used to facilitate mindfulness, develop wholeness and facilitate the holistic growth of young South African learners, especially those from deprived backgrounds. Initial findings suggest that when musical sound experiences are included in everyday education of young learners, there are moments of joy, spontaneity, a sense of unity and well-being. The listening capacity of the children in the group has refined and performance levels at school have improved.

Musical functioning, speech lateralization and the amusias.

Science.gov (United States)

Berman, I W

1981-01-17

Amusia is a condition in which musical capacity is impaired by organic brain disease. Music is in a sense a language and closely resembles speech, both executively and receptively. For musical functioning, rhythmic sense and sense of sounds are essential. Musical ability resides largely in the right (non-dominant) hemisphere. Tests have been devised for the assessment of musical capabilities by Dorgeuille, Grison and Wertheim. Classification of amusia includes vocal amusia, instrumental amnesia, musical agraphia, musical amnesia, disorders of rhythm, and receptive amusia. Amusia like aphasia has clinical significance, and the two show remarkable similarities and often co-exist. Usually executive amusia occurs with executive aphasia and receptive amusia with receptive aphasia, but amusias can exist without aphasia. Severely executive aphasics can sometimes sing with text (words), and this ability is used in the treatment of aphasia. As with aphasia, there is correlation between type of amusia and site of lesion. Thus in executive amusia, the lesion generally occurs in the frontal lobe. In receptive amusia, the lesion is mainly in the temporal lobe. If aphasia is also present the lesion will be in the left (dominant) hemisphere.

Music and Sound Elements in Time Estimation and Production of Children with Attention Deficit/Hyperactivity Disorder (ADHD

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Luiz Rogerio Jorgensen Carrer

2015-09-01

Full Text Available ADHD involves cognitive and behavioral aspects with impairments in many environments of children and their families’ lives. Music, with its playful, spontaneous, affective, motivational, temporal and rhythmic dimensions can be of great help for studying the aspects of time processing in ADHD. In this article we studied time processing with simple sounds and music in children with ADHD with the hypothesis that children with ADHD have a different performance when compared with children with normal development in tasks of time estimation and production. The main objective was to develop sound and musical tasks to evaluate and correlate the performance of children with ADHD, with and without methylphenidate, compared to a control group with typical development. The study involved 36 participants age 6 to 14 years, recruited at NANI-Unifesp/SP, sub-divided into three groups with 12 children in each. Data was collected through a musical keyboard using Logic Audio Software 9.0 on the computer that recorded the participant's performance in the tasks. Tasks were divided into sections: spontaneous time production, time estimation with simple sounds and time estimation with music. Results: 1. Performance of ADHD groups in temporal estimation of simple sounds in short time intervals (30 ms were statistically lower than control group (p<0,05; 2. In the task comparing musical excerpts of the same duration (7s, ADHD groups considered the tracks longer when the musical notes had longer durations, while in the control group, the duration was related to the density of musical notes in the track. The positive average performance observed in the three groups in most tasks perhaps indicates the possibility that music can, in some way, positively modulate the symptoms of inattention in ADHD.

The effect of musical practice on gesture/sound pairing

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Alice Mado eProverbio

2015-04-01

Full Text Available Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise. The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced, thus suggesting a direct correlation between knowing how to play and perceptual sensitivity.

Interdisciplinary Lessons in Musical Acoustics: The Science-Math-Music Connection

Science.gov (United States)

Rogers, George L.

2004-01-01

The National Standards for Arts Education encourages teachers to help students make connections between music and other disciplines. Many state curriculum guides likewise encourage educators to integrate curricula and find common ground between different subjects. Music--particularly vocal music--offers ample opportunities to find relationships…

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...

Music listening engages specific cortical regions within the temporal lobes: differences between musicians and non-musicians.

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Angulo-Perkins, Arafat; Aubé, William; Peretz, Isabelle; Barrios, Fernando A; Armony, Jorge L; Concha, Luis

2014-10-01

Music and speech are two of the most relevant and common sounds in the human environment. Perceiving and processing these two complex acoustical signals rely on a hierarchical functional network distributed throughout several brain regions within and beyond the auditory cortices. Given their similarities, the neural bases for processing these two complex sounds overlap to a certain degree, but particular brain regions may show selectivity for one or the other acoustic category, which we aimed to identify. We examined 53 subjects (28 of them professional musicians) by functional magnetic resonance imaging (fMRI), using a paradigm designed to identify regions showing increased activity in response to different types of musical stimuli, compared to different types of complex sounds, such as speech and non-linguistic vocalizations. We found a region in the anterior portion of the superior temporal gyrus (aSTG) (planum polare) that showed preferential activity in response to musical stimuli and was present in all our subjects, regardless of musical training, and invariant across different musical instruments (violin, piano or synthetic piano). Our data show that this cortical region is preferentially involved in processing musical, as compared to other complex sounds, suggesting a functional role as a second-order relay, possibly integrating acoustic characteristics intrinsic to music (e.g., melody extraction). Moreover, we assessed whether musical experience modulates the response of cortical regions involved in music processing and found evidence of functional differences between musicians and non-musicians during music listening. In particular, bilateral activation of the planum polare was more prevalent, but not exclusive, in musicians than non-musicians, and activation of the right posterior portion of the superior temporal gyrus (planum temporale) differed between groups. Our results provide evidence of functional specialization for music processing in specific

白俄罗斯声乐研究在中国%Belarus vocal music study in China

Institute of Scientific and Technical Information of China (English)

赖越歌

2014-01-01

2013年中国与白俄罗斯两国首脑共同将两国关系提升至全面战略伙伴关系，开启了中白关系新纪元。两国间的文化交流更加稳固，白俄罗斯深厚的专业音乐教育为中国培养了一批优秀的歌唱家与声乐教育师资。我国对于白俄罗斯的声乐教育研究主要基于这些学成归国的博士、硕士学位获得者，他们在留学期间得益于语言、资料的优势，研究视角关注了身边的人和事，这对于推动中白音乐文化交流起到了重要的作用。%In 2013 China and belarus to relations between the two countries up to the heads of the two countries comprehensive strategic partnership, opens the white relations in new era. Cultural exchanges between the two countries, belarus profound professional music education for China to cultivate a batch of excellent singers and vocal music education of teachers. For belarus's vocal music education research in China is mainly based on these, Dr., master's degree gainer learn homecoming, they benefit from the advantages of language, and information during the study, the research perspectives focus on the people and things around, this to promote the white music played an important role in cultural communication.

When music is salty: The crossmodal associations between sound and taste.

Science.gov (United States)

Guetta, Rachel; Loui, Psyche

2017-01-01

Here we investigate associations between complex auditory and complex taste stimuli. A novel piece of music was composed and recorded in four different styles of musical articulation to reflect the four basic tastes groups (sweet, sour, salty, bitter). In Experiment 1, participants performed above chance at pairing the music clips with corresponding taste words. Experiment 2 uses multidimensional scaling to interpret how participants categorize these musical stimuli, and to show that auditory categories can be organized in a similar manner as taste categories. Experiment 3 introduces four different flavors of custom-made chocolate ganache and shows that participants can match music clips with the corresponding taste stimuli with above-chance accuracy. Experiment 4 demonstrates the partial role of pleasantness in crossmodal mappings between sound and taste. The present findings confirm that individuals are able to make crossmodal associations between complex auditory and gustatory stimuli, and that valence may mediate multisensory integration in the general population.

Effects of two types and two genre of music on social behavior in captive chimpanzees (Pan troglodytes).

Science.gov (United States)

Videan, Elaine N; Fritz, Jo; Howell, Sue; Murphy, James

2007-01-01

Is music just noise, and thus potentially harmful to laboratory animals, or can it have a beneficial effect? Research addressing this question has generated mixed results, perhaps because of the different types and styles of music used across various studies. The purpose of this study was to test the effects of 2 different types (vocal versus instrumental) and 2 genres (classical vocal versus 'easy-listening' vocal) of music on social behavior in 31 female and 26 male chimpanzees (Pan troglodytes). Results indicated that instrumental music was more effective at increasing affiliative behavior in both male and female chimpanzees, whereas vocal music was more effective at decreasing agonistic behavior. A comparison of 2 genre of vocal music indicated that easy-listening (slower tempo) vocal music was more effective at decreasing agonistic behavior in male chimpanzees than classical (faster tempo) vocal music. Agonistic behavior in females remained low (music. These results indicate that, like humans, captive chimpanzees react differently to various types and genres of music. The reactions varied depending on both the sex of the subject and the type of social behavior examined. Management programs should consider both type and genre when implementing a musical enrichment program for nonhuman primates.

Nonlinear frequency compression: effects on sound quality ratings of speech and music.

Science.gov (United States)

Parsa, Vijay; Scollie, Susan; Glista, Danielle; Seelisch, Andreas

2013-03-01

Frequency lowering technologies offer an alternative amplification solution for severe to profound high frequency hearing losses. While frequency lowering technologies may improve audibility of high frequency sounds, the very nature of this processing can affect the perceived sound quality. This article reports the results from two studies that investigated the impact of a nonlinear frequency compression (NFC) algorithm on perceived sound quality. In the first study, the cutoff frequency and compression ratio parameters of the NFC algorithm were varied, and their effect on the speech quality was measured subjectively with 12 normal hearing adults, 12 normal hearing children, 13 hearing impaired adults, and 9 hearing impaired children. In the second study, 12 normal hearing and 8 hearing impaired adult listeners rated the quality of speech in quiet, speech in noise, and music after processing with a different set of NFC parameters. Results showed that the cutoff frequency parameter had more impact on sound quality ratings than the compression ratio, and that the hearing impaired adults were more tolerant to increased frequency compression than normal hearing adults. No statistically significant differences were found in the sound quality ratings of speech-in-noise and music stimuli processed through various NFC settings by hearing impaired listeners. These findings suggest that there may be an acceptable range of NFC settings for hearing impaired individuals where sound quality is not adversely affected. These results may assist an Audiologist in clinical NFC hearing aid fittings for achieving a balance between high frequency audibility and sound quality.

Sound, music and gender in mobile games

DEFF Research Database (Denmark)

Machin, David; Van Leeuwen, T.

2016-01-01

resource, they can communicate very specific meanings and carry ideologies. In this paper, using multimodal critical discourse analysis, we analyse the sounds and music in two proto-games that are played on mobile devices: Genie Palace Divine and Dragon Island Race. While visually the two games are highly...... and impersonal and specific kinds of social relations which, we show, is highly gendered. It can also signal priorities, ideas and values, which in both cases, we show, relate to a world where there is simply no time to stop and think. © 2016, equinox publishing....

Adaptation to Delayed Speech Feedback Induces Temporal Recalibration between Vocal Sensory and Auditory Modalities

Directory of Open Access Journals (Sweden)

Kosuke Yamamoto

2011-10-01

Full Text Available We ordinarily perceive our voice sound as occurring simultaneously with vocal production, but the sense of simultaneity in vocalization can be easily interrupted by delayed auditory feedback (DAF. DAF causes normal people to have difficulty speaking fluently but helps people with stuttering to improve speech fluency. However, the underlying temporal mechanism for integrating the motor production of voice and the auditory perception of vocal sound remains unclear. In this study, we investigated the temporal tuning mechanism integrating vocal sensory and voice sounds under DAF with an adaptation technique. Participants read some sentences with specific delay times of DAF (0, 30, 75, 120 ms during three minutes to induce ‘Lag Adaptation’. After the adaptation, they then judged the simultaneity between motor sensation and vocal sound given feedback in producing simple voice but not speech. We found that speech production with lag adaptation induced a shift in simultaneity responses toward the adapted auditory delays. This indicates that the temporal tuning mechanism in vocalization can be temporally recalibrated after prolonged exposure to delayed vocal sounds. These findings suggest vocalization is finely tuned by the temporal recalibration mechanism, which acutely monitors the integration of temporal delays between motor sensation and vocal sound.

A new multifeature mismatch negativity (MMN) paradigm for the study of music perception with more real-sounding stimuli

DEFF Research Database (Denmark)

Quiroga Martinez, David Ricardo; Hansen, Niels Christian; Højlund, Andreas

. Interestingly, this reduction did not hold for mistunings and slide in the melody, probably due to interval mistuning and the high voice superiority effect. Our results indicate that it is possible to use the MMN for the study of more real-sounding music and that stimulus complexity plays a crucial role......The MMN is a brain response elicited by deviants in a series of repetitive sounds that has been valuable for the study of music perception. However, most MMN experimental designs use simple tone patterns as stimuli, failing to represent the complexity of everyday music. Our goal was to develop...... a new paradigm using more real-sounding stimuli. Concretely, we wanted to assess the perception of nonrepetitive melodies when presented alone and when embedded in two-part music. An Alberti bass used previously served both as a comparison and as the second voice in the two-part stimuli. We used MEG...

Effects of Listening to Music versus Environmental Sounds in Passive and Active Situations on Levels of Pain and Fatigue in Fibromyalgia.

Science.gov (United States)

Mercadíe, Lolita; Mick, Gérard; Guétin, Stéphane; Bigand, Emmanuel

2015-10-01

In fibromyalgia, pain symptoms such as hyperalgesia and allodynia are associated with fatigue. Mechanisms underlying such symptoms can be modulated by listening to pleasant music. We expected that listening to music, because of its emotional impact, would have a greater modulating effect on the perception of pain and fatigue in patients with fibromyalgia than listening to nonmusical sounds. To investigate this hypothesis, we carried out a 4-week study in which patients with fibromyalgia listened to either preselected musical pieces or environmental sounds when they experienced pain in active (while carrying out a physical activity) or passive (at rest) situations. Concomitant changes of pain and fatigue levels were evaluated. When patients listened to music or environmental sounds at rest, pain and fatigue levels were significantly reduced after 20 minutes of listening, with no difference of effect magnitude between the two stimuli. This improvement persisted 10 minutes after the end of the listening session. In active situations, pain did not increase in presence of the two stimuli. Contrary to our expectations, music and environmental sounds produced a similar relieving effect on pain and fatigue, with no benefit gained by listening to pleasant music over environmental sounds. Copyright © 2015 American Society for Pain Management Nursing. Published by Elsevier Inc. All rights reserved.

Prenatal complex rhythmic music sound stimulation facilitates postnatal spatial learning but transiently impairs memory in the domestic chick.

Science.gov (United States)

Kauser, H; Roy, S; Pal, A; Sreenivas, V; Mathur, R; Wadhwa, S; Jain, S

2011-01-01

Early experience has a profound influence on brain development, and the modulation of prenatal perceptual learning by external environmental stimuli has been shown in birds, rodents and mammals. In the present study, the effect of prenatal complex rhythmic music sound stimulation on postnatal spatial learning, memory and isolation stress was observed. Auditory stimulation with either music or species-specific sounds or no stimulation (control) was provided to separate sets of fertilized eggs from day 10 of incubation. Following hatching, the chicks at age 24, 72 and 120 h were tested on a T-maze for spatial learning and the memory of the learnt task was assessed 24 h after training. In the posthatch chicks at all ages, the plasma corticosterone levels were estimated following 10 min of isolation. The chicks of all ages in the three groups took less (p memory after 24 h of training, only the music-stimulated chicks at posthatch age 24 h took a significantly longer (p music sounds facilitates spatial learning, though the music stimulation transiently impairs postnatal memory. 2011 S. Karger AG, Basel.

Sound and vision: visualization of music with a soap film

Science.gov (United States)

Gaulon, C.; Derec, C.; Combriat, T.; Marmottant, P.; Elias, F.

2017-07-01

A vertical soap film, freely suspended at the end of a tube, is vibrated by a sound wave that propagates in the tube. If the sound wave is a piece of music, the soap film ‘comes alive’: colours, due to iridescences in the soap film, swirl, split and merge in time with the music (see the snapshots in figure 1 below). In this article, we analyse the rich physics behind these fascinating dynamical patterns: it combines the acoustic propagation in a tube, the light interferences, and the static and dynamic properties of soap films. The interaction between the acoustic wave and the liquid membrane results in capillary waves on the soap film, as well as non-linear effects leading to a non-oscillatory flow of liquid in the plane of the film, which induces several spectacular effects: generation of vortices, diphasic dynamical patterns inside the film, and swelling of the soap film under certain conditions. Each of these effects is associated with a characteristic time scale, which interacts with the characteristic time of the music play. This article shows the richness of those characteristic times that lead to dynamical patterns. Through its artistic interest, the experiments presented in this article provide a tool for popularizing and demonstrating science in the classroom or to a broader audience.

Music preference in degus (Octodon degus): Analysis with Chilean folk music.

OpenAIRE

Shigeru Watanabe; Katharina Braun; Maria Mensch; Henning Scheich

2018-01-01

Most nonhuman animals do not show selective preference for types of music, but researchers have typically employed only Western classical music in such studies. Thus, there has been bias in music choice. Degus (Octodon degus), originally from the mountain areas of Chile, have highly developed vocal communication. Here, we examined music preference of degus using not only Western classical music (music composed by Bach and Stravinsky), but also South American folk music (Chilean and Peruvian)....

Indifference to dissonance in native Amazonians reveals cultural variation in music perception.

Science.gov (United States)

McDermott, Josh H; Schultz, Alan F; Undurraga, Eduardo A; Godoy, Ricardo A

2016-07-28

by biology remains debated. One widely discussed phenomenon is that some combinations of notes are perceived by Westerners as pleasant, or consonant, whereas others are perceived as unpleasant,or dissonant. The contrast between consonance and dissonance is central to Western music and its origins have fascinated scholars since the ancient Greeks. Aesthetic responses to consonance are commonly assumed by scientists to have biological roots, and thus to be universally present in humans. Ethnomusicologists and composers, in contrast, have argued that consonance is a creation of Western musical culture. The issue has remained unresolved, partly because little is known about the extent of cross-cultural variation in consonance preferences. Here we report experiments with the Tsimane'--a native Amazonian society with minimal exposure to Western culture--and comparison populations in Bolivia and the United States that varied in exposure to Western music. Participants rated the pleasantness of sounds. Despite exhibiting Western-like discrimination abilities and Western-like aesthetic responses to familiar sounds and acoustic roughness, the Tsimane' rated consonant and dissonant chords and vocal harmonies as equally pleasant. By contrast, Bolivian city- and town-dwellers exhibited significant preferences for consonance,albeit to a lesser degree than US residents. The results indicate that consonance preferences can be absent in cultures sufficiently isolated from Western music, and are thus unlikely to reflect innate biases or exposure to harmonic natural sounds. The observed variation in preferences is presumably determined by exposure to musical harmony, suggesting that culture has a dominant role in shaping aesthetic responses to music.

Mobile phone conversations, listening to music and quiet (electric) cars: Are traffic sounds important for safe cycling?

Science.gov (United States)

Stelling-Konczak, A; van Wee, G P; Commandeur, J J F; Hagenzieker, M

2017-09-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe cycling. Furthermore, the study investigated the potential safety implications of limited auditory information caused by quiet (electric) cars and by cyclists listening to music or talking on the phone. An Internet survey among 2249 cyclists in three age groups (16-18, 30-40 and 65-70year old) was carried out to collect information on the following aspects: 1) the auditory perception of traffic sounds, including the sounds of quiet (electric) cars; 2) the possible compensatory behaviours of cyclists who listen to music or talk on their mobile phones; 3) the possible contribution of listening to music and talking on the phone to cycling crashes and incidents. Age differences with respect to those three aspects were analysed. Results show that listening to music and talking on the phone negatively affects perception of sounds crucial for safe cycling. However, taking into account the influence of confounding variables, no relationship was found between the frequency of listening to music or talking on the phone and the frequency of incidents among teenage cyclists. This may be due to cyclists' compensating for the use of portable devices. Listening to music or talking on the phone whilst cycling may still pose a risk in the absence of compensatory behaviour or in a traffic environment with less extensive and less safe cycling infrastructure than the Dutch setting. With the increasing number of quiet (electric) cars on the road, cyclists in the future may also need to compensate for the limited auditory input of these cars. Copyright © 2017 Elsevier Ltd. All rights reserved.

Teaching Children Musical Perception with MUSIC-AR

Directory of Open Access Journals (Sweden)

Valéria Farinazzo Martins

2015-03-01

Full Text Available Unfortunately in Brazil there is a non compulsory musical education in schools that leads to loss of sound/musical perception of Brazilian children. This fact, associated with the lack of software for the teaching of musical perception, inspired the creation of Music-AR, a set of software that uses Augmented Reality technology for the teaching of sound properties, such as timbre, pitch and sound intensity. There were four small applications for that: the first one allows the child to manipulate virtual objects linked to sounds, this way, the child can loosen and stretch virtual objects relating them to the (bass and treble sound pitch; the second focus on the concept of sound intensity, associating it to virtual animals been far or near to the children; the third is related to duration of the sound (short or long, and the last is about timbre – the personality of the sound. Tests were applied and the results are presented in this work.

A comparison of ambient casino sound and music: effects on dissociation and on perceptions of elapsed time while playing slot machines.

Science.gov (United States)

Noseworthy, Theodore J; Finlay, Karen

2009-09-01

This research examined the effects of a casino's auditory character on estimates of elapsed time while gambling. More specifically, this study varied whether the sound heard while gambling was ambient casino sound alone or ambient casino sound accompanied by music. The tempo and volume of both the music and ambient sound were varied to manipulate temporal engagement and introspection. One hundred and sixty (males = 91) individuals played slot machines in groups of 5-8, after which they provided estimates of elapsed time. The findings showed that the typical ambient casino auditive environment, which characterizes the majority of gaming venues, promotes understated estimates of elapsed duration of play. In contrast, when music is introduced into the ambient casino environment, it appears to provide a cue of interval from which players can more accurately reconstruct elapsed duration of play. This is particularly the case when the tempo of the music is slow and the volume is high. Moreover, the confidence with which time estimates are held (as reflected by latency of response) is higher in an auditive environment with music than in an environment that is comprised of ambient casino sounds alone. Implications for casino management are discussed.

Emotional expressions in voice and music: same code, same effect?

Science.gov (United States)

Escoffier, Nicolas; Zhong, Jidan; Schirmer, Annett; Qiu, Anqi

2013-08-01

Scholars have documented similarities in the way voice and music convey emotions. By using functional magnetic resonance imaging (fMRI) we explored whether these similarities imply overlapping processing substrates. We asked participants to trace changes in either the emotion or pitch of vocalizations and music using a joystick. Compared to music, vocalizations more strongly activated superior and middle temporal cortex, cuneus, and precuneus. However, despite these differences, overlapping rather than differing regions emerged when comparing emotion with pitch tracing for music and vocalizations, respectively. Relative to pitch tracing, emotion tracing activated medial superior frontal and anterior cingulate cortex regardless of stimulus type. Additionally, we observed emotion specific effects in primary and secondary auditory cortex as well as in medial frontal cortex that were comparable for voice and music. Together these results indicate that similar mechanisms support emotional inferences from vocalizations and music and that these mechanisms tap on a general system involved in social cognition. Copyright © 2011 Wiley Periodicals, Inc.

The Sound of 1-bit: Technical constraint and musical creativity on the 48k Sinclair ZX Spectrum

Directory of Open Access Journals (Sweden)

Kenneth B. McAlpine

2017-12-01

Full Text Available This article explores constraint as a driver of creativity and innovation in early video game soundtracks. Using what was, perhaps, the most constrained platform of all, the 48k Sinclair ZX Spectrum, as a prism through which to examine the development of an early branch of video game music, the paper explores the creative approaches adopted by programmers to circumvent the Spectrum’s technical limitations so as to coax the hardware into performing feats of musicality that it had never been designed to achieve. These solutions were not without computational or aural cost, however, and their application often imparted a unique characteristic to the sound, which over time came to define the aesthetic of the 8-bit computer soundtrack, a sound which has been developed since as part of the emerging chiptune scene. By discussing pivotal moments in the development of ZX Spectrum music, this article will show how the application of binary impulse trains, granular synthesis, and pulse-width modulation came to shape the sound of 1-bit music.

A sonoridade vocal e a prática coral no Barroco: subsídios para a performance barroca nos dias atuais The vocal sonority and the choral practice in the Baroque period: guidelines for today's Baroque music performance

Directory of Open Access Journals (Sweden)

Angelo José Fernandes

2008-12-01

Full Text Available Este trabalho é uma pequena parte de uma ampla pesquisa sobre prática e sonoridade de diversos estilos de música coral. A partir de uma investigação bibliográfica, que inclui autores desde o período Barroco, temos como objetivos: a descrição da sonoridade vocal e coral ao longo do referido período; a abordagem dos tipos vocais da época; a análise de alguns procedimentos técnico-vocais; a descrição de características importantes da prática coral no período; e, por fim, uma apresentação de sugestões técnicas e estilísticas para a prática da música coral barroca na atualidade.This paper is a small part of a large research on practice and sonority of many choral music styles. Through bibliographical investigation of works written by authors from the Baroque period to the present, our goals are: the description of the vocal sonority throughout the Baroque period; the presentations of the vocal types in the Baroque; the analysis of some vocal techniques; the description of important aspects of the choral practice of the period; and finally, the presentation of some technical and stylistic suggestions for the practice of the Baroque choral music in the present.

Technology for the Sound of Music

Science.gov (United States)

1994-01-01

In the early 1960s during an industry recession, Kaman Aircraft lost several defense contracts. Forced to diversify, the helicopter manufacturer began to manufacture acoustic guitars. Kaman's engineers used special vibration analysis equipment based on aerospace technology. While a helicopter's rotor system is highly susceptible to vibration, which must be reduced or "dampened," vibration enhances a guitar's sound. After two years of vibration analysis Kaman produced an instrument, which is very successful. The Ovation guitar is made of fiberglass. It is stronger than the traditional rosewood and manufactured with adapted aircraft techniques such as jigs and fixtures, reducing labor and assuring quality and cost control. Kaman Music Corporation now has annual sales of $100 million.

Affective responses in tamarins elicited by species-specific music

OpenAIRE

Snowdon, Charles T.; Teie, David

2009-01-01

Theories of music evolution agree that human music has an affective influence on listeners. Tests of non-humans provided little evidence of preferences for human music. However, prosodic features of speech (‘motherese’) influence affective behaviour of non-verbal infants as well as domestic animals, suggesting that features of music can influence the behaviour of non-human species. We incorporated acoustical characteristics of tamarin affiliation vocalizations and tamarin threat vocalizations...

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 Effects of Three Physical and Vocal Warm-Up Procedures on Acoustic and Perceptual Measures of Choral Sound.

Science.gov (United States)

Cook-Cunningham, Sheri L; Grady, Melissa L

2018-03-01

The purpose of this investigation was to assess the effects of three warm-up procedures (vocal-only, physical-only, physical/vocal combination) on acoustic and perceptual measures of choir sound. The researchers tested three videotaped, 5-minute, choral warm-up procedures on three university choirs. After participating in a warm-up procedure, each choir was recorded singing a folk song for long-term average spectra and pitch analysis. Singer participants responded to a questionnaire about preferences after each warm-up procedure. Warm-up procedures and recording sessions occurred during each choir's regular rehearsal time and in each choir's regular rehearsal space during three consecutive rehearsals. Long-term average spectra results demonstrated more resonant singing after the physical/vocal warm-up for two of the three choirs. Pitch analysis results indicate that all three choirs sang "in-tune" or with the least pitch deviation after participating in the physical/vocal warm-up. Singer questionnaire responses showed general preference for the physical/vocal combination warm-up, and singer ranking of the three procedures indicated the physical/vocal warm-up as the most favored for readiness to sing. In the context of this study with these three university choir participants, it seems that a combination choral warm-up that includes physical and vocal aspects is preferred by singers, enables more resonant singing, and more in-tune singing. Findings from this study could provide teachers and choral directors with important information as they structure and experiment with their choral warm-up procedures. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Quantifying Shapes: Mathematical Techniques for Analysing Visual Representations of Sound and Music

Directory of Open Access Journals (Sweden)

Genevieve L. Noyce

2013-12-01

Full Text Available Research on auditory-visual correspondences has a long tradition but innovative experimental paradigms and analytic tools are sparse. In this study, we explore different ways of analysing real-time visual representations of sound and music drawn by both musically-trained and untrained individuals. To that end, participants' drawing responses captured by an electronic graphics tablet were analysed using various regression, clustering, and classification techniques. Results revealed that a Gaussian process (GP regression model with a linear plus squared-exponential covariance function was able to model the data sufficiently, whereas a simpler GP was not a good fit. Spectral clustering analysis was the best of a variety of clustering techniques, though no strong groupings are apparent in these data. This was confirmed by variational Bayes analysis, which only fitted one Gaussian over the dataset. Slight trends in the optimised hyperparameters between musically-trained and untrained individuals allowed for the building of a successful GP classifier that differentiated between these two groups. In conclusion, this set of techniques provides useful mathematical tools for analysing real-time visualisations of sound and can be applied to similar datasets as well.

Residual Neural Processing of Musical Sound Features in Adult Cochlear Implant Users

Science.gov (United States)

Timm, Lydia; Vuust, Peter; Brattico, Elvira; Agrawal, Deepashri; Debener, Stefan; Büchner, Andreas; Dengler, Reinhard; Wittfoth, Matthias

2014-01-01

Auditory processing in general and music perception in particular are hampered in adult cochlear implant (CI) users. To examine the residual music perception skills and their underlying neural correlates in CI users implanted in adolescence or adulthood, we conducted an electrophysiological and behavioral study comparing adult CI users with normal-hearing age-matched controls (NH controls). We used a newly developed musical multi-feature paradigm, which makes it possible to test automatic auditory discrimination of six different types of sound feature changes inserted within a musical enriched setting lasting only 20 min. The presentation of stimuli did not require the participants’ attention, allowing the study of the early automatic stage of feature processing in the auditory cortex. For the CI users, we obtained mismatch negativity (MMN) brain responses to five feature changes but not to changes of rhythm, whereas we obtained MMNs for all the feature changes in the NH controls. Furthermore, the MMNs to deviants of pitch of CI users were reduced in amplitude and later than those of NH controls for changes of pitch and guitar timber. No other group differences in MMN parameters were found to changes in intensity and saxophone timber. Furthermore, the MMNs in CI users reflected the behavioral scores from a respective discrimination task and were correlated with patients’ age and speech intelligibility. Our results suggest that even though CI users are not performing at the same level as NH controls in neural discrimination of pitch-based features, they do possess potential neural abilities for music processing. However, CI users showed a disrupted ability to automatically discriminate rhythmic changes compared with controls. The current behavioral and MMN findings highlight the residual neural skills for music processing even in CI users who have been implanted in adolescence or adulthood. Highlights: -Automatic brain responses to musical feature changes

Communicating Earth Science Through Music: The Use of Environmental Sound in Science Outreach

Science.gov (United States)

Brenner, C.

2017-12-01

The need for increased public understanding and appreciation of Earth science has taken on growing importance over the last several decades. Human society faces critical environmental challenges, both near-term and future, in areas such as climate change, resource allocation, geohazard threat and the environmental degradation of ecosystems. Science outreach is an essential component to engaging both policymakers and the public in the importance of managing these challenges. However, despite considerable efforts on the part of scientists and outreach experts, many citizens feel that scientific research and methods are both difficult to understand and remote from their everyday experience. As perhaps the most accessible of all art forms, music can provide a pathway through which the public can connect to Earth processes. The Earth is not silent: environmental sound can be sampled and folded into musical compositions, either with or without the additional sounds of conventional or electronic instruments. These compositions can be used in conjunction with other forms of outreach (e.g., as soundtracks for documentary videos or museum installations), or simply stand alone as testament to the beauty of geology and nature. As proof of concept, this presentation will consist of a musical composition that includes sounds from various field recordings of wind, swamps, ice and water (including recordings from the inside of glaciers).

Vocal handicap index in popular and erudite professional singers.

Science.gov (United States)

Loiola-Barreiro, Camila Miranda; Silva, Marta Assumpção de Andrada E

To compare the voice handicap index of popular and erudite professional singers according to gender, age, professional experience time, and presence or absence of self-reported vocal complaints. One hundred thirty-two professional singers, 74 popular and 58 erudite, who responded to a questionnaire with regards to identification, age, gender, professional experience time in singing, musical genres (for popular singers), vocal classification (for erudite singers), presence of self-reported vocal complaints, and the specific protocols for popular (Modern Singing Handicap Index - MSHI) and erudite (Classical Singing Handicap Index - CSHI) singing. Higher proportion of women and higher incidence of vocal complaints were observed in the popular singers compared with the erudite singers. Most of the popular singers belonged to the genre of Brazilian Popular Music. Regarding the classification of erudite singers, there was greater participation of sopranos and tenors. No statistical differences were observed with respect to age and professional experience time between the groups. Comparison of the MSHI and CSHI scores showed no statistically significant difference between these scores and genre or age in both groups of singers. Professional experience time was related to the total score and the subscales disability and impairment in the MSHI, only for popular singers with vocal complaints. There was no correlation between these variables and the CSHI for erudite singers. The impact of vocal difficulty/problem interferes differently in these two musical genres when related to vocal complaint and professional experience time. The MSHI and CSHI protocols proved to be important tools not only for the identification of problems, but also for the understanding of how these individuals relate their voices with this occupational activity.

Spectral envelope sensitivity of musical instrument sounds.

Science.gov (United States)

Gunawan, David; Sen, D

2008-01-01

It is well known that the spectral envelope is a perceptually salient attribute in musical instrument timbre perception. While a number of studies have explored discrimination thresholds for changes to the spectral envelope, the question of how sensitivity varies as a function of center frequency and bandwidth for musical instruments has yet to be addressed. In this paper a two-alternative forced-choice experiment was conducted to observe perceptual sensitivity to modifications made on trumpet, clarinet and viola sounds. The experiment involved attenuating 14 frequency bands for each instrument in order to determine discrimination thresholds as a function of center frequency and bandwidth. The results indicate that perceptual sensitivity is governed by the first few harmonics and sensitivity does not improve when extending the bandwidth any higher. However, sensitivity was found to decrease if changes were made only to the higher frequencies and continued to decrease as the distorted bandwidth was widened. The results are analyzed and discussed with respect to two other spectral envelope discrimination studies in the literature as well as what is predicted from a psychoacoustic model.

Connected up to Sound. Approach to the Musical Consumption of Young People´s Daily Life in Santiago de Cuba

Directory of Open Access Journals (Sweden)

MSc. Ligia Lavielle-Pullés

2015-11-01

Full Text Available Among the different cultural consumptions of young people, the musical consumption is one of the most trascendent. This is the topic of the following paper, which main proposal lies on the constant presence of musical sounds in youth daily life. Leisure, relaxation, sensation of company and moods are  transmitted by music. Besides, other cultural productions, artistic or not, such as, audiovisual materials are blended with musical products and take high places on people’s preferences. This research i based on the theoretical frameworks of consumption and youth. The narrow communion of quantitative and qualitative methodologies has allowed to articulate it and get an interpretative criteria about the musical consumption process, in which it has been important the consideration of the sound singularity and its influence in the media. Keywords: musical consumption, youth, musical preferences.

A Geometrical Method for Sound-Hole Size and Location Enhancement in Lute Family Musical Instruments: The Golden Method

Directory of Open Access Journals (Sweden)

Soheil Jafari

2017-11-01

Full Text Available This paper presents a new analytical approach, the Golden Method, to enhance sound-hole size and location in musical instruments of the lute family in order to obtain better sound damping characteristics based on the concept of the golden ratio and the instrument geometry. The main objective of the paper is to increase the capability of lute family musical instruments in keeping a note for a certain time at a certain level to enhance the instruments’ orchestral characteristics. For this purpose, a geometry-based analytical method, the Golden Method is first described in detail in an itemized feature. A new musical instrument is then developed and tested to confirm the ability of the Golden Method in optimizing the acoustical characteristics of musical instruments from a damping point of view by designing the modified sound-hole. Finally, the new-developed instrument is tested, and the obtained results are compared with those of two well-known instruments to confirm the effectiveness of the proposed method. The experimental results show that the suggested method is able to increase the sound damping time by at least 2.4% without affecting the frequency response function and other acoustic characteristics of the instrument. This methodology could be used as the first step in future studies on design, optimization and evaluation of musical instruments of the lute family (e.g., lute, oud, barbat, mandolin, setar, and etc..

Temporal-Spectral Characterization and Classification of Marine Mammal Vocalizations and Diesel-Electric Ships Radiated Sound over Continental Shelf Scale Regions with Coherent Hydrophone Array Measurements

Science.gov (United States)

Huang, Wei

The passive ocean acoustic waveguide remote sensing (POAWRS) technology is capable of monitoring a large variety of underwater sound sources over instantaneous wide areas spanning continental-shelf scale regions. POAWRS uses a large-aperture densely-sampled coherent hydrophone array to significantly enhance the signal-to-noise ratio via beamforming, enabling detection of sound sources roughly two-orders of magnitude more distant in range than that possible with a single hydrophone. The sound sources detected by POAWRS include ocean biology, geophysical processes, and man-made activities. POAWRS provides detection, bearing-time estimation, localization, and classification of underwater sound sources. The volume of underwater sounds detected by POAWRS is immense, typically exceeding a million unique signal detections per day, in the 10-4000 Hz frequency range, making it a tremendously challenging task to distinguish and categorize the various sound sources present in a given region. Here we develop various approaches for characterizing and clustering the signal detections for various subsets of data acquired using the POAWRS technology. The approaches include pitch tracking of the dominant signal detections, time-frequency feature extraction, clustering and categorization methods. These approaches are essential for automatic processing and enhancing the efficiency and accuracy of POAWRS data analysis. The results of the signal detection, clustering and classification analysis are required for further POAWRS processing, including localization and tracking of a large number of oceanic sound sources. Here the POAWRS detection, localization and clustering approaches are applied to analyze and elucidate the vocalization behavior of humpback, sperm and fin whales in the New England continental shelf and slope, including the Gulf of Maine from data acquired using coherent hydrophone arrays. The POAWRS technology can also be applied for monitoring ocean vehicles. Here the

Glottal volume velocity waveform characteristics in subjects with and without vocal training, related to gender, sound intensity, fundamental frequency, and age

NARCIS (Netherlands)

Sulter, AM; Wit, HP

Glottal volume velocity waveform characteristics of 224 subjects, categorized in four groups according to gender and vocal training, were determined, and their relations to sound-pressure level, fundamental frequency, intra-oral pressure, and age were analyzed. Subjects phonated at three intensity

Glottal volume velocity waveform characteristics in subjects with and without vocal training, related to gender, sound intensity, fundamental frequency, and age

NARCIS (Netherlands)

Sulter, AM; Wit, HP

1996-01-01

Glottal volume velocity waveform characteristics of 224 subjects, categorized in four groups according to gender and vocal training, were determined, and their relations to sound-pressure level, fundamental frequency, intra-oral pressure, and age were analyzed. Subjects phonated at three intensity

A socio-musical analysis of Ayo Bankole's choral music: Fun Mi N ...

African Journals Online (AJOL)

... diverse African elements and major features of African music are present in the melody, rhythm and harmony of the vocal work. The paper concluded that Fun Mi N'Ibeji contained both elements of traditional Nigerian music and Western classical music which are employed in expressing the traditional beliefs of the Yoruba ...

Sound pressure levels generated at risk volume steps of portable listening devices: types of smartphone and genres of music.

Science.gov (United States)

Kim, Gibbeum; Han, Woojae

2018-05-01

The present study estimated the sound pressure levels of various music genres at the volume steps that contemporary smartphones deliver, because these levels put the listener at potential risk for hearing loss. Using six different smartphones (Galaxy S6, Galaxy Note 3, iPhone 5S, iPhone 6, LG G2, and LG G3), the sound pressure levels for three genres of K-pop music (dance-pop, hip-hop, and pop-ballad) and a Billboard pop chart of assorted genres were measured through an earbud for the first risk volume that was at the risk sign proposed by the smartphones, as well as consecutive higher volumes using a sound level meter and artificial mastoid. The first risk volume step of the Galaxy S6 and the LG G2, among the six smartphones, had the significantly lowest (84.1 dBA) and highest output levels (92.4 dBA), respectively. As the volume step increased, so did the sound pressure levels. The iPhone 6 was loudest (113.1 dBA) at the maximum volume step. Of the music genres, dance-pop showed the highest output level (91.1 dBA) for all smartphones. Within the frequency range of 20~ 20,000 Hz, the sound pressure level peaked at 2000 Hz for all the smartphones. The results showed that the sound pressure levels of either the first volume step or the maximum volume step were not the same for the different smartphone models and genres of music, which means that the risk volume sign and its output levels should be unified across the devices for their users. In addition, the risk volume steps proposed by the latest smartphone models are high enough to cause noise-induced hearing loss if their users habitually listen to music at those levels.

Acoustic characteristics of modern Greek Orthodox Church music.

Science.gov (United States)

Delviniotis, Dimitrios S

2013-09-01

Some acoustic characteristics of the two types of vocal music of the Greek Orthodox Church Music, the Byzantine chant (BC) and ecclesiastical speech (ES), are studied in relation to the common Greek speech and the Western opera. Vocal samples were obtained, and their acoustic parameters of sound pressure level (SPL), fundamental frequency (F0), and the long-time average spectrum (LTAS) characteristics were analyzed. Twenty chanters, including two chanters-singers of opera, sang (BC) and read (ES) the same hymn of Byzantine music (BM), the two opera singers sang the same aria of opera, and common speech samples were obtained, and all audio were analyzed. The distribution of SPL values showed that the BC and ES have higher SPL by 9 and 12 dB, respectively, than common speech. The average F0 in ES tends to be lower than the common speech, and the smallest standard deviation (SD) of F0 values characterizes its monotonicity. The tone-scale intervals of BC are close enough to the currently accepted theory with SD equal to 0.24 semitones. The rate and extent of vibrato, which is rare in BC, equals 4.1 Hz and 0.6 semitones, respectively. The average LTAS slope is greatest in BC (+4.5 dB) but smaller than in opera (+5.7 dB). In both BC and ES, instead of a singer's formant appearing in an opera voice, a speaker's formant (SPF) was observed around 3300 Hz, with relative levels of +6.3 and +4.6 dB, respectively. The two vocal types of BM, BC, and ES differ both to each other and common Greek speech and opera style regarding SPL, the mean and SD of F0, the LTAS slope, and the relative level of SPF. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Effectiveness of radio spokesperson's gender, vocal pitch and accent and the use of music in radio advertising

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Josefa D. Martín-Santana

2015-07-01

Full Text Available The aim of this study is to analyze how certain voice features of radio spokespersons and background music influence the advertising effectiveness of a radio spot from the cognitive, affective and conative perspectives. We used a 2 × 2 × 2 × 2 experimental design in 16 different radio programs in which an ad hoc radio spot was inserted during advertising block. This ad changed according to combinations of spokesperson's gender (male–female, vocal pitch (low–high and accent (local–standard. In addition to these independent factors, the effect of background music in advertisements was also tested and compared with those that only had words. 987 regular radio listeners comprised the sample that was exposed to the radio program we created. Based on the differences in the levels of effectiveness in the tested voice features, our results suggest that the choice of the voice in radio advertising is one of the most important decisions an advertiser faces. Furthermore, the findings show that the inclusion of music does not always imply greater effectiveness.

Autoshaping Infant Vocalizations

OpenAIRE

Myers, Alexander McNaughton

1981-01-01

A series of five experiments was conducted to determine whether operant or respondent factors controlled the emission of a particular vocalization ( "Q" ) by human infants 16 to 18 months old. Experiment 1 consisted of a pilot investigation of the effects of an autoshaping procedure on three infants' vocal behavior. All three subjects demonstrated increased emission of the target sound during the CR period. Experiments 2 through 4 attempted to replicate the findings of Experiment 1 under cont...

Extensão vocal de idosos coralistas e não coralistas Vocal range in aged choristers and non-choristers

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Tatiana Fernandes Rocha

2007-06-01

Full Text Available OBJETIVO: comparar a extensão vocal de idosos coralistas e não coralistas e analisar a influência da prática do canto-coral amador na extensão vocal dos mesmos. MÉTODOS: extração dos valores da extensão vocal em semitons por meio de um teclado musical e análise comparativa do número de semitons entre 40 idosos coralistas e 40 não coralistas. RESULTADOS: o número de semitons atingido pelos coralistas é significativamente maior que o atingido pelos não coralistas. O perfil de extensão vocal dos idosos coralistas foi de 27 a 39 semitons, perfazendo um total de 3 oitavas, 1 tom e 1 semitom. O perfil de extensão vocal dos idosos não coralistas foi de 18 a 35 semitons, perfazendo um total de 2 oitavas, 5 tons e 1 semitom. CONCLUSÃO: a prática do canto coral amador aumenta a extensão vocal de idosos coralistas.PURPOSE: compare the vocal extension of senior choristers and non-choristers and analyze the influence of the practice of the amateur coral-song in the vocal extension of the aforementioned subjects. METHODS: extracting the vocal extension through a musical keyboard and comparative analysis of the number of half-notes among 40 senior choristers and 40 non-choristers. RESULTS: the number of half-notes achieved by the choristers is significantly higher than the one achieved by the non-choristers. The vocal extension profile of the seniors choristers was from 27 to 39 half-notes, totalizing a sum of 3 octaves, 1 tone and 1 half-note. The profile of the no-choristers seniors' vocal extension was from 18 to 35 half-notes, totalizing a sum of 2 octaves, 5 tones and 1 half-note. CONCLUSION: The practice of the amateur coral song increases the choristers seniors' vocal extension.

Adapted to roar: functional morphology of tiger and lion vocal folds.

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Sarah A Klemuk

Full Text Available Vocal production requires active control of the respiratory system, larynx and vocal tract. Vocal sounds in mammals are produced by flow-induced vocal fold oscillation, which requires vocal fold tissue that can sustain the mechanical stress during phonation. Our understanding of the relationship between morphology and vocal function of vocal folds is very limited. Here we tested the hypothesis that vocal fold morphology and viscoelastic properties allow a prediction of fundamental frequency range of sounds that can be produced, and minimal lung pressure necessary to initiate phonation. We tested the hypothesis in lions and tigers who are well-known for producing low frequency and very loud roaring sounds that expose vocal folds to large stresses. In histological sections, we found that the Panthera vocal fold lamina propria consists of a lateral region with adipocytes embedded in a network of collagen and elastin fibers and hyaluronan. There is also a medial region that contains only fibrous proteins and hyaluronan but no fat cells. Young's moduli range between 10 and 2000 kPa for strains up to 60%. Shear moduli ranged between 0.1 and 2 kPa and differed between layers. Biomechanical and morphological data were used to make predictions of fundamental frequency and subglottal pressure ranges. Such predictions agreed well with measurements from natural phonation and phonation of excised larynges, respectively. We assume that fat shapes Panthera vocal folds into an advantageous geometry for phonation and it protects vocal folds. Its primary function is probably not to increase vocal fold mass as suggested previously. The large square-shaped Panthera vocal fold eases phonation onset and thereby extends the dynamic range of the voice.

Music publishing

OpenAIRE

Simões, Alberto; Almeida, J. J.

2003-01-01

Current music publishing in the Internet is mainly concerned with sound publishing. We claim that music publishing is not only to make sound available but also to define relations between a set of music objects like music scores, guitar chords, lyrics and their meta-data. We want an easy way to publish music in the Internet, to make high quality paper booklets and even to create Audio CD's. In this document we present a workbench for music publishing based on open formats, using open-source t...

Primate auditory recognition memory performance varies with sound type.

Science.gov (United States)

Ng, Chi-Wing; Plakke, Bethany; Poremba, Amy

2009-10-01

Neural correlates of auditory processing, including for species-specific vocalizations that convey biological and ethological significance (e.g., social status, kinship, environment), have been identified in a wide variety of areas including the temporal and frontal cortices. However, few studies elucidate how non-human primates interact with these vocalization signals when they are challenged by tasks requiring auditory discrimination, recognition and/or memory. The present study employs a delayed matching-to-sample task with auditory stimuli to examine auditory memory performance of rhesus macaques (Macaca mulatta), wherein two sounds are determined to be the same or different. Rhesus macaques seem to have relatively poor short-term memory with auditory stimuli, and we examine if particular sound types are more favorable for memory performance. Experiment 1 suggests memory performance with vocalization sound types (particularly monkey), are significantly better than when using non-vocalization sound types, and male monkeys outperform female monkeys overall. Experiment 2, controlling for number of sound exemplars and presentation pairings across types, replicates Experiment 1, demonstrating better performance or decreased response latencies, depending on trial type, to species-specific monkey vocalizations. The findings cannot be explained by acoustic differences between monkey vocalizations and the other sound types, suggesting the biological, and/or ethological meaning of these sounds are more effective for auditory memory. 2009 Elsevier B.V.

Voicing the Technological Body. Some Musicological Reflections on Combinations of Voice and Technology in Popular Music

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Florian Heesch

2016-05-01

Full Text Available The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the identity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1 the “absence of the body,” that starts with the establishment of phonography; (2 “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3 “hybridity,” including vocal identities that blend human body sounds and technological processing, whereby special focus is laid on uses of the vocoder and similar technologies.

Humans mimicking animals: A cortical hierarchy for human vocal communication sounds

Science.gov (United States)

Talkington, William J.; Rapuano, Kristina M.; Hitt, Laura; Frum, Chris A.; Lewis, James W.

2012-01-01

Numerous species possess cortical regions that are most sensitive to vocalizations produced by their own kind (conspecifics). In humans, the superior temporal sulci (STS) putatively represent homologous voice-sensitive areas of cortex. However, STS regions have recently been reported to represent auditory experience or “expertise” in general rather than showing exclusive sensitivity to human vocalizations per se. Using functional magnetic resonance imaging and a unique non-stereotypical category of complex human non-verbal vocalizations – human-mimicked versions of animal vocalizations – we found a cortical hierarchy in humans optimized for processing meaningful conspecific utterances. This left-lateralized hierarchy originated near primary auditory cortices and progressed into traditional speech-sensitive areas. These results suggest that the cortical regions supporting vocalization perception are initially organized by sensitivity to the human vocal tract in stages prior to the STS. Additionally, these findings have implications for the developmental time course of conspecific vocalization processing in humans as well as its evolutionary origins. PMID:22674283

Hoarse with No Name: Chronic Voice Problems, Policy and Music Teacher Marginalisation

Science.gov (United States)

Schmidt, Patrick; Morrow, Sharon L.

2016-01-01

The voice is arguably one of the most important tools of the trade for music teachers. However, vocal health for music teachers is often relegated to the margins of policy discussion. This article investigates the social and political environs where vocal health resides, arguing that music teachers must be the first advocates for the enforcement…

Determination of sound types and source levels of airborne vocalizations by California sea lions, Zalophus californianus, in rehabilitation at the Marine Mammal Center in Sausalito, California

Science.gov (United States)

Schwalm, Afton Leigh

California sea lions (Zalophus californianus) are a highly popular and easily recognized marine mammal in zoos, aquariums, circuses, and often seen by ocean visitors. They are highly vocal and gregarious on land. Surprisingly, little research has been performed on the vocalization types, source levels, acoustic properties, and functions of airborne sounds used by California sea lions. This research on airborne vocalizations of California sea lions will advance the understanding of this aspect of California sea lions communication, as well as examine the relationship between health condition and acoustic behavior. Using a PhillipsRTM digital recorder with attached microphone and a calibrated RadioShackRTM sound pressure level meter, acoustical data were recorded opportunistically on California sea lions during rehabilitation at The Marine Mammal Center in Sausalito, CA. Vocalizations were analyzed using frequency, time, and amplitude variables with Raven Pro: Interactive Sound Analysis Software Version 1.4 (The Cornell Lab of Ornithology, Ithaca, NY). Five frequency, three time, and four amplitude variables were analyzed for each vocalization. Differences in frequency, time, and amplitude variables were not significant by sex. The older California sea lion group produced vocalizations that were significantly lower in four frequency variables, significantly longer in two time variables, significantly higher in calibrated maximum and minimum amplitude variables, and significantly lower in frequency at maximum and minimum amplitude compared with pups. Six call types were identified: bark, goat, growl/grumble, bark/grumble, bark/growl, and grumble/moan. The growl/grumble call was higher in dominant beginning, ending, and minimum frequency, as well as in the frequency at maximum amplitude compared with the bark, goat, bark/grumble calls in the first versus last vocalization sample. The goat call was significantly higher in first harmonic interval than any other call type

InfoSound

DEFF Research Database (Denmark)

Sonnenwald, Diane H.; Gopinath, B.; Haberman, Gary O.

1990-01-01

The authors explore ways to enhance users' comprehension of complex applications using music and sound effects to present application-program events that are difficult to detect visually. A prototype system, Infosound, allows developers to create and store musical sequences and sound effects with...

Sound Surfing Network (SSN): Mobile Phone-based Sound Spatialization with Audience Collaboration

OpenAIRE

Park, Saebyul; Ban, Seonghoon; Hong, Dae Ryong; Yeo, Woon Seung

2013-01-01

SSN (Sound Surfing Network) is a performance system that provides a new musicalexperience by incorporating mobile phone-based spatial sound control tocollaborative music performance. SSN enables both the performer and theaudience to manipulate the spatial distribution of sound using the smartphonesof the audience as distributed speaker system. Proposing a new perspective tothe social aspect music appreciation, SSN will provide a new possibility tomobile music performances in the context of in...

Microsound and Macrocosm : Gérard Grisey’s Explorations of Musical Sound and Space

NARCIS (Netherlands)

Kursell, J.; Schäfer, A.; Kaduri, Y.

2016-01-01

This chapter investigates concepts of space in French composer Gérard Grisey’s music. From the 1970s onward, he used sound spectrograms, introducing the compositional technique of “spectralism,” which can be rooted in Arnold Schoenberg’s concept of Klangfarbe. The cycle Les Espaces acoustiques

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

OpenAIRE

Ouzounian, Gascia

2008-01-01

This dissertation examines the emergence and development ofsound installation art, an under-recognized tradition that hasdeveloped between music, architecture, and media art practicessince the late 1950s. Unlike many musical works, which are concernedwith organizing sounds in time, sound installations organize sounds inspace; they thus necessitate new theoretical and analytical modelsthat take into consideration the spatial situated-ness of sound. Existingdiscourses on “spatial sound” privile...

Music for the birds: effects of auditory enrichment on captive bird species.

Science.gov (United States)

Robbins, Lindsey; Margulis, Susan W

2016-01-01

With the increase of mixed species exhibits in zoos, targeting enrichment for individual species may be problematic. Often, mammals may be the primary targets of enrichment, yet other species that share their environment (such as birds) will unavoidably be exposed to the enrichment as well. The purpose of this study was to determine if (1) auditory stimuli designed for enrichment of primates influenced the behavior of captive birds in the zoo setting, and (2) if the specific type of auditory enrichment impacted bird behavior. Three different African bird species were observed at the Buffalo Zoo during exposure to natural sounds, classical music and rock music. The results revealed that the average frequency of flying in all three bird species increased with naturalistic sounds and decreased with rock music (F = 7.63, df = 3,6, P = 0.018); vocalizations for two of the three species (Superb Starlings and Mousebirds) increased (F = 18.61, df = 2,6, P = 0.0027) in response to all auditory stimuli, however one species (Lady Ross's Turacos) increased frequency of duetting only in response to rock music (X(2) = 18.5, df = 2, P < 0.0001). Auditory enrichment implemented for large mammals may influence behavior in non-target species as well, in this case leading to increased activity by birds. © 2016 Wiley Periodicals, Inc.

Adapting Music for the Ninth Grade Mixed Chorus.

Science.gov (United States)

McIntosh, Kathleen

1980-01-01

The author discusses how the ninth grader's vocal development, personality development and musical preferences create unique problems in selecting music for ninth grade choirs. Suggestions are made for adapting published choral music. A list of sacred, secular and Christmas music is included. (KC)

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

Science.gov (United States)

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

MUSICAL INTERPRETATION OF THE POETIC SOURCE IN THE RAP POEM FROM THE VOCAL-SYMPHONIC CYCLE FOR BARITONE AND ORCHESTRA APRÈS UNE LECTURE BY GHENADIE CIOBANU

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CIOBANU-SUHOMLIN IRINA

2017-06-01

Full Text Available The author considers the peculiarities of the interpretation of the poetic text in the music of one of the poems of the vocal and symphonic cycle for baritone and orchestra „Après une Lecture” by Ghenadie Ciobanu. The purpose of the article is to reveal the specific features of the musical and poetic synthesis achieved by the composer in the „Rap Poem”: in the description of the genre basis of the poetic and musical works, their figurative content, the correlation of their syntax, the specific musical intonation of the poetic text, the role of the orchestra. The composer’s method of working with a word is evaluated from the novelty standpoint, and the final artistic result is determined from the position of its stylistic affiliation as a musical exemple of the „third direction” in the music of the 20th century.

Vocal Hygiene Habits and Vocal Handicap Among Conservatory Students of Classical Singing.

Science.gov (United States)

Achey, Meredith A; He, Mike Z; Akst, Lee M

2016-03-01

This study sought to assess classical singing students' compliance with vocal hygiene practices identified in the literature and to explore the relationship between self-reported vocal hygiene practice and self-reported singing voice handicap in this population. The primary hypothesis was that increased attention to commonly recommended vocal hygiene practices would correlate with reduced singing voice handicap. This is a cross-sectional, survey-based study. An anonymous survey assessing demographics, attention to 11 common vocal hygiene recommendations in both performance and nonperformance periods, and the Singing Voice Handicap Index 10 (SVHI-10) was distributed to classical singing teachers to be administered to their students at two major schools of music. Of the 215 surveys distributed, 108 were returned (50.2%), of which 4 were incomplete and discarded from analysis. Conservatory students of classical singing reported a moderate degree of vocal handicap (mean SVHI-10, 12; range, 0-29). Singers reported considering all 11 vocal hygiene factors more frequently when preparing for performances than when not preparing for performances. Of these, significant correlations with increased handicap were identified for consideration of stress reduction in nonperformance (P = 0.01) and performance periods (P = 0.02) and with decreased handicap for consideration of singing voice use in performance periods alone (P = 0.02). Conservatory students of classical singing report more assiduous attention to vocal hygiene practices when preparing for performances and report moderate degrees of vocal handicap overall. These students may have elevated risk for dysphonia and voice disorders which is not effectively addressed through common vocal hygiene recommendations alone. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Vocal Health Education and Medical Resources for Graduate-Level Vocal Performance Students.

Science.gov (United States)

Latham, Katherine; Messing, Barbara; Bidlack, Melissa; Merritt, Samantha; Zhou, Xian; Akst, Lee M

2017-03-01

Most agree that education about vocal health and physiology can help singers avoid the development of vocal disorders. However, little is known about how this kind of education is provided to singers as part of their formal training. This study describes the amount of instruction in these topics provided through graduate-level curricula, who provides this instruction, and the kinds of affiliations such graduate singing programs have with medical professionals. This is an online survey of music schools with graduate singing programs. Survey questions addressed demographics of the programs, general attitudes about vocal health instruction for singers, the amount of vocal health instruction provided and by whom it was taught, perceived barriers to including more vocal health instruction, and any affiliations the voice program might have with medical personnel. Eighty-one survey responses were received. Instruction on vocal health was provided in 95% of the schools. In 55% of the schools, none of this instruction was given by a medical professional. Limited time in the curriculum, lack of financial support, and lack of availability of medical professional were the most frequently reported barriers to providing more instruction. When programs offered more hours of instruction, they were more likely to have some of that instruction given by a medical professional (P = 0.008) and to assess the amount of instruction provided positively (P = 0.001). There are several perceived barriers to incorporating vocal health education into graduate singing programs. Opportunity exists for more collaboration between vocal pedagogues and medical professionals in the education of singers about vocal health. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Principles of structure building in music, language and animal song

Science.gov (United States)

Rohrmeier, Martin; Zuidema, Willem; Wiggins, Geraint A.; Scharff, Constance

2015-01-01

Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined. This review brings together accounts of the principles of structure building in music and animal song. It relates them to corresponding models in formal language theory, the extended Chomsky hierarchy (CH), and their probabilistic counterparts. We further discuss common misunderstandings and shortcomings concerning the CH and suggest ways to move beyond. We discuss language, music and animal song in the context of their function and motivation and further integrate problems and issues that are less commonly addressed in the context of language, including continuous event spaces, features of sound and timbre, representation of temporality and interactions of multiple parallel feature streams. We discuss these aspects in the light of recent theoretical, cognitive, neuroscientific and modelling research in the domains of music, language and animal song. PMID:25646520

6. The Interdisciplinary Dimension of the Vocalchoral Culture of the Pupil in the Music School

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Glebov Ana

2018-03-01

Full Text Available Process in the context of the vocal-choral culture of the students of the music school. The concept of interdisciplinary is considered as a symbiosis of two or more academic disciplines in the formation of the vocal-choral culture of pupils in the musical-artistic field. In this case, interdisciplinary occurs in integrating the knowledge, capabilities and aptitudes formed, taking into account significant specific factors. Thus, the interdisciplinary approach is carried out through such disciplines as solfeggio, history of music, instrument, ensemble, but also the integration into the vocal-choral of the method of interiorizing the music through the philosophical, musical and psycho-pedagogical aspects.

Innovation In Music

OpenAIRE

2014-01-01

The music industry is a fast moving field with new technology and methodological advances combining to catalyse innovations all the time. 'Innovation in Music 2013' was an international conference exploring this topic, held in December 2013 in York, Uk. The event covered specific and cross-disciplinary aspects of the music industry including music creation, technology, production and business, sound engineering, mastering, post production and sound design, games music and cross-disciplinary t...

A Joint Prosodic Origin of Language and Music

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Steven Brown

2017-10-01

Full Text Available Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective and intonational aspects of prosody, but also holistic and combinatorial mechanisms of phrase generation. From this common stage, there was a bifurcation to form language and music as separate, though homologous, specializations. This separation of language and music was accompanied by their (reunification in songs with words.

Music and natural sounds in an auditory steady-state response based brain-computer interface to increase user acceptance.

Science.gov (United States)

Heo, Jeong; Baek, Hyun Jae; Hong, Seunghyeok; Chang, Min Hye; Lee, Jeong Su; Park, Kwang Suk

2017-05-01

Patients with total locked-in syndrome are conscious; however, they cannot express themselves because most of their voluntary muscles are paralyzed, and many of these patients have lost their eyesight. To improve the quality of life of these patients, there is an increasing need for communication-supporting technologies that leverage the remaining senses of the patient along with physiological signals. The auditory steady-state response (ASSR) is an electro-physiologic response to auditory stimulation that is amplitude-modulated by a specific frequency. By leveraging the phenomenon whereby ASSR is modulated by mind concentration, a brain-computer interface paradigm was proposed to classify the selective attention of the patient. In this paper, we propose an auditory stimulation method to minimize auditory stress by replacing the monotone carrier with familiar music and natural sounds for an ergonomic system. Piano and violin instrumentals were employed in the music sessions; the sounds of water streaming and cicadas singing were used in the natural sound sessions. Six healthy subjects participated in the experiment. Electroencephalograms were recorded using four electrodes (Cz, Oz, T7 and T8). Seven sessions were performed using different stimuli. The spectral power at 38 and 42Hz and their ratio for each electrode were extracted as features. Linear discriminant analysis was utilized to classify the selections for each subject. In offline analysis, the average classification accuracies with a modulation index of 1.0 were 89.67% and 87.67% using music and natural sounds, respectively. In online experiments, the average classification accuracies were 88.3% and 80.0% using music and natural sounds, respectively. Using the proposed method, we obtained significantly higher user-acceptance scores, while maintaining a high average classification accuracy. Copyright © 2017 Elsevier Ltd. All rights reserved.

Elaborate Mimetic Vocal Displays by Female Superb Lyrebirds

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Anastasia H Dalziell

2016-04-01

Full Text Available Some of the most striking vocalizations in birds are made by males that incorporate vocal mimicry in their sexual displays. Mimetic vocalization in females is largely undescribed, but it is unclear whether this is because of a lack of selection for vocal mimicry in females, or whether the phenomenon has simply been overlooked. These issues are thrown into sharp relief in the superb lyrebird, Menura novaehollandiae, a basal oscine passerine with a lek-like mating system and female uniparental care. The spectacular mimetic song display produced by courting male lyrebirds is a textbook example of a sexually selected trait, but the vocalizations of female lyrebirds are largely unknown. Here, we provide the first analysis of the structure and context of the vocalizations of female lyrebirds. Female lyrebirds were completely silent during courtship; however, females regularly produced sophisticated vocal displays incorporating both lyrebird-specific vocalizations and imitations of sounds within their environment. The structure of female vocalizations varied significantly with context. While foraging, females mostly produced a complex lyrebird-specific song, whereas they gave lyrebird-specific alarm calls most often during nest defense. Within their vocal displays females also included a variety of mimetic vocalizations, including imitations of the calls of dangerous predators, and of alarm calls and song of harmless heterospecifics. Females gave more mimetic vocalizations during nest defense than while foraging, and the types of sounds they imitated varied between these contexts, suggesting that mimetic vocalizations have more than one function. These results are inconsistent with previous portrayals of vocalizations by female lyrebirds as rare, functionless by-products of sexual selection on males. Instead, our results support the hypotheses that complex female vocalizations play a role in nest defense and mediate female-female competition for

Hearing of note: an electrophysiologic and psychoacoustic comparison of pitch discrimination between vocal and instrumental musicians.

Science.gov (United States)

Nikjeh, Dee A; Lister, Jennifer J; Frisch, Stefan A

2008-11-01

Cortical auditory evoked potentials of instrumental musicians suggest that music expertise modifies pitch processing, yet less is known about vocal musicians. Mismatch negativity (MMN) to pitch deviances and difference limen for frequency (DLF) were examined among 61 young adult women, including 20 vocalists, 21 instrumentalists, and 20 nonmusicians. Stimuli were harmonic tone complexes from the mid-female vocal range (C4-G4). MMN was elicited by multideviant paradigm. DLF was obtained by an adaptive psychophysical paradigm. Musicians detected pitch changes earlier and DLFs were 50% smaller than nonmusicians. Both vocal and instrumental musicians possess superior sensory-memory representations for acoustic parameters. Vocal musicians with instrumental training appear to have an auditory neural advantage over instrumental or vocal only musicians. An incidental finding reveals P3a as a sensitive index of music expertise.

The role of the medial temporal limbic system in processing emotions in voice and music.

Science.gov (United States)

Frühholz, Sascha; Trost, Wiebke; Grandjean, Didier

2014-12-01

Subcortical brain structures of the limbic system, such as the amygdala, are thought to decode the emotional value of sensory information. Recent neuroimaging studies, as well as lesion studies in patients, have shown that the amygdala is sensitive to emotions in voice and music. Similarly, the hippocampus, another part of the temporal limbic system (TLS), is responsive to vocal and musical emotions, but its specific roles in emotional processing from music and especially from voices have been largely neglected. Here we review recent research on vocal and musical emotions, and outline commonalities and differences in the neural processing of emotions in the TLS in terms of emotional valence, emotional intensity and arousal, as well as in terms of acoustic and structural features of voices and music. We summarize the findings in a neural framework including several subcortical and cortical functional pathways between the auditory system and the TLS. This framework proposes that some vocal expressions might already receive a fast emotional evaluation via a subcortical pathway to the amygdala, whereas cortical pathways to the TLS are thought to be equally used for vocal and musical emotions. While the amygdala might be specifically involved in a coarse decoding of the emotional value of voices and music, the hippocampus might process more complex vocal and musical emotions, and might have an important role especially for the decoding of musical emotions by providing memory-based and contextual associations. Copyright © 2014 Elsevier Ltd. All rights reserved.

Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals

Directory of Open Access Journals (Sweden)

Michael G. Garber

2016-10-01

Full Text Available This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin and Free and Easy (starring Buster Keaton. The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.

Sacred byzantine music and its influence on old East Slavic Orthodox music

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Włodzimierz Wołosiuk

2014-11-01

Full Text Available Sacred Byzantine music originates from three sources: “the liturgy of heaven”, synagogue music as well as old Greek theory of music and lays at the bottom of the East Slavs liturgical chant. The tonal base of the Byzantine music formed tetrachords. From them the so called Diatonic mode took shape. It was the easiest and the most popular sound arrangement steming from Greek music. The Cristian Church considered it to be in accordance with its Spirit and needs. From the tetrachords mentioned above other tones were created, namely Doric tones, Lydian, Phrygian and Mixolydian and, together withall their derivatives they gave beginning to the Oktoechos tradition. Byzantine music was flourishing in monasteries and in town areas andmany different forms were elaborated on like troparions, kontakions, stichiry, canons, etc. If one speaks about composers then certainly some names cannot be omitted. These are: St. Anatolius (Patriarchof Constantinople, St. Andrew of Crete, St. Romanos the Melodist,St. Sophronius of Jerusalem and, above all, St. John of Damascus who collected and systematized the liturgical chants creating mentioned Oktoechos. The acceptance of the Greek form of Christianity by Rus’ caused a cultivation of the sacred Greek vocal art on its territory which manifested in a form of so called Znamenny chant. This type of chant was at first similar to the Greek model but later on it moved away from it. Musical notation of the Old East Slavic singing was based on neumes which names in Old East Slavic have changed a little and only few survived. Furthermore, liturgical note books together with their genre and music content have been taken over from Byzantium. Especially visible in the Old East Slavic monody, Byzantine patterns were pervading also the later polyphony which proves they were always current. Moreover, this allows to claim that Rus’ became the real successor of the Greek Orthodox traditions in new circumstances of sacral

Film Music. Factfile No. 8.

Science.gov (United States)

Elsas, Diana, Ed.; And Others

Organizations listed here with descriptive information include film music clubs and music guilds and associations. These are followed by a representative list of schools offering film music and/or film sound courses. Sources are listed for soundtrack recordings, sound effects/production music, films on film music, and oral history programs. The…

Hearing Things: Music and Sounds the Traveller Heard and Didn’t Hear on the Grand Tour

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Vanessa Agnew

2012-11-01

Full Text Available For Charles Burney, as for other Enlightenment scholars engaged in historicising music, the problem was not only how to reconstruct a history of something as ephemeral as music, but the more intractable one of cultural boundaries. Non-European music could be excluded from a general history on the grounds that it was so much noise and no music. The music of Egypt and classical antiquity, on the other hand, were likely ancestors of European music and clearly had to be accorded a place within the general history. But before that place could be determined, Burney and his contemporaries were faced with a stunning silence. What was Egyptian music? What were its instruments? What its sound? The paper examines the work of scholars like Burney and James Bruce and their efforts to reconstruct past music by traveling to exotic places. Travel and a form of historical reenactment emerge as central not only to eighteenth-century historical method, but central, too, to the reconstruction of past sonic worlds. This essay argues that this method remains available to contemporary scholars as well.

Musical preferences and learning outcome of medical students in cadaver dissection laboratory: A Nigerian survey.

Science.gov (United States)

Anyanwu, G E; Nto, J N; Agu, A U; Ekezie, J; Esom, E A

2016-11-01

Background music has been reported to enhance learning in the cadaver dissection laboratory. This study was designed to determine the impact of various forms of musical genre and some of their characteristics on students' learning outcome in the dissection laboratory. Some selected musical genre in vocal and non-vocal forms and at different tempi and volume were played as background music (BM) to 253 Medical and Dental students during various sessions of cadaver dissection. Psychological Stress assessment was done using Psychological stress measure-9. Participants love for music, preferred musical genre and other musical characteristics were assessed. The impact of the various musical genre and their characteristics on learning was done via written examination on the region dissected during each musical session. A positive relationship was noted between students' preference for musical genre during leisure with their preference for BM during private study time (Pmusical genre on some selected learning factors. Country and Classical music gave the highest positive impact on the various learning factors in CDL followed by R&B. No significant difference was noted between the cognitive values of vocal and non-vocal music. Classical music most effectively reduced the stress induced by dissection in the CDL while Reggae and High life musical genre created a more stressful environment than regular background noise (Pmusical genre and their various characteristics. The inability to isolate the particular musical genre with these desired properties could account for the controversies in the reports of the role of music in academic environment. Copyright © 2016 Elsevier GmbH. All rights reserved.

Análise perceptivo-auditiva de parâmetros vocais em cantores da noite do estilo musical brega da cidade do Recife Perceptual vocal pattern analysis of singers from kitschy musical style in Recife

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Elthon Gomes Fernandes da Silva

2009-09-01

Full Text Available OBJETIVO: avaliar de forma perceptivo-auditiva a voz dos cantores da noite do estilo musical Brega da cidade do Recife. MÉTODOS: pesquisa realizada na clínica-escola do curso de Fonoaudiologia da Universidade Federal de Pernambuco e na emissora de TV Rede Estação canal 14, ambos localizados na cidade do Recife. Trata-se de estudo observacional, transversal e descritivo. Com anuência de 13 cantores, maiores de 18 anos, houve gravação da voz falada na emissão sustentada de vogais e durante a música "parabéns pra você"; na voz cantada realizou-se a gravação de trecho de música pertencente ao repertório do cantor. RESULTADOS: tempos de fonação reduzidos; modificações no pitch e loudness, comparando voz falada e cantada, ambos passando de adequados para, respectivamente, agudo e elevada; mudanças na ressonância, que era laringofaríngea e tornou-se equilibrada com compensação nasal. Houve manutenção do ataque vocal brusco; mudança do registro modal misto na voz habitual para o modal cabeça na voz profissional; predominância da qualidade vocal clara na voz falada e padrões adequados para modulação, projeção e articulação na voz cantada. CONCLUSÃO: os cantores da noite do estilo musical Brega da cidade do Recife apresentaram tempos de fonação reduzidos e tiveram, da voz falada para a voz cantada, mudanças no pitch, loudness e ressonância e manutenção das características vocais para ataque e registro. A qualidade vocal clara na voz falada foi predominante, assim como a modulação adequada, boa projeção e articulação precisa estavam entre os padrões vocais mais frequentes na voz cantada.PURPOSE: to evaluate the perceptual form concerning the voice of the singers from kitschy musical style in Recife. METHODS: clinical research was carried out in the clinic-school of Speech, Language and Hearing Sciences course in the Federal University of Pernambuco and Network TV Station channel 14, both located in the

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.

Sound

CERN Document Server

Robertson, William C

2003-01-01

Muddled about what makes music? Stuck on the study of harmonics? Dumbfounded by how sound gets around? Now you no longer have to struggle to teach concepts you really don t grasp yourself. Sound takes an intentionally light touch to help out all those adults science teachers, parents wanting to help with homework, home-schoolers seeking necessary scientific background to teach middle school physics with confidence. The book introduces sound waves and uses that model to explain sound-related occurrences. Starting with the basics of what causes sound and how it travels, you'll learn how musical instruments work, how sound waves add and subtract, how the human ear works, and even why you can sound like a Munchkin when you inhale helium. Sound is the fourth book in the award-winning Stop Faking It! Series, published by NSTA Press. Like the other popular volumes, it is written by irreverent educator Bill Robertson, who offers this Sound recommendation: One of the coolest activities is whacking a spinning metal rod...

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.

It sounds good!

CERN Multimedia

CERN Bulletin

2010-01-01

Both the atmosphere and we ourselves are hit by hundreds of particles every second and yet nobody has ever heard a sound coming from these processes. Like cosmic rays, particles interacting inside the detectors at the LHC do not make any noise…unless you've decided to use the ‘sonification’ technique, in which case you might even hear the Higgs boson sound like music. Screenshot of the first page of the "LHC sound" site. A group of particle physicists, composers, software developers and artists recently got involved in the ‘LHC sound’ project to make the particles at the LHC produce music. Yes…music! The ‘sonification’ technique converts data into sound. “In this way, if you implement the right software you can get really nice music out of the particle tracks”, says Lily Asquith, a member of the ATLAS collaboration and one of the initiators of the project. The ‘LHC...

Computer Music Synthesis and Composition

Science.gov (United States)

Ayers, Lydia

What is computer music composition? Composers are using the computer for everything from MIDI instruments communicating with computer sequencers, pitch trackers analyzing the sounds of acoustic instruments and converting them to pitch information, live performers with recorded music, performers with interactive computer programs, computer music produced by dancers using sensors, automatic music composition with the computer programs composing the music, composing with sounds or parts of sounds rather than notes, how to structure the use of time, composing with timbres, or the colors of sounds, and timbre morphing, such as a gong morphing to a voice, composing with textures and texture morphing, such as fluttertonguing morphing to pitch, granular synthesis, trills and convolution.

The prenatal roots of music

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David Ernest Teie

2016-08-01

Full Text Available Although the idea that pulse in music may be related to human pulse is ancient and has recently been promoted by researchers (Parncutt, 2006; Snowdon & Teie, 2010, there has been no ordered delineation of the characteristics of music that are based on the sounds of the womb. I describe features of music that are based on sounds that are present in the womb: tempo of pulse (pulse is understood as the regular, underlying beat that defines the meter, amplitude contour of pulse, meter, musical notes, melodic frequency range, continuity, syllabic contour, melodic rhythm, melodic accents, phrase length, and phrase contour. There are a number of features of prenatal development that allow for the formation of long-term memories of the sounds of the womb in the areas of the brain that are responsible for emotions. Taken together, these features and the similarities between the sounds of the womb and the elemental building blocks of music allow for a postulation that the fetal acoustic environment may provide the bases for the fundamental musical elements that are found in the music of all cultures. This hypothesis is supported by a one-to-one matching of the universal features of music with the sounds of the womb: 1 all of the regularly heard sounds that are present in the fetal environment are represented in the music of every culture, and 2 all of the features of music that are present in the music of all cultures can be traced to the fetal environment.

The remarkable vocal anatomy of the koala (Phascolarctos cinereus): insights into low-frequency sound production in a marsupial species.

Science.gov (United States)

Frey, Roland; Reby, David; Fritsch, Guido; Charlton, Benjamin D

2018-04-01

Koalas are characterised by a highly unusual vocal anatomy, with a descended larynx and velar vocal folds, allowing them to produce calls at disproportionately low frequencies. Here we use advanced imaging techniques, histological data, classical macroscopic dissection and behavioural observations to provide the first detailed description and interpretation of male and female koala vocal anatomy. We show that both males and females have an elongated pharynx and soft palate, resulting in a permanently descended larynx. In addition, the hyoid apparatus has a human-like configuration in which paired dorsal, resilient ligaments suspend the hyoid apparatus from the skull, while the ventral parts tightly connect to the descended larynx. We also show that koalas can retract the larynx down into the thoracic inlet, facilitated by a dramatic evolutionary transformation of the ventral neck muscles. First, the usual retractors of the larynx and the hyoid have their origins deep in the thorax. Secondly, three hyoid muscles have lost their connection to the hyoid skeleton. Thirdly, the genioglossus and geniohyoid muscles are greatly increased in length. Finally, the digastric, omohyoid and sternohyoid muscles, connected by a common tendinous intersection, form a guiding channel for the dynamic down-and-up movements of the ventral hyoid parts and the larynx. We suggest that these features evolved to accommodate the low resting position of the larynx and assist in its retraction during call production. We also confirm that the edges of the intra-pharyngeal ostium have specialised to form the novel, extra-laryngeal velar vocal folds, which are much larger than the true intra-laryngeal vocal folds in both sexes, but more developed and specialised for low frequency sound production in males than in females. Our findings illustrate that strong selection pressures on acoustic signalling not only lead to the specialisation of existing vocal organs but can also result in the evolution

Off the beaten track: Freud, sound and music. Statement of a problem and some historico-critical notes.

Science.gov (United States)

Baralea, Francesco; Minazzi, Vera

2008-10-01

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud's position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps's thinking in the turn-of-the-century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud 'stopped', as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the 'unfinished symphony' of the relationship between psychoanalysis and music.

Precursors of Dancing and Singing to Music in Three- to Four-Months-Old Infants

Science.gov (United States)

Fujii, Shinya; Watanabe, Hama; Oohashi, Hiroki; Hirashima, Masaya; Nozaki, Daichi; Taga, Gentaro

2014-01-01

Dancing and singing to music involve auditory-motor coordination and have been essential to our human culture since ancient times. Although scholars have been trying to understand the evolutionary and developmental origin of music, early human developmental manifestations of auditory-motor interactions in music have not been fully investigated. Here we report limb movements and vocalizations in three- to four-months-old infants while they listened to music and were in silence. In the group analysis, we found no significant increase in the amount of movement or in the relative power spectrum density around the musical tempo in the music condition compared to the silent condition. Intriguingly, however, there were two infants who demonstrated striking increases in the rhythmic movements via kicking or arm-waving around the musical tempo during listening to music. Monte-Carlo statistics with phase-randomized surrogate data revealed that the limb movements of these individuals were significantly synchronized to the musical beat. Moreover, we found a clear increase in the formant variability of vocalizations in the group during music perception. These results suggest that infants at this age are already primed with their bodies to interact with music via limb movements and vocalizations. PMID:24837135

Spectral analysis of musical sounds with emphasis on the piano

CERN Document Server

Koenig, David M

2014-01-01

There are three parts to this book which addresses the analysis of musical sounds from the viewpoint of someone at the intersection between physicists, engineers, piano technicians, and musicians. The reader is introduced to a variety of waves and a variety of ways of presenting, visualizing, and analyzing them in the first part. A tutorial on the tools used throughout the book accompanies this introduction. The mathematics behind the tools is left to the appendices. Part 2 is a graphical survey of the classical areas of acoustics that pertain to musical instruments: vibrating strings, bars, membranes, and plates. Part 3 is devoted almost exclusively to the piano. Several two- and three-dimensional graphical tools are introduced to study the following characteristics of pianos: individual notes and interactions among them, the missing fundamental, inharmonicity, tuning visualization, the different distribution of harmonic power for the various zones of the piano keyboard, and potential uses for quality contro...

The Musical Emotional Bursts: A validated set of musical affect bursts to investigate auditory affective processing.

Directory of Open Access Journals (Sweden)

Sébastien ePaquette

2013-08-01

Full Text Available The Musical Emotional Bursts (MEB consist of 80 brief musical executions expressing basic emotional states (happiness, sadness and fear and neutrality. These musical bursts were designed to be the musical analogue of the Montreal Affective Voices (MAV – a set of brief non-verbal affective vocalizations portraying different basic emotions. The MEB consist of short (mean duration: 1.6 sec improvisations on a given emotion or of imitations of a given MAV stimulus, played on a violin (n:40 or a clarinet (n:40. The MEB arguably represent a primitive form of music emotional expression, just like the MAV represent a primitive form of vocal, nonlinguistic emotional expression. To create the MEB, stimuli were recorded from 10 violinists and 10 clarinetists, and then evaluated by 60 participants. Participants evaluated 240 stimuli (30 stimuli x 4 [3 emotions + neutral] x 2 instruments by performing either a forced-choice emotion categorization task, a valence rating task or an arousal rating task (20 subjects per task; 40 MAVs were also used in the same session with similar task instructions. Recognition accuracy of emotional categories expressed by the MEB (n:80 was lower than for the MAVs but still very high with an average percent correct recognition score of 80.4%. Highest recognition accuracies were obtained for happy clarinet (92.0% and fearful or sad violin (88.0% each MEB stimuli. The MEB can be used to compare the cerebral processing of emotional expressions in music and vocal communication, or used for testing affective perception in patients with communication problems.

The Importance of Music in Early Childhood.

Science.gov (United States)

Levinowitz, Lili M.

1998-01-01

Surveys some of the research in music education that validates the inclusion of music for its own sake in models for early childhood learning. Focuses on topics that include, but are not limited to, child and vocal development, the importance of movement for children, and adult involvement in music education. (CMK)

Vocal Sight-Reading Assessment: Technological Advances, Student Perceptions, and Instructional Implications

Science.gov (United States)

Henry, Michele

2015-01-01

This study investigated choral singers' comfort level using computer technology for vocal sight-reading assessment. High school choral singers (N = 138) attending a summer music camp completed a computer-based sight-reading assessment and accompanying pre- and posttest surveys on their musical backgrounds and perceptions about technology. A large…

Principles of structure building in music, language and animal song.

Science.gov (United States)

Rohrmeier, Martin; Zuidema, Willem; Wiggins, Geraint A; Scharff, Constance

2015-03-19

Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined. This review brings together accounts of the principles of structure building in music and animal song. It relates them to corresponding models in formal language theory, the extended Chomsky hierarchy (CH), and their probabilistic counterparts. We further discuss common misunderstandings and shortcomings concerning the CH and suggest ways to move beyond. We discuss language, music and animal song in the context of their function and motivation and further integrate problems and issues that are less commonly addressed in the context of language, including continuous event spaces, features of sound and timbre, representation of temporality and interactions of multiple parallel feature streams. We discuss these aspects in the light of recent theoretical, cognitive, neuroscientific and modelling research in the domains of music, language and animal song. © 2015 The Author(s) Published by the Royal Society. All rights reserved.

Audacity in Vocal Improvisation: Motivating Elementary School Students through Technology

Science.gov (United States)

Sichivitsa, Veronica

2007-01-01

Every day, music teachers face the challenge of motivating less-confident student singers in general music classes. Teaching vocal improvisation can be a difficult task, because students are often self-conscious about their voices and too intimidated to sing in front of their peers. Technology can be an excellent motivational tool in the classroom…

Phase-Specific Vocalizations of Male Mice at the Initial Encounter during the Courtship Sequence.

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Yui K Matsumoto

Full Text Available Mice produce ultrasonic vocalizations featuring a variety of syllables. Vocalizations are observed during social interactions. In particular, males produce numerous syllables during courtship. Previous studies have shown that vocalizations change according to sexual behavior, suggesting that males vary their vocalizations depending on the phase of the courtship sequence. To examine this process, we recorded large sets of mouse vocalizations during male-female interactions and acoustically categorized these sounds into 12 vocal types. We found that males emitted predominantly short syllables during the first minute of interaction, more long syllables in the later phases, and mainly harmonic sounds during mounting. These context- and time-dependent changes in vocalization indicate that vocal communication during courtship in mice consists of at least three stages and imply that each vocalization type has a specific role in a phase of the courtship sequence. Our findings suggest that recording for a sufficiently long time and taking the phase of courtship into consideration could provide more insights into the role of vocalization in mouse courtship behavior in future study.

An Antropologist of Sound

DEFF Research Database (Denmark)

Groth, Sanne Krogh

2015-01-01

PROFESSOR PORTRAIT: Sanne Krogh Groth met Holger Schulze, newly appointed professor in Musicology at the Department for Arts and Cultural Studies, University of Copenhagen, to a talk about anthropology of sound, sound studies, musical canons and ideology.......PROFESSOR PORTRAIT: Sanne Krogh Groth met Holger Schulze, newly appointed professor in Musicology at the Department for Arts and Cultural Studies, University of Copenhagen, to a talk about anthropology of sound, sound studies, musical canons and ideology....

Avian vocal mimicry: a unified conceptual framework.

Science.gov (United States)

Dalziell, Anastasia H; Welbergen, Justin A; Igic, Branislav; Magrath, Robert D

2015-05-01

Mimicry is a classical example of adaptive signal design. Here, we review the current state of research into vocal mimicry in birds. Avian vocal mimicry is a conspicuous and often spectacular form of animal communication, occurring in many distantly related species. However, the proximate and ultimate causes of vocal mimicry are poorly understood. In the first part of this review, we argue that progress has been impeded by conceptual confusion over what constitutes vocal mimicry. We propose a modified version of Vane-Wright's (1980) widely used definition of mimicry. According to our definition, a vocalisation is mimetic if the behaviour of the receiver changes after perceiving the acoustic resemblance between the mimic and the model, and the behavioural change confers a selective advantage on the mimic. Mimicry is therefore specifically a functional concept where the resemblance between heterospecific sounds is a target of selection. It is distinct from other forms of vocal resemblance including those that are the result of chance or common ancestry, and those that have emerged as a by-product of other processes such as ecological convergence and selection for large song-type repertoires. Thus, our definition provides a general and functionally coherent framework for determining what constitutes vocal mimicry, and takes account of the diversity of vocalisations that incorporate heterospecific sounds. In the second part we assess and revise hypotheses for the evolution of avian vocal mimicry in the light of our new definition. Most of the current evidence is anecdotal, but the diverse contexts and acoustic structures of putative vocal mimicry suggest that mimicry has multiple functions across and within species. There is strong experimental evidence that vocal mimicry can be deceptive, and can facilitate parasitic interactions. There is also increasing support for the use of vocal mimicry in predator defence, although the mechanisms are unclear. Less progress has

Bupropion XL-induced motor and vocal tics.

Science.gov (United States)

Kayhan, Fatih; Uguz, Faruk; Kayhan, Ayşegül; Toktaş, Fikriye Ilay

2014-01-01

Tics are stereotypical repetitive involuntary movements (motor tics) or sounds (vocal tics). Although the emergence of tics were reported in a few cases with the use of selective serotonin reuptake inhibitors, there was no case with bupropion extended-release (Bupropion XL). The current case report presents a male patient developing motor and vocal tics with the use of bupropion XL.

Cortical representations of communication sounds.

Science.gov (United States)

Heiser, Marc A; Cheung, Steven W

2008-10-01

This review summarizes recent research into cortical processing of vocalizations in animals and humans. There has been a resurgent interest in this topic accompanied by an increased number of studies using animal models with complex vocalizations and new methods in human brain imaging. Recent results from such studies are discussed. Experiments have begun to reveal the bilateral cortical fields involved in communication sound processing and the transformations of neural representations that occur among those fields. Advances have also been made in understanding the neuronal basis of interaction between developmental exposures and behavioral experiences with vocalization perception. Exposure to sounds during the developmental period produces large effects on brain responses, as do a variety of specific trained tasks in adults. Studies have also uncovered a neural link between the motor production of vocalizations and the representation of vocalizations in cortex. Parallel experiments in humans and animals are answering important questions about vocalization processing in the central nervous system. This dual approach promises to reveal microscopic, mesoscopic, and macroscopic principles of large-scale dynamic interactions between brain regions that underlie the complex phenomenon of vocalization perception. Such advances will yield a greater understanding of the causes, consequences, and treatment of disorders related to speech processing.

Sound a very short introduction

CERN Document Server

Goldsmith, Mike

2015-01-01

Sound is integral to how we experience the world, in the form of noise as well as music. But what is sound? What is the physical basis of pitch and harmony? And how are sound waves exploited in musical instruments? Sound: A Very Short Introduction looks at the science of sound and the behaviour of sound waves with their different frequencies. It also explores sound in different contexts, covering the audible and inaudible, sound underground and underwater, acoustic and electronic sound, and hearing in humans and animals. It concludes with the problem of sound out of place—noise and its reduction.

THE BODY IN MUSIC, THE MUSIC IN BODY: A COMMUNITY INTEGRATION PROJECT

Directory of Open Access Journals (Sweden)

Fábio Pra da Silva de Souza

2009-07-01

Full Text Available This article is the result of the Artistic and Culture Department extension project “The Body in Music, The Music in Body: a community integration project” that took music to community on Universidade Federal de Santa Catarina (UFSC in two different ways: buy choir singing group and the music therapy activities on Parkinson Disease Patients Group. The objectives of this project were to integrate choir singing to dance, develop music perception and body expression. Broadcast choir singing, improve facial expression and body movements. To reach these objectives were done body expression workshops, music and vocal technique rehearsals, rhythm exercises and some auditions among UFSC an other public places in Florianópolis.

Learning while Babbling: Prelinguistic Object-Directed Vocalizations Indicate a Readiness to Learn

Science.gov (United States)

Goldstein, Michael H.; Schwade, Jennifer; Briesch, Jacquelyn; Syal, Supriya

2010-01-01

Two studies illustrate the functional significance of a new category of prelinguistic vocalizing--object-directed vocalizations (ODVs)--and show that these sounds are connected to learning about words and objects. Experiment 1 tested 12-month-old infants' perceptual learning of objects that elicited ODVs. Fourteen infants' vocalizations were…

Intuitive Music

DEFF Research Database (Denmark)

Bergstrøm-Nielsen, Carl

2009-01-01

Handbook for people who wish to play or teach freely improvised music and improvisation pieces. With sections on how to start with different types of groups, training of musical awareness, parameters of the musical sound, the history of improvised music and some improvisational pieces....

Alternative measures to observe and record vocal fold vibrations

NARCIS (Netherlands)

Schutte, HK; McCafferty, G; Coman, W; Carroll, R

1996-01-01

Vocal fold vibration patterns form the basis for the production of vocal sound. Over the years much effort has been spend to optimize the ways to visualize and give a description of these patterns. Before video possibilities became available the description of the patterns was Very time-consuming.

Benign Lesions of The Vocal Fold

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Ozgur Surmelioglu

2013-02-01

Full Text Available Benign lesions of vocal folds are common disorders. Fifty percent of patients who have sound complaints are found to have these lesions after endoscopic and stroboscopic examinations. Benign vocal fold diseases are primarily caused by vibratory trauma. However they may also occur as a result of viral infections and congenital causes. These lesions are often presented with the complaints of dysphonia. [Archives Medical Review Journal 2013; 22(1.000: 86-95

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 ...

Name that tune: decoding music from the listening brain.

NARCIS (Netherlands)

Schaefer, R.S.; Farquhar, J.D.R.; Blokland, Y.M.; Sadakata, M.; Desain, P.W.M.

2011-01-01

In the current study we use electroencephalography (EEG) to detect heard music from the brain signal, hypothesizing that the time structure in music makes it especially suitable for decoding perception from EEG signals. While excluding music with vocals, we classified the perception of seven

Name that tune: Decoding music from the listening brain

NARCIS (Netherlands)

Schaefer, R.S.; Farquhar, J.D.R.; Blokland, Y.M.; Sadakata, M.; Desain, P.W.M.

2011-01-01

In the current study we use electroencephalography (EEG) to detect heard music from the brain signal, hypothesizing that the time structure in music makes it especially suitable for decoding perception from EEG signals. While excluding music with vocals, we classified the perception of seven

SOME METHODIC ASPECTS OF VOCAL RESPIRATION WITHIN ACADEMIC SINGING TEACHING

Directory of Open Access Journals (Sweden)

AGA LUDMILA

2015-12-01

Full Text Available This article presents the author’s reflections on the methodical problems of vocal respiration treated by Ludmila Aga as one of the essential elements of vocal technique. Based on her own rich experience as opera soloist and vocal teacher, the author reviews some theoretical principles which treat this problem. Besides, L. Aga proposes some helpful exercises for developing vocal respiration abilities. The article combines data from physiology, history and the theory of performing arts, methods of singing. Having an applied character, this work might be helpful for the singing teachers from the colleges and higher instituti­ons of music proile, as well as for the students of the Academic Singing Department.

Morphometric Study of Vocal Folds in Indian Cadavers

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Rawal J.D.

2015-06-01

Full Text Available Introduction: -The larynx is an air passage and a sphincteric device used in respiration and phonation. The larynx, from inside outwards has a framework of mucosa surrounded by fibro-elastic membrane which in turn is surrounded by cartilages and then a layer of muscles. Vocal folds are intrinsic ligament of larynx covered by mucosal folds. Larynx generates sound through rhythmic opening and closing of the vocal folds. The perceived pitch of human voice mainly depends upon fundamental frequency of sound generated by larynx. Aim: - The aim of present study is to measure various dimensions of vocal folds in Indian cadavers. Material & Methods: - 50 larynx were obtained from embalmed cadavers, of which 10 larynx were of females. Vocal cords were dissected from the larynx and morphometric analysis was done. Results and Conclusions: - The average total length of the vocal folds was found to be 16.11 mm. ± 2.62 mm. in male and 14.10 mm. ± 1.54 mm. in female cadavers. The average width of the vocal folds was found to be 4.38 mm. ± 0.74 mm. in male and 3.60 mm. ± 0.64 mm. in female cadavers. The average total length of the membranous part of the vocal folds was found to be 11.90 mm. ± 1.86 mm. in male and 10.45 mm. ± 1.81 mm. in female cadavers. The average ratio of the length of the membranous and the cartilaginous parts of the vocal folds was calculated to be 3.10 ± 0.96in male and 2.85 ± 0.73in female cadavers.

Expressiveness in musical performance: Pedagogic aspect

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Jović Natalija R.

2016-01-01

Full Text Available The subject of our research relates to pedagogic aspects of expressive vocal-instrumental musical performance. We intended to examine: (1 how undergraduate students see/conceptualize and evaluate expressiveness in musical performance; (2 whether and how they were trained in the skill of expressive musical performance during their musical training; (3 whether and in which way they rehearse the expressive component of musical performance and interpretation and (4 whether there are any differences regarding gender, age, instrument, department, year of study and years of instrument playing in relation to the group of dependant variables related to expressiveness, tuition and practice. The sample for the research included 82 students of instrumental and theory departments at the Faculty of Music in Belgrade. Psychological and pedagogical aspects of musical expressiveness during vocal-instrumental performance were analyzed. The results show that students highly evaluate expressiveness but its place is secondary compared to mastering technical and tonal requirements. Statistically significant differences were shown regarding gender, age and departments. It can be concluded that there is a potential for the development and enhancement of expressiveness of students if we abandon the traditional view that expressiveness is linked exclusively to talent. The findings indicate that pedagogical work should be directed towards finding purposeful strategies for training individual expressiveness.

Singers' and Nonsingers' Perception of Vocal Vibrato.

Science.gov (United States)

Reddy, A Anita; Subramanian, Uma

2015-09-01

Vibrato, a small, nevertheless an important component in the singing voice is known to enrich the overall singing voice quality. However, in the perception of overall performance, it is often neglected. Singing performance is often appreciated by a mixed audience of those who love music, but not necessarily sing and other singers who may or may not be teachers of singing. The objectives of the present study were aimed at investigating singers' and nonsingers' perception of vocal vibrato and its effect on the ratings of singer's overall performance. Prerecorded audio samples of the chorus of a hymn (How Great Thou Art) as sung by 10 singers (both men and women) were played via a speaker to two groups of judges which consisted of three experienced singers and three experienced nonsingers. The singer judges (SJs) were vocal instructors in Western classical, music theater, pop, and contemporary styles. Seven parameters (presence of vibrato, rate, extent, conspicuousness, quality, periodicity, and type) related to vibrato were evaluated through auditory perception by these two groups of judges on a rating scale developed specifically for the study, and one parameter evaluated singer's overall performance. Cohen's Kappa statistical analysis was used for inter-rater reliability within groups. Nonsinger judges (NSJs) within the group showed varied ratings as did SJs, yet SJs did have higher agreement than NSJs. Chi-square analysis was used across groups. Both groups were distinct from each other in their perception of vibrato. Ratings of singer's overall performance were not affected for NSJs, but certainly affected for SJ. It could not be concluded that ratings on singer's overall performance was affected as a result of vibrato. Since vibrato is often over-ridden by the singer's voice. But a rare occasion can arise where a vibrato may not sound pleasant and can affect the listener's perception of the singer's performance. Often a feedback from listeners would help monitor

Natural variations of vocal effort and comfort in simulated acoustic environments

DEFF Research Database (Denmark)

Pelegrin Garcia, David; Brunskog, Jonas

2010-01-01

acoustic conditions, artificially generated by electroacoustic means. The vocal intensity decreased with the objective parameter support, which quantifies the amount of sound reflections provided by the room at the talker‟s ears,relative to the direct sound, at a rate of -0.21 dB/dB. The reading pace......Many teachers suffer from voice problems related to the use of their voices in the working environment. The noise generated by students and external sound sources (like traffic noise or neighboring classrooms) is a major problem, as it leads to an increased vocal effort. In the absence of high...... levels of background noise, the room has also an effect on the talker‟s voice. In order to quantify the relative importance of the acoustic environment on the vocal demands for teachers, a laboratory investigation was carried out. Thirteen teachers had to read a text aloud under ten different room...

Do high sound pressure levels of crowing in roosters necessitate passive mechanisms for protection against self-vocalization?

Science.gov (United States)

Claes, Raf; Muyshondt, Pieter G G; Dirckx, Joris J J; Aerts, Peter

2018-02-01

High sound pressure levels (>120dB) cause damage or death of the hair cells of the inner ear, hence causing hearing loss. Vocalization differences are present between hens and roosters. Crowing in roosters is reported to produce sound pressure levels of 100dB measured at a distance of 1m. In this study we measured the sound pressure levels that exist at the entrance of the outer ear canal. We hypothesize that roosters may benefit from a passive protective mechanism while hens do not require such a mechanism. Audio recordings at the level of the entrance of the outer ear canal of crowing roosters, made in this study, indeed show that a protective mechanism is needed as sound pressure levels can reach amplitudes of 142.3dB. Audio recordings made at varying distances from the crowing rooster show that at a distance of 0.5m sound pressure levels already drop to 102dB. Micro-CT scans of a rooster and chicken head show that in roosters the auditory canal closes when the beak is opened. In hens the diameter of the auditory canal only narrows but does not close completely. A morphological difference between the sexes in shape of a bursa-like slit which occurs in the outer ear canal causes the outer ear canal to close in roosters but not in hens. Copyright © 2017 Elsevier GmbH. All rights reserved.

MUSIC RADIO-JOURNALISM

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Dubovtceva Ludmila I.

2014-04-01

Full Text Available The article is based on years of practical experience, the author highlights the main radio genres in which music correspondent, music reviewer, music commentator, and music leading and a disc jockey work. Theoretical principles of their creative activities are analyzed in common journalistic genres, such as interview, reportage, talk show, live broadcast, radiofilm, as well as specialized genres like concert on demand and music competition. Journalist’ speech is seen as a logical element, the incoming with music in art-structural relationships. However, it does not become the predominant sound layer and aims to harmonious correlation or local penetration into music opus. In addition, important links in music journalism are defined the auxiliary "offscreen" editor's job and keeping the original sound archive. The author cites a number of own work examples on the air.

Visual classification of feral cat Felis silvestris catus vocalizations.

Science.gov (United States)

Owens, Jessica L; Olsen, Mariana; Fontaine, Amy; Kloth, Christopher; Kershenbaum, Arik; Waller, Sara

2017-06-01

Cat vocal behavior, in particular, the vocal and social behavior of feral cats, is poorly understood, as are the differences between feral and fully domestic cats. The relationship between feral cat social and vocal behavior is important because of the markedly different ecology of feral and domestic cats, and enhanced comprehension of the repertoire and potential information content of feral cat calls can provide both better understanding of the domestication and socialization process, and improved welfare for feral cats undergoing adoption. Previous studies have used conflicting classification schemes for cat vocalizations, often relying on onomatopoeic or popular descriptions of call types (e.g., "miow"). We studied the vocalizations of 13 unaltered domestic cats that complied with our behavioral definition used to distinguish feral cats from domestic. A total of 71 acoustic units were extracted and visually analyzed for the construction of a hierarchical classification of vocal sounds, based on acoustic properties. We identified 3 major categories (tonal, pulse, and broadband) that further breakdown into 8 subcategories, and show a high degree of reliability when sounds are classified blindly by independent observers (Fleiss' Kappa K  = 0.863). Due to the limited behavioral contexts in this study, additional subcategories of cat vocalizations may be identified in the future, but our hierarchical classification system allows for the addition of new categories and new subcategories as they are described. This study shows that cat vocalizations are diverse and complex, and provides an objective and reliable classification system that can be used in future studies.

Music and the Three Appeals of Classical Rhetoric

Science.gov (United States)

LeCoat, Gerard G.

1976-01-01

Contends that rhetorical theory of the sixteenth through the eighteenth centuries influenced the theory of the composition of music and offers examples of vocal music which was adapted to the rhetorical appeals of logos, ethos, and pathos. (MH)

Voice Savers for Music Teachers

Science.gov (United States)

Cookman, Starr

2012-01-01

Music teachers are in a class all their own when it comes to voice use. These elite vocal athletes require stamina, strength, and flexibility from their voices day in, day out for hours at a time. Voice rehabilitation clinics and research show that music education ranks high among the professionals most commonly affected by voice problems.…

Hudba v reklamních spotech

OpenAIRE

ŘEŘÁBEK, Lukáš

2016-01-01

The topic of this thesis is Music in advertising spots. The theoretical part describes advertising history, its theory, strategies, rules and used language. It is followed by purpose of TV commercial and use of instrumental or vocal music which sounds at background. The practical part contains the implementation of music activities into specific lessons for small children at primary school. I focus on vocal, rhythmical or intonation training, improvisation and learning new songs through six T...

Jukebox-Musical: The State and Prospects

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Olga-Lisa Monde

2012-08-01

Full Text Available This article analyzes the concept of ‘jukebox musical’, classification of this kind of musical theatre productions, as well as those features which are characteristic for time of creation of these shows. During the last five decades there formed a whole separate area in musical theatre – the jukebox-musical, species of which may include: a musical essay, a musical concert, a musical drama, and a musical anthology. The importance of these productions for the world of music history is essential: they not only perpetuate the memory of some famous composers, singers, musicians, librettists, and lyricists, but also carefully preserve musical and vocal styles in relation to a particular historical period.

Proximal mechanisms for sound production in male Pacific walruses

DEFF Research Database (Denmark)

Larsen, Ole Næsbye; Reichmuth, Colleen

2012-01-01

features more similar to those found in industrial work places than in nature. The patterned knocks and bells that comprise male songs are not thought to be true vocalizations, but rather, sounds produced with structures other than the vocal tract and larynx. To determine how male walruses produce and emit......The songs of male walruses during the breeding season have been noted to have some of the most unusual characteristics that have been observed among mammalian sounds. In contrast to the more guttural vocalizations of most other carnivores, their acoustic displays have impulsive and metallic...... anatomical origins of knocking and bell sounds and gained a mechanistic understanding of how these sounds are generated within the body and transmitted to the environment. These pathways are illustrated with acoustic and video data and considered with respect to the unique biology of this species....

The Nigerian Art Music Composer, His Training, Vocal Compositions ...

African Journals Online (AJOL)

The music arena has undergone some changes within the past decades in Nigeria; partly due to contact of Nigerians with music of the other world cultures and due to intercultural borrowings within Nigeria. This trend has been a masterminding force in the shaping of the musical arena in Nigeria with the art music composer ...

Music preference in degus (Octodon degus: Analysis with Chilean folk music.

Directory of Open Access Journals (Sweden)

Shigeru Watanabe

2018-05-01

Full Text Available Most nonhuman animals do not show selective preference for types of music, but researchers have typically employed only Western classical music in such studies. Thus, there has been bias in music choice. Degus (Octodon degus, originally from the mountain areas of Chile, have highly developed vocal communication. Here, we examined music preference of degus using not only Western classical music (music composed by Bach and Stravinsky, but also South American folk music (Chilean and Peruvian. The degus preferred the South American music to the Western classical music but did not show selective preference between the two Western classical music choices. Furthermore, the degus preferred the Chilean to the Peruvian music to some extent. In the second experiment, we examined preference for music vs. silence. Degus overall showed a preference for Chilean music over silence, but preferred silence over Western music. The present results indicate that the previous negative data for musical preference in nonhuman animals may be due to biased music selection (Krause, 2012. Our results suggest the possibility that the soundscape of an environment influences folk music created by native peoples living there and the auditory preference of other resident animals there.

Enhanced Processing of Vocal Melodies in Childhood

Science.gov (United States)

Weiss, Michael W.; Schellenberg, E. Glenn; Trehub, Sandra E.; Dawber, Emily J.

2015-01-01

Music cognition is typically studied with instrumental stimuli. Adults remember melodies better, however, when they are presented in a biologically significant timbre (i.e., the human voice) than in various instrumental timbres (Weiss, Trehub, & Schellenberg, 2012). We examined the impact of vocal timbre on children's processing of melodies.…

The First Call Note Plays a Crucial Role in Frog Vocal Communication.

Science.gov (United States)

Yue, Xizi; Fan, Yanzhu; Xue, Fei; Brauth, Steven E; Tang, Yezhong; Fang, Guangzhan

2017-08-31

Vocal Communication plays a crucial role in survival and reproductive success in most amphibian species. Although amphibian communication sounds are often complex consisting of many temporal features, we know little about the biological significance of each temporal component. The present study examined the biological significance of notes of the male advertisement calls of the Emei music frog (Babina daunchina) using the optimized electroencephalogram (EEG) paradigm of mismatch negativity (MMN). Music frog calls generally contain four to six notes separated approximately by 150 millisecond intervals. A standard stimulus (white noise) and five deviant stimuli (five notes from one advertisement call) were played back to each subject while simultaneously recording multi-channel EEG signals. The results showed that the MMN amplitude for the first call note was significantly larger than for that of the others. Moreover, the MMN amplitudes evoked from the left forebrain and midbrain were typically larger than those from the right counterpart. These results are consistent with the ideas that the first call note conveys more information than the others for auditory recognition and that there is left-hemisphere dominance for processing information derived from conspecific calls in frogs.

Self-masking: Listening during vocalization. Normal hearing.

Science.gov (United States)

Borg, Erik; Bergkvist, Christina; Gustafsson, Dan

2009-06-01

What underlying mechanisms are involved in the ability to talk and listen simultaneously and what role does self-masking play under conditions of hearing impairment? The purpose of the present series of studies is to describe a technique for assessment of masked thresholds during vocalization, to describe normative data for males and females, and to focus on hearing impairment. The masking effect of vocalized [a:] on narrow-band noise pulses (250-8000 Hz) was studied using the maximum vocalization method. An amplitude-modulated series of sound pulses, which sounded like a steam engine, was masked until the criterion of halving the perceived pulse rate was reached. For masking of continuous reading, a just-follow-conversation criterion was applied. Intra-session test-retest reproducibility and inter-session variability were calculated. The results showed that female voices were more efficient in masking high frequency noise bursts than male voices and more efficient in masking both a male and a female test reading. The male had to vocalize 4 dBA louder than the female to produce the same masking effect on the test reading. It is concluded that the method is relatively simple to apply and has small intra-session and fair inter-session variability. Interesting gender differences were observed.

Studies in musical acoustics and psychoacoustics

CERN Document Server

2017-01-01

This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artifical intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz. .

Condicionamento vocal individualizado para profissionais da voz cantada - relato de casos

Directory of Open Access Journals (Sweden)

Mara Behlau

2014-10-01

Full Text Available Este estudo tem como tema o desenvolvimento de programas de condicionamento vocal individualizado para a demanda específica de três profissionais da voz cantada. Trata-se de um relato de caso de três profissionais da voz cantada: uma cantora e atriz de teatro musical brasileiro, um cantor sertanejo e um cantor de roque. Os três indivíduos foram submetidos à avaliação fonoaudiológica, apresentando queixas relacionadas a cansaço e fadiga após uso da voz e/ou aperfeiçoamento vocal e realizaram avaliação otorrinolaringológica prévia. Os três pacientes estavam em processo de terapia fonoaudiológica, sendo uma das etapas o desenvolvimento de um programa de condicionamento vocal individualizado, de acordo com a demanda, necessidade e disponibilidade de cada sujeito. A cantora e atriz de teatro musical brasileiro aderiu facilmente à proposta personalizada de condicionamento vocal, pois sentia os ganhos de realização uma mobilização fisiológica antes de passar para a técnica-artística que já executava. O cantor sertanejo aderiu facilmente ao programa de condicionamento vocal individualizado, sem nenhuma dificuldade, e relatou extrema melhora em seu conforto e desempenho vocal durante o canto com os exercícios selecionados. O cantor de roque apresentou maior flexibilização de trato vocal, estabilidade da emissão no canto, ampliação da tessitura vocal, maior precisão articulatória e redução da constrição global excessiva após dar início ao programa de condicionamento vocal individualizado.O condicionamento vocal individualizado mostra efeitos positivos, principalmente para os profissionais da voz, pois os indivíduos trabalham exatamente sob a demanda que será utilizada com o uso profissional da voz,com exercícios específicos e direcionados para suas necessidades.

Voicework in Music Therapy : Research and Practice

NARCIS (Netherlands)

Baker, Felicity; Uhlig, S.

2011-01-01

‘Baker and Uhlig’s new book gives many salient examples of innovative vocal techniques and methods that can be used with different populations. This much needed and timely new book will add to the literature base of vocal music therapy as well as making a valuable contribution to our field by

Acoustic analysis of trill sounds.

Science.gov (United States)

Dhananjaya, N; Yegnanarayana, B; Bhaskararao, Peri

2012-04-01

In this paper, the acoustic-phonetic characteristics of steady apical trills--trill sounds produced by the periodic vibration of the apex of the tongue--are studied. Signal processing methods, namely, zero-frequency filtering and zero-time liftering of speech signals, are used to analyze the excitation source and the resonance characteristics of the vocal tract system, respectively. Although it is natural to expect the effect of trilling on the resonances of the vocal tract system, it is interesting to note that trilling influences the glottal source of excitation as well. The excitation characteristics derived using zero-frequency filtering of speech signals are glottal epochs, strength of impulses at the glottal epochs, and instantaneous fundamental frequency of the glottal vibration. Analysis based on zero-time liftering of speech signals is used to study the dynamic resonance characteristics of vocal tract system during the production of trill sounds. Qualitative analysis of trill sounds in different vowel contexts, and the acoustic cues that may help spotting trills in continuous speech are discussed.

Signal-to-background ratio preferences of normal-hearing listeners as a function of music

Science.gov (United States)

Barrett, Jillian Gallant

The purpose of this study was to identify listeners' signal-to-background-ratio (SBR) preference levels for vocal music and to investigate whether or not SBR differences existed for different music genres. The ``signal'' was the singer's voice, and the ``background'' was the accompanying music. Three songs were each produced in two different genres (total of 6 genres represented). Each song was performed by three male and three female singers. Analyses addressed influences of musical genre, singing style, and singer timbre on listener's SBR choices. Fifty-three normal-hearing California State University of Northridge students ranging in age from 20-52 years participated as subjects. Subjects adjusted the overall music loudness to a comfortable listening level, and manipulated a second gain control which affected only the singer's voice. Subjects listened to 72 stimuli and adjusted the singer's voice to the level they felt sounded appropriate in comparison to the background music. Singer and Genre were the two primary contributors to significant differences in subject's SBR preferences, although the results clearly indicate Genre, Style and Singer interact in different combinations under different conditions. SBR differences for each song, each singer, and each subject did not occur in a predictable manner, and support the hypothesis that SBR preferences are neither fixed nor dependent merely upon music application or setting. Further investigations regarding psychoacoustical bases responsible for differences in SBR preferences are warranted.

A Stereo Music Preprocessing Scheme for Cochlear Implant Users.

Science.gov (United States)

Buyens, Wim; van Dijk, Bas; Wouters, Jan; Moonen, Marc

2015-10-01

Listening to music is still one of the more challenging aspects of using a cochlear implant (CI) for most users. Simple musical structures, a clear rhythm/beat, and lyrics that are easy to follow are among the top factors contributing to music appreciation for CI users. Modifying the audio mix of complex music potentially improves music enjoyment in CI users. A stereo music preprocessing scheme is described in which vocals, drums, and bass are emphasized based on the representation of the harmonic and the percussive components in the input spectrogram, combined with the spatial allocation of instruments in typical stereo recordings. The scheme is assessed with postlingually deafened CI subjects (N = 7) using pop/rock music excerpts with different complexity levels. The scheme is capable of modifying relative instrument level settings, with the aim of improving music appreciation in CI users, and allows individual preference adjustments. The assessment with CI subjects confirms the preference for more emphasis on vocals, drums, and bass as offered by the preprocessing scheme, especially for songs with higher complexity. The stereo music preprocessing scheme has the potential to improve music enjoyment in CI users by modifying the audio mix in widespread (stereo) music recordings. Since music enjoyment in CI users is generally poor, this scheme can assist the music listening experience of CI users as a training or rehabilitation tool.

METHODOLOGICAL ANALYSIS OF STUDYING THE PROBLEM OF PERCEPTION IN FUTURE MUSIC TEACHERS’ PROFESSIONAL TRAINING

Directory of Open Access Journals (Sweden)

Zhang Bo

2017-04-01

Full Text Available In the article the methodological analysis of problem of perception in future music teachers’ professional training is presented. The author of the article analyses works of outstanding scientists in philosophy, psychology, and art education. The hierarchical system of musical perception options is revealed. A methodological foundation is supported by consideration of the following modern research in specialty – a theory and methodology of musical study that gives proper appearance and circumstantiality to the presented material. Studying the vocal and choral researches in the field of forming the valued music art perception by future music teachers, an author sets an aim to present the methodological analysis of the problem of perception in future music teachers’ professional training. Realization of the system approach to updating the problem of forming the valued music art perception of future music teachers while being trained to vocal and choral work with senior pupils extends their artistic awareness; contributes to distinguishing art works, phenomena; to seeing their properties; to providing orientation in the informative content of music art works. The special attention is paid to revealing methodological principles of perception of category research in the aspect of the valued understanding images of music art works. As a result of analysing scientific sources on the issue of voice production the author of the article finds out that perception is densely related to transformation of external information, conditioning for forming images, operating category attention, memory, thinking, and emotions. The features of perception of maintaining vocal and choral studies and students’ extrapolation are analysed in the process of future professional activity with senior pupils in the aspects of perception and transformation of musical and intonation information, analysis, object perception, and interpretation in accordance with future

The Perception of Sounds in Phonographic Space

DEFF Research Database (Denmark)

Walther-Hansen, Mads

. The third chapter examines how listeners understand and make sense of phonographic space. In the form of a critique of Pierre Schaeffer and Roger Scruton’s notion of the acousmatic situation, I argue that our experience of recorded music has a twofold focus: the sound-in-itself and the sound’s causality...... the use of metaphors and image schemas in the experience and conceptualisation of phonographic space. With reference to descriptions of recordings by sound engineers, I argue that metaphors are central to our understanding of recorded music. This work is grounded in the tradition of cognitive linguistics......This thesis is about the perception of space in recorded music, with particular reference to stereo recordings of popular music. It explores how sound engineers create imaginary musical environments in which sounds appear to listeners in different ways. It also investigates some of the conditions...

A cervid vocal fold model suggests greater glottal efficiency in calling at high frequencies.

Directory of Open Access Journals (Sweden)

Ingo R Titze

2010-08-01

Full Text Available Male Rocky Mountain elk (Cervus elaphus nelsoni produce loud and high fundamental frequency bugles during the mating season, in contrast to the male European Red Deer (Cervus elaphus scoticus who produces loud and low fundamental frequency roaring calls. A critical step in understanding vocal communication is to relate sound complexity to anatomy and physiology in a causal manner. Experimentation at the sound source, often difficult in vivo in mammals, is simulated here by a finite element model of the larynx and a wave propagation model of the vocal tract, both based on the morphology and biomechanics of the elk. The model can produce a wide range of fundamental frequencies. Low fundamental frequencies require low vocal fold strain, but large lung pressure and large glottal flow if sound intensity level is to exceed 70 dB at 10 m distance. A high-frequency bugle requires both large muscular effort (to strain the vocal ligament and high lung pressure (to overcome phonation threshold pressure, but at least 10 dB more intensity level can be achieved. Glottal efficiency, the ration of radiated sound power to aerodynamic power at the glottis, is higher in elk, suggesting an advantage of high-pitched signaling. This advantage is based on two aspects; first, the lower airflow required for aerodynamic power and, second, an acoustic radiation advantage at higher frequencies. Both signal types are used by the respective males during the mating season and probably serve as honest signals. The two signal types relate differently to physical qualities of the sender. The low-frequency sound (Red Deer call relates to overall body size via a strong relationship between acoustic parameters and the size of vocal organs and body size. The high-frequency bugle may signal muscular strength and endurance, via a 'vocalizing at the edge' mechanism, for which efficiency is critical.

CHAMBER VOCAL CREATIONS BY SNEJANA PÎSLARI: GENERAL CHARACTERISTICS, GENRE AND STYLE FEATURES

Directory of Open Access Journals (Sweden)

COADĂ TATIANA

2016-06-01

Full Text Available The author suggests a general characterization of the chamber vocal creations by Snejana Pîslari. The present work represents a detailed analysis of the romances, written by the composer on lyrics by M. Eminescu and N. Labiş. The author reveals the genre and style features of the chamber vocal works composed by S. Pîslari and the eccentricity of the musical language. Another landmark of the present work is S. Pîslari’s individual composition style which is distinguishable by the use of experimental ideas with elements of folklore, as well as by the use of new means of musical expressivity.

Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media

DEFF Research Database (Denmark)

Weinel, Jonathan

Over the last century, developments in electronic music and art have enabled new possibilities for creating audio and audio-visual artworks. With this new potential has come the possibility for representing subjective internal conscious states, such as the experience of hallucinations, using...... the creative influence of ASCs, from Amazonian chicha festivals to the synaesthetic assaults of neon raves; and from an immersive outdoor electroacoustic performance on an Athenian hilltop to a mushroom trip on a tropical island in virtual reality. Beginning with a discussion of consciousness, the book...... explores how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance. Taking a broad view across a wide range of genres, Inner Sound draws connections between shamanic art and music, and the modern technoshamanism of psychedelic rock, electronic dance...

A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita Religious musical practice in Brazil and Portugal in the second half of eighteenth century: parallels and basis for the vocal interpretation of the music of José Joaquim Emerico Lobo de Mesquita

Directory of Open Access Journals (Sweden)

Katya Beatriz de Oliveira

2011-12-01

Full Text Available Na busca da sonoridade histórica e estilisticamente embasada para a interpretação vocal da música sacra mineira da segunda metade do século XVIII e início do XIX, tornase necessário um paralelo com a música realizada em Portugal durante o século XVIII, que constate a influência desta sobre a música mineira setecentista. Neste artigo pretendemos investigar as similaridades estilísticas entre a música do compositor mineiro José Joaquim Emerico Lobo de Mesquita, particularmente no solo de soprano de sua Missa em Mi bemol, com o solo de soprano de uma Missa a cinco vozes do compositor David Perez e o primeiro movimento do moteto Care Deus si respiro, para soprano solo e cordas, de Niccolò Jommelli, compositores italianos da escola napolitana atuantes em Portugal na segunda metade do século XVIII. Temos como objetivo justificar a utilização de tratados europeus para a fundamentação dos aspectos interpretativos da música mineira.In order to achieve a historically and stylisticallybased vocal interpretation of the sacred music of Minas Gerais (Brazil in the second half of the eighteenth century and early nineteenth century, it is necessary to compare it with Portuguese music written during the same period, thus tracing the Portuguese influence in the Brazilian works. In this essay we intend to investigate the similarities in style between the music of the composer from Minas Gerais José Joaquim Emerico Lobo de Mesquita, particularly in the soprano solo of his Mass in E flat, and the soprano solo of a Mass for five voices by David Perez and the first movement of the motet Care Deus si respiro, for soprano solo and strings, by Niccoló Jommelli, Italian composers of the Neapolitan school who worked for the Portuguese court in the second half of the 18th century. We will therefore attempt to justify the use of historical European singing treatises to use as basis for the vocal performance of this music from Minas Gerais.

Practiced musical style shapes auditory skills.

Science.gov (United States)

Vuust, Peter; Brattico, Elvira; Seppänen, Miia; Näätänen, Risto; Tervaniemi, Mari

2012-04-01

Musicians' processing of sounds depends highly on instrument, performance practice, and level of expertise. Here, we measured the mismatch negativity (MMN), a preattentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, and rock/pop) and in nonmusicians using a novel, fast, and musical sounding multifeature MMN paradigm. We found MMN to all six deviants, showing that MMN paradigms can be adapted to resemble a musical context. Furthermore, we found that jazz musicians had larger MMN amplitude than all other experimental groups across all sound features, indicating greater overall sensitivity to auditory outliers. Furthermore, we observed a tendency toward shorter latency of the MMN to all feature changes in jazz musicians compared to band musicians. These findings indicate that the characteristics of the style of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in music. © 2012 New York Academy of Sciences.

Experiments in Area of Musical Sound in the Chamber and Instrumental Works by Rodion Shchedrin

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Zaytseva Marina

2016-10-01

Full Text Available The article scientifically proves the peculiarities of Rodion Shchedrin’s musical thinking. Having analysed such piano works by Rodion Shchedrin as "Imitating Albéniz", "Humoresque", arranged for violin and piano by D. M. Tsyganov, "Balalaika" for solo violin without a bow, there have been identified composer’s innovations in the field of violin sound. It has been proved that the search for new expressive violin-coloristic resources was due to the desire of the composer to discover the new worlds of sound, create an original work, which would masterfully implement the most complex creative tasks.

The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects.

Science.gov (United States)

Tervaniemi, M; Ilvonen, T; Karma, K; Alho, K; Näätänen, R

1997-04-18

To reveal neurophysiological prerequisites of musicality, auditory event-related potentials (ERPs) were recorded from musical and non-musical subjects, musicality being here defined as the ability to temporally structure auditory information. Instructed to read a book and to ignore sounds, subjects were presented with a repetitive sound pattern with occasional changes in its temporal structure. The mismatch negativity (MMN) component of ERPs, indexing the cortical preattentive detection of change in these stimulus patterns, was larger in amplitude in musical than non-musical subjects. This amplitude enhancement, indicating more accurate sensory memory function in musical subjects, suggests that even the cognitive component of musicality, traditionally regarded as depending on attention-related brain processes, in fact, is based on neural mechanisms present already at the preattentive level.

Acoustics for Music Majors-- A Laboratory Course

Science.gov (United States)

McDonald, Perry F.

1972-01-01

Brief descriptions of several of the laboratory experiments which have been incorporated into an acoustics course for music majors. Includes vibratory motion and sound generation, nature, speed, and pitch of sound, spectrum analysis and electronic synthesis of musical sound and some conventional sound experiments. (Author/TS)

Ostracized Sounds: Notes on Busking Music

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Ignazio Macchiarella

2015-07-01

Full Text Available Today, buskers’ music has a special fascination, above all in urban context, as it is one of the rare occasion to listen to lively performances. Many people nowadays appreciate the street performance and stop to listen to it: otherwise than canned music that comes out from the speakers, live music is immediately perceived like living aspect of public life, whatever its technical or aesthetic qualities. Nonetheless, buskers are sometimes banned and persecuted by the city police regulations. The paper introduces this specific range of music making on the basis of a field research experience.

Vocal Fry Use in Adult Female Speakers Exposed to Two Languages.

Science.gov (United States)

Gibson, Todd A; Summers, Connie; Walls, Sydney

2017-07-01

Several studies have identified the widespread use of vocal fry among American women. Popular explanations for this phenomenon appeal to sociolinguistic purposes that likely take significant time for second language users to learn. The objective of this study was to determine if mere exposure to this vocal register, as opposed to nuanced sociolinguistic motivations, might explain its widespread use. This study used multigroup within- and between-subjects design. Fifty-eight women from one of three language background groups (functionally monolingual in English, functionally monolingual in Spanish, and Spanish-English bilinguals) living in El Paso, Texas, repeated a list of nonwords conforming to the sound rules of English and another list of nonwords conforming to the sound rules of Spanish. Perceptual analysis identified each episode of vocal fry. There were no statistically significant differences between groups in their frequency of vocal fry use despite large differences in their amount of English-language exposure. All groups produced more vocal fry when repeating English than when repeating Spanish nonwords. Because the human perceptual system encodes for vocal qualities even after minimal language experience, the widespread use of vocal fry among female residents in the United States likely is owing to mere exposure to English rather than nuanced sociolinguistic motivations. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The vocal load of Reform Jewish cantors in the USA.

Science.gov (United States)

Hapner, Edie; Gilman, Marina

2012-03-01

Jewish cantors comprise a subset of vocal professionals that is not well understood by vocal health professionals. This study aimed to document the vocal demands, vocal training, reported incidence of voice problems, and treatment-seeking behavior of Reform Jewish cantors. The study used a prospective observational design to anonymously query Reform Jewish cantors using a 35-item multiple-choice survey distributed online. Demographic information, medical history, vocal music training, cantorial duties, history of voice problems, and treatment-seeking behavior were addressed. Results indicated that many of the commonly associated risk factors for developing voice disorders were present in this population, including high vocal demands, reduced vocal downtime, allergies, and acid reflux. Greater than 65% of the respondents reported having had a voice problem that interfered with their ability to perform their duties at some time during their careers. Reform Jewish cantors are a population of occupational voice users who may be currently unidentified and underserved by vocal health professionals. The results of the survey suggest that Reform Jewish cantors are occupational voice users and are at high risk for developing voice disorders. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Sound attenuation and preferred music in the treatment of problem behavior maintained by escape from noise.

Science.gov (United States)

Kettering, Tracy L; Fisher, Wayne W; Kelley, Michael E; LaRue, Robert H

2018-06-06

We examined the extent to which different sounds functioned as motivating operations (MO) that evoked problem behavior during a functional analysis for two participants. Results suggested that escape from loud noises reinforced the problem behavior for one participant and escape from arguing reinforced problem behavior for the other participant. Noncontingent delivery of preferred music through sound-attenuating headphones decreased problem behavior without the use of extinction for both participants. We discuss the results in terms of the abolishing effects of the intervention. © 2018 Society for the Experimental Analysis of Behavior.

Ultrahromatizm as a Sound Meditation

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Zaytseva Marina

2016-08-01

Full Text Available The article scientifically substantiates the insights on the theory and the practice of using microchromatic in modern musical art, defines compositional and expressive possibilities of microtonal system in the works of composers of XXI century. It justifies the author's interpretation of the concept of “ultrahromatizm”, as a principle of musical thinking, which is connected with the sound space conception as the space-time continuum. The paper identifies the correlation of the notions “microchromatism” and “ultrahromatizm”. If microchromosome is understood, first and for most, as the technique of dividing the sound into microparticles, ultrahromatizm is interpreted as the principle of musical and artistic consciousness, as the musical focus of consciousness on the formation of the specific model of sound meditation and understanding of the world.

Computer Music

Science.gov (United States)

Cook, Perry R.

This chapter covers algorithms, technologies, computer languages, and systems for computer music. Computer music involves the application of computers and other digital/electronic technologies to music composition, performance, theory, history, and the study of perception. The field combines digital signal processing, computational algorithms, computer languages, hardware and software systems, acoustics, psychoacoustics (low-level perception of sounds from the raw acoustic signal), and music cognition (higher-level perception of musical style, form, emotion, etc.).

Vocal mechanisms in birds and bats: a comparative view

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Suthers Roderick A.

2004-01-01

Full Text Available Vocal signals play a very important role in the life of both birds and echolocating bats, but these two unrelated groups of flying vertebrates have very different vocal systems. They nevertheless must solve many of the same problems in producing sound. This brief review examines avian and microchiropteran motor mechanisms for: 1 coordinating the timing of phonation with the vocal motor pattern that controls its acoustic properties, and 2 achieving respiratory strategies that provide adequate ventilation for pulmonary gas exchange, while also facilitating longer duration songs or trains of sonar pulses.

Effects of vocal training in a musicophile with congenital amusia.

Science.gov (United States)

Wilbiks, Jonathan M P; Vuvan, Dominique T; Girard, Pier-Yves; Peretz, Isabelle; Russo, Frank A

2016-12-01

Congenital amusia is a condition in which an individual suffers from a deficit of musical pitch perception and production. Individuals suffering from congenital amusia generally tend to abstain from musical activities. Here, we present the unique case of Tim Falconer, a self-described musicophile who also suffers from congenital amusia. We describe and assess Tim's attempts to train himself out of amusia through a self-imposed 18-month program of formal vocal training and practice. We tested Tim with respect to music perception and vocal production across seven sessions including pre- and post-training assessments. We also obtained diffusion-weighted images of his brain to assess connectivity between auditory and motor planning areas via the arcuate fasciculus (AF). Tim's behavioral and brain data were compared to that of normal and amusic controls. While Tim showed temporary gains in his singing ability, he did not reach normal levels, and these gains faded when he was not engaged in regular lessons and practice. Tim did show some sustained gains with respect to the perception of musical rhythm and meter. We propose that Tim's lack of improvement in pitch perception and production tasks is due to long-standing and likely irreversible reduction in connectivity along the AF fiber tract.

Singing in Primary Schools: Case Studies of Good Practice in Whole Class Vocal Tuition

Science.gov (United States)

Lamont, Alexandra; Daubney, Alison; Spruce, Gary

2012-01-01

Within the context of British initiatives in music education such as the Wider Opportunities programme in England and the recommendations of the Music Manifesto emphasising the importance of singing in primary schools, the current paper explores examples of good practice in whole-class vocal tuition. The research included seven different primary…

Auditory responses in the amygdala to social vocalizations

Science.gov (United States)

Gadziola, Marie A.

The underlying goal of this dissertation is to understand how the amygdala, a brain region involved in establishing the emotional significance of sensory input, contributes to the processing of complex sounds. The general hypothesis is that communication calls of big brown bats (Eptesicus fuscus) transmit relevant information about social context that is reflected in the activity of amygdalar neurons. The first specific aim analyzed social vocalizations emitted under a variety of behavioral contexts, and related vocalizations to an objective measure of internal physiological state by monitoring the heart rate of vocalizing bats. These experiments revealed a complex acoustic communication system among big brown bats in which acoustic cues and call structure signal the emotional state of a sender. The second specific aim characterized the responsiveness of single neurons in the basolateral amygdala to a range of social syllables. Neurons typically respond to the majority of tested syllables, but effectively discriminate among vocalizations by varying the response duration. This novel coding strategy underscores the importance of persistent firing in the general functioning of the amygdala. The third specific aim examined the influence of acoustic context by characterizing both the behavioral and neurophysiological responses to natural vocal sequences. Vocal sequences differentially modify the internal affective state of a listening bat, with lower aggression vocalizations evoking the greatest change in heart rate. Amygdalar neurons employ two different coding strategies: low background neurons respond selectively to very few stimuli, whereas high background neurons respond broadly to stimuli but demonstrate variation in response magnitude and timing. Neurons appear to discriminate the valence of stimuli, with aggression sequences evoking robust population-level responses across all sound levels. Further, vocal sequences show improved discrimination among stimuli

Adopting a music-to-heart rate alignment strategy to measure the impact of music and its tempo on human heart rate

OpenAIRE

Van Dyck, Edith; Six, Joren; Soyer, Esin Nisa; Denys, Marlies; Bardijn, Ilka; Leman, Marc

2017-01-01

Music is frequently used as a means of relaxation. Conversely, it is used as a means of arousal in sports and exercise contexts. Previous research suggests that tempo is one of the most significant determinants of music-related arousal and relaxation effects. Here we investigate the specific effect of music tempo, but also more generally, the influence of music on human heart rate. We took the pulses of 32 participants in silence, and then we played them non-vocal, ambient music at a tempo co...

Music and Careers for the Junior High Student.

Science.gov (United States)

Carlson, Bruce

The curriculum guide describes an exemplary project designed to provide junior high school students with an opportunity to explore careers related to the world of music. The units present objectives, activities, and resources related to the following occupations: pop music artist, professional musician (union), instrumental and vocal music…

By the sound of it. An ERP investigation of human action sound processing in 7-month-old infants

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Elena Geangu

2015-04-01

Full Text Available Recent evidence suggests that human adults perceive human action sounds as a distinct category from human vocalizations, environmental, and mechanical sounds, activating different neural networks (Engel et al., 2009; Lewis et al., 2011. Yet, little is known about the development of such specialization. Using event-related potentials (ERP, this study investigated neural correlates of 7-month-olds’ processing of human action (HA sounds in comparison to human vocalizations (HV, environmental (ENV, and mechanical (MEC sounds. Relative to the other categories, HA sounds led to increased positive amplitudes between 470 and 570 ms post-stimulus onset at left anterior temporal locations, while HV led to increased negative amplitudes at the more posterior temporal locations in both hemispheres. Collectively, human produced sounds (HA + HV led to significantly different response profiles compared to non-living sound sources (ENV + MEC at parietal and frontal locations in both hemispheres. Overall, by 7 months of age human action sounds are being differentially processed in the brain, consistent with a dichotomy for processing living versus non-living things. This provides novel evidence regarding the typical categorical processing of socially relevant sounds.

Music and Culture Areas of Native California

OpenAIRE

Keeling, Richard

1992-01-01

This paper sketches the principal music and culture areas of native California and identifies general characteristics that distinguish the region in the overall sphere of Native American music. Rather than provide notations or detailed analyses I describe the music according to a set of general parameters that I have found useful in previous comparative research. The following elements are considered: (1) vocal quality or timbre; (2) presence of words or vocables, text-setting, and repetition...

Universal mechanisms of sound production and control in birds and mammals

DEFF Research Database (Denmark)

Elemans, Coen; Rasmussen, Jeppe Have; Herbst, Christian T.

2015-01-01

As animals vocalize, their vocal organ transforms motor commands into vocalizations for social communication. In birds, the physical mechanisms by which vocalizations are produced and controlled remain unresolved because of the extreme difficulty in obtaining in vivo measurements. Here, we...... learning and is common to MEAD sound production across birds and mammals, including humans....

Sound for Health

CERN Multimedia

CERN. Geneva

2016-01-01

From astronomy to biomedical sciences: music and sound as tools for scientific investigation Music and science are probably two of the most intrinsically linked disciplines in the spectrum of human knowledge. Science and technology have revolutionised the way artists work, interact, and create. The impact of innovative materials, new communication media, more powerful computers, and faster networks on the creative process is evident: we all can become artists in the digital era. What is less known, is that arts, and music in particular, are having a profound impact the way scientists operate, and think. From the early experiments by Kepler to the modern data sonification applications in medicine – sound and music are playing an increasingly crucial role in supporting science and driving innovation. In this talk. Dr. Domenico Vicinanza will be highlighting the complementarity and the natural synergy between music and science, with specific reference to biomedical sciences. Dr. Vicinanza will take t...

Preferred sound levels of portable music players and listening habits among adults: a field study.

Science.gov (United States)

Kähäri, Kim R; Aslund, T; Olsson, J

2011-01-01

The main purpose of this descriptive field study was to explore music listening habits and preferred listening levels with portable music players (PMPs). We were also interested in seeing whether any exposure differences could be observed between the sexes. Data were collected during 12 hours at Stockholm Central Station, where people passing by were invited to measure their preferred PMP listening level by using a KEMAR manikin. People were also asked to answer a questionnaire about their listening habits. In all, 60 persons (41 men and 19 women) took part in the questionnaire study and 61 preferred PMP levels to be measured. Forty-one of these sound level measurements were valid to be reported after consideration was taken to acceptable measuring conditions. The women (31 years) and the men (33 years) started to use PMPs on a regular basis in their early 20s. Ear canal headphones/ear buds were the preferred headphone types. Fifty-seven percent of the whole study population used their PMP on a daily basis. The measured LAeq60 sec levels corrected for free field ranged between 73 and 102 dB, with a mean value of 83 dB. Sound levels for different types of headphones are also presented. The results of this study indicate that there are two groups of listeners: people who listen less frequently and at lower, safer sound levels, and people with excessive listening habits that may indeed damage their hearing sensory organ in time.

Preferred sound levels of portable music players and listening habits among adults: A field study

Directory of Open Access Journals (Sweden)

Kim R Kahari

2011-01-01

Full Text Available The main purpose of this descriptive field study was to explore music listening habits and preferred listening levels with portable music players (PMPs. We were also interested in seeing whether any exposure differences could be observed between the sexes. Data were collected during 12 hours at Stockholm Central Station, where people passing by were invited to measure their preferred PMP listening level by using a KEMAR manikin. People were also asked to answer a questionnaire about their listening habits. In all, 60 persons (41 men and 19 women took part in the questionnaire study and 61 preferred PMP levels to be measured. Forty-one of these sound level measurements were valid to be reported after consideration was taken to acceptable measuring conditions. The women (31 years and the men (33 years started to use PMPs on a regular basis in their early 20s. Ear canal headphones/ear buds were the preferred headphone types. Fifty-seven percent of the whole study population used their PMP on a daily basis. The measured LAeq60 sec levels corrected for free field ranged between 73 and 102 dB, with a mean value of 83 dB. Sound levels for different types of headphones are also presented. The results of this study indicate that there are two groups of listeners: people who listen less frequently and at lower, safer sound levels, and people with excessive listening habits that may indeed damage their hearing sensory organ in time.

Rhesus monkeys (Macaca mulatta) detect rhythmic groups in music, but not the beat.

Science.gov (United States)

Honing, Henkjan; Merchant, Hugo; Háden, Gábor P; Prado, Luis; Bartolo, Ramón

2012-01-01

It was recently shown that rhythmic entrainment, long considered a human-specific mechanism, can be demonstrated in a selected group of bird species, and, somewhat surprisingly, not in more closely related species such as nonhuman primates. This observation supports the vocal learning hypothesis that suggests rhythmic entrainment to be a by-product of the vocal learning mechanisms that are shared by several bird and mammal species, including humans, but that are only weakly developed, or missing entirely, in nonhuman primates. To test this hypothesis we measured auditory event-related potentials (ERPs) in two rhesus monkeys (Macaca mulatta), probing a well-documented component in humans, the mismatch negativity (MMN) to study rhythmic expectation. We demonstrate for the first time in rhesus monkeys that, in response to infrequent deviants in pitch that were presented in a continuous sound stream using an oddball paradigm, a comparable ERP component can be detected with negative deflections in early latencies (Experiment 1). Subsequently we tested whether rhesus monkeys can detect gaps (omissions at random positions in the sound stream; Experiment 2) and, using more complex stimuli, also the beat (omissions at the first position of a musical unit, i.e. the 'downbeat'; Experiment 3). In contrast to what has been shown in human adults and newborns (using identical stimuli and experimental paradigm), the results suggest that rhesus monkeys are not able to detect the beat in music. These findings are in support of the hypothesis that beat induction (the cognitive mechanism that supports the perception of a regular pulse from a varying rhythm) is species-specific and absent in nonhuman primates. In addition, the findings support the auditory timing dissociation hypothesis, with rhesus monkeys being sensitive to rhythmic grouping (detecting the start of a rhythmic group), but not to the induced beat (detecting a regularity from a varying rhythm).

Rhesus monkeys (Macaca mulatta detect rhythmic groups in music, but not the beat.

Directory of Open Access Journals (Sweden)

Henkjan Honing

Full Text Available It was recently shown that rhythmic entrainment, long considered a human-specific mechanism, can be demonstrated in a selected group of bird species, and, somewhat surprisingly, not in more closely related species such as nonhuman primates. This observation supports the vocal learning hypothesis that suggests rhythmic entrainment to be a by-product of the vocal learning mechanisms that are shared by several bird and mammal species, including humans, but that are only weakly developed, or missing entirely, in nonhuman primates. To test this hypothesis we measured auditory event-related potentials (ERPs in two rhesus monkeys (Macaca mulatta, probing a well-documented component in humans, the mismatch negativity (MMN to study rhythmic expectation. We demonstrate for the first time in rhesus monkeys that, in response to infrequent deviants in pitch that were presented in a continuous sound stream using an oddball paradigm, a comparable ERP component can be detected with negative deflections in early latencies (Experiment 1. Subsequently we tested whether rhesus monkeys can detect gaps (omissions at random positions in the sound stream; Experiment 2 and, using more complex stimuli, also the beat (omissions at the first position of a musical unit, i.e. the 'downbeat'; Experiment 3. In contrast to what has been shown in human adults and newborns (using identical stimuli and experimental paradigm, the results suggest that rhesus monkeys are not able to detect the beat in music. These findings are in support of the hypothesis that beat induction (the cognitive mechanism that supports the perception of a regular pulse from a varying rhythm is species-specific and absent in nonhuman primates. In addition, the findings support the auditory timing dissociation hypothesis, with rhesus monkeys being sensitive to rhythmic grouping (detecting the start of a rhythmic group, but not to the induced beat (detecting a regularity from a varying rhythm.

The speech choir in central European theatres and literary-musical works in the first third of the 20th century

Directory of Open Access Journals (Sweden)

Meyer-Kalkus Reinhart

2015-01-01

Full Text Available Speech choirs emerged as an offshoot of the choral gatherings of a wider youth musical and singing movement in the first half of the 20th century. The occasionally expressed opinion that choral speaking was cultivated primarily by the Hitler Youth and pressed into service on behalf of Nazi nationalist and racist propaganda is, historically, only partially accurate. The primary forces of choral speaking in Germany were, from 1919, the Social Democratic workers’ and cultural movement and the Catholic youth groups, in addition to elementary and secondary schools. The popularity of speech choirs around 1930 was also echoed in the music of the time. Compositions for musical speech choirs were produced by composers like Heinz Thiessen, Arnold Schönberg, Ernst Toch, Carl Orff, Vladimir Vogel, Luigi Nono, Helmut Lachenmann and Wolfgang Rihm. Moving forward from the Schönberg School, the post-1945 new music thereby opens up the spectrum of vocal expressions of sound beyond that of the singing voice. It does so not only for solo voices but for the choir as well.

Categorization of common sounds by cochlear implanted and normal hearing adults.

Science.gov (United States)

Collett, E; Marx, M; Gaillard, P; Roby, B; Fraysse, B; Deguine, O; Barone, P

2016-05-01

Auditory categorization involves grouping of acoustic events along one or more shared perceptual dimensions which can relate to both semantic and physical attributes. This process involves both high level cognitive processes (categorization) and low-level perceptual encoding of the acoustic signal, both of which are affected by the use of a cochlear implant (CI) device. The goal of this study was twofold: I) compare the categorization strategies of CI users and normal hearing listeners (NHL) II) investigate if any characteristics of the raw acoustic signal could explain the results. 16 experienced CI users and 20 NHL were tested using a Free-Sorting Task of 16 common sounds divided into 3 predefined categories of environmental, musical and vocal sounds. Multiple Correspondence Analysis (MCA) and Hierarchical Clustering based on Principal Components (HCPC) show that CI users followed a similar categorization strategy to that of NHL and were able to discriminate between the three different types of sounds. However results for CI users were more varied and showed less inter-participant agreement. Acoustic analysis also highlighted the average pitch salience and average autocorrelation peak as being important for the perception and categorization of the sounds. The results therefore show that on a broad level of categorization CI users may not have as many difficulties as previously thought in discriminating certain kinds of sound; however the perception of individual sounds remains challenging. Copyright © 2016 Elsevier B.V. All rights reserved.

[The Bell Labs contributions to (singing) voice enginee­ring].

Science.gov (United States)

Vincent, C

While in «art» and «traditional» music, the nimbleness of the voice and the mastering of the vocal tone are put into pers­pective, in «popular» music, sound engineering takes the lead, and relegates the vocal virtuosity of the interpreter to second place. We propose to study here three technologies with contri­butions to music. All are developed and patented by the Bell Labs: The artificial larynx (and its derivatives, Sonovox and TalkBox), the vocoder and the speech synthesis. After a presen­tation of the source-filter theory, vital to these innovations, the principle of these three technologies is explained. A brief historical is outlined and is complemented by examples of films and musical selections depicting these processes. In light of these elements, we conclude: Sound engineering, and in parti­cular the modification of voice sonority, has become an indis­pensable component in the process of «pop» artistic musical creation.

Mobile phone conversations, listening to music and quiet (electric) cars : are traffic sounds important for safe cycling?

NARCIS (Netherlands)

Stelling-Konczak, A. Wee, G.P. van Commandeur, J.J.F. & Hagenzieker, M.P.

2017-01-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe

Mobile phone conversations, listening to music and quiet (electric) cars : Are traffic sounds important for safe cycling?

NARCIS (Netherlands)

Stelling-Konczak, A.; van Wee, G. P.; Commandeur, J. J.F.; Hagenzieker, M.

2017-01-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe

Validating a perceptual distraction model in a personal two-zone sound system

DEFF Research Database (Denmark)

Rämö, Jussi; Christensen, Lasse; Bech, Søren

2017-01-01

This paper focuses on validating a perceptual distraction model, which aims to predict user’s perceived distraction caused by audio-on-audio interference, e.g., two competing audio sources within the same listening space. Originally, the distraction model was trained with music-on-music stimuli...... using a simple loudspeaker setup, consisting of only two loudspeakers, one for the target sound source and the other for the interfering sound source. Recently, the model was successfully validated in a complex personal sound-zone system with speech-on-music stimuli. Second round of validations were...... conducted by physically altering the sound-zone system and running a set of new listening experiments utilizing two sound zones within the sound-zone system. Thus, validating the model using a different sound-zone system with both speech-on-music and music-on-speech stimuli sets. Preliminary results show...

Extended nonnegative tensor factorisation models for musical sound source separation.

Science.gov (United States)

FitzGerald, Derry; Cranitch, Matt; Coyle, Eugene

2008-01-01

Recently, shift-invariant tensor factorisation algorithms have been proposed for the purposes of sound source separation of pitched musical instruments. However, in practice, existing algorithms require the use of log-frequency spectrograms to allow shift invariance in frequency which causes problems when attempting to resynthesise the separated sources. Further, it is difficult to impose harmonicity constraints on the recovered basis functions. This paper proposes a new additive synthesis-based approach which allows the use of linear-frequency spectrograms as well as imposing strict harmonic constraints, resulting in an improved model. Further, these additional constraints allow the addition of a source filter model to the factorisation framework, and an extended model which is capable of separating mixtures of pitched and percussive instruments simultaneously.

Extended Nonnegative Tensor Factorisation Models for Musical Sound Source Separation

Directory of Open Access Journals (Sweden)

Derry FitzGerald

2008-01-01

Full Text Available Recently, shift-invariant tensor factorisation algorithms have been proposed for the purposes of sound source separation of pitched musical instruments. However, in practice, existing algorithms require the use of log-frequency spectrograms to allow shift invariance in frequency which causes problems when attempting to resynthesise the separated sources. Further, it is difficult to impose harmonicity constraints on the recovered basis functions. This paper proposes a new additive synthesis-based approach which allows the use of linear-frequency spectrograms as well as imposing strict harmonic constraints, resulting in an improved model. Further, these additional constraints allow the addition of a source filter model to the factorisation framework, and an extended model which is capable of separating mixtures of pitched and percussive instruments simultaneously.

The Importance of Vocal Parameters Correlation

Directory of Open Access Journals (Sweden)

Valentin Ghisa

2016-06-01

Full Text Available To analyze communication we need to study the main parameters that describe the vocal sounds from the point of view of information content transfer efficiency. In this paper we analyze the physical quality of the “on air" information transfer, according to the audio streaming parameters and from the particular phonetic nature of the human factor. Applying this statistical analysis we aim to identify and record the correlation level of the acoustical parameters with the vocal ones and the impact which the presence of this cross-correlation can have on communication structures’ improvement.

MUSIC-CONTENT-ADAPTIVE ROBUST PRINCIPAL COMPONENT ANALYSIS FOR A SEMANTICALLY CONSISTENT SEPARATION OF FOREGROUND AND BACKGROUND IN MUSIC AUDIO SIGNALS

OpenAIRE

Papadopoulos , Hélène; Ellis , Daniel P.W.

2014-01-01

International audience; Robust Principal Component Analysis (RPCA) is a technique to decompose signals into sparse and low rank components, and has recently drawn the attention of the MIR field for the problem of separating leading vocals from accompaniment, with appealing re-sults obtained on small excerpts of music. However, the perfor-mance of the method drops when processing entire music tracks. We present an adaptive formulation of RPCA that incorporates music content information to guid...

The Development and Validation of a Rubric to Enhance Performer Feedback for Undergraduate Vocal Solo Performance

Science.gov (United States)

Herrell, Katherine A.

2014-01-01

This is a study of the development and validation of a rubric to enhance performer feedback for undergraduate vocal solo performance. In the literature, assessment of vocal performance is under-represented, and the value of feedback from the assessment of musical performances, from the point of view of the performer, is nonexistent. The research…

Music Listening Is Creative

Science.gov (United States)

Kratus, John

2017-01-01

Active music listening is a creative activity in that the listener constructs a uniquely personal musical experience. Most approaches to teaching music listening emphasize a conceptual approach in which students learn to identify various characteristics of musical sound. Unfortunately, this type of listening is rarely done outside of schools. This…

Characteristics of phonation onset in a two-layer vocal fold model.

Science.gov (United States)

Zhang, Zhaoyan

2009-02-01

Characteristics of phonation onset were investigated in a two-layer body-cover continuum model of the vocal folds as a function of the biomechanical and geometric properties of the vocal folds. The analysis showed that an increase in either the body or cover stiffness generally increased the phonation threshold pressure and phonation onset frequency, although the effectiveness of varying body or cover stiffness as a pitch control mechanism varied depending on the body-cover stiffness ratio. Increasing body-cover stiffness ratio reduced the vibration amplitude of the body layer, and the vocal fold motion was gradually restricted to the medial surface, resulting in more effective flow modulation and higher sound production efficiency. The fluid-structure interaction induced synchronization of more than one group of eigenmodes so that two or more eigenmodes may be simultaneously destabilized toward phonation onset. At certain conditions, a slight change in vocal fold stiffness or geometry may cause phonation onset to occur as eigenmode synchronization due to a different pair of eigenmodes, leading to sudden changes in phonation onset frequency, vocal fold vibration pattern, and sound production efficiency. Although observed in a linear stability analysis, a similar mechanism may also play a role in register changes at finite-amplitude oscillations.

Predicting Achievable Fundamental Frequency Ranges in Vocalization Across Species.

Directory of Open Access Journals (Sweden)

Ingo Titze

2016-06-01

Full Text Available Vocal folds are used as sound sources in various species, but it is unknown how vocal fold morphologies are optimized for different acoustic objectives. Here we identify two main variables affecting range of vocal fold vibration frequency, namely vocal fold elongation and tissue fiber stress. A simple vibrating string model is used to predict fundamental frequency ranges across species of different vocal fold sizes. While average fundamental frequency is predominantly determined by vocal fold length (larynx size, range of fundamental frequency is facilitated by (1 laryngeal muscles that control elongation and by (2 nonlinearity in tissue fiber tension. One adaptation that would increase fundamental frequency range is greater freedom in joint rotation or gliding of two cartilages (thyroid and cricoid, so that vocal fold length change is maximized. Alternatively, tissue layers can develop to bear a disproportionate fiber tension (i.e., a ligament with high density collagen fibers, increasing the fundamental frequency range and thereby vocal versatility. The range of fundamental frequency across species is thus not simply one-dimensional, but can be conceptualized as the dependent variable in a multi-dimensional morphospace. In humans, this could allow for variations that could be clinically important for voice therapy and vocal fold repair. Alternative solutions could also have importance in vocal training for singing and other highly-skilled vocalizations.

Vocal warm-up practices and perceptions in vocalists: a pilot survey.

Science.gov (United States)

Gish, Allison; Kunduk, Melda; Sims, Loraine; McWhorter, Andrew J

2012-01-01

Investigated in a pilot study the type, duration, and frequency of vocal warm-up regimens in the singing community using a survey. One hundred seventeen participants completed an online survey. Participants included voice students from undergraduate, masters, and doctoral music programs and professional singers. Fifty-four percent of participants reported always using vocal warm-up before singing. Twenty-two percent of the participants used vocal cool down. The most preferred warm-up duration was of 5-10 minutes in duration. Despite using vocal warm-up, 26% of the participants reported experiencing voice problems. Females tended to use vocal warm-up more frequently than males. Females also tended to use longer warm-up sessions than males. Education of the participants did not appear to have any noticeable effect on the vocal warm-up practices. The most commonly used singing warm-up exercises were ascending/descending five-note scales, ascending/descending octave scales, legato arpeggios, and glissandi. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Human Computer Music Performance

OpenAIRE

Dannenberg, Roger B.

2012-01-01

Human Computer Music Performance (HCMP) is the study of music performance by live human performers and real-time computer-based performers. One goal of HCMP is to create a highly autonomous artificial performer that can fill the role of a human, especially in a popular music setting. This will require advances in automated music listening and understanding, new representations for music, techniques for music synchronization, real-time human-computer communication, music generation, sound synt...

Oral and vocal fold diadochokinesis in dysphonic women.

Science.gov (United States)

Louzada, Talita; Beraldinelle, Roberta; Berretin-Felix, Giédre; Brasolotto, Alcione Ghedini

2011-01-01

The evaluation of oral and vocal fold diadochokinesis (DDK) in individuals with voice disorders may contribute to the understanding of factors that affect the balanced vocal production. Scientific studies that make use of this assessment tool support the knowledge advance of this area, reflecting the development of more appropriate therapeutic planning. To compare the results of oral and vocal fold DDK in dysphonic women and in women without vocal disorders. For this study, 28 voice recordings of women from 19 to 54 years old, diagnosed with dysphonia and submitted to a voice assessment from speech pathologist and otorhinolaryngologist, were used. The control group included 30 nondysphonic women evaluated in prior research from normal adults. The analysis parameters like number and duration of emissions, as well as the regularity of the repetition of syllables "pa", "ta", "ka" and the vowels "a" and "i," were provided by the Advanced Motor Speech Profile program (MSP) Model-5141, version-2.5.2 (KayPentax). The DDK sequence "pataka" was analyzed quantitatively through the Sound Forge 7.0 program, as well as manually with the audio-visual help of sound waves. Average values of oral and vocal fold DDK dysphonic and nondysphonic women were compared using the "t Student" test and were considered significant when pwomen (CvP=10.42%, 12.79%, 12.05%; JittP=2.05%, 6.05%, 3.63%) compared to the control group (CvP=8.86%; 10.95%, 11.20%; JittP=1.82%, 2.98%, 3.15%). Although the results do not indicate any difficulties in oral and laryngeal motor control in the dysphonic group, the largest instability in vocal fold DDK in the experimental group should be considered, and studies of this ability in individuals with communication disorders must be intensified.

Experimenting with Brass Musical Instruments.

Science.gov (United States)

LoPresto, Michael C.

2003-01-01

Describes experiments to address the properties of brass musical instruments that can be used to demonstrate sound in any level physics course. The experiments demonstrate in a quantitative fashion the effects of the mouthpiece and bell on the frequencies of sound waves and thus the musical pitches produced. (Author/NB)

Finite element modelling of vocal tract changes after voice therapy

Directory of Open Access Journals (Sweden)

Vampola T.

2011-06-01

Full Text Available Two 3D finite element (FE models were constructed, based on CT measurements of a subject phonating on [a:] before and after phonation into a tube. Acoustic analysis was performed by exciting the models with acoustic flow velocity at the vocal folds. The generated acoustic pressure of the response was computed in front of the mouth and inside the vocal tract for both FE models. Average amplitudes of the pressure oscillations inside the vocal tract and in front of the mouth were compared to display the cost-efficiency of sound energy transfer at different formant frequencies. The formants F1–F3 correspond to classical vibration modes also solvable by 1D vocal tract model. However, for higher formants, there occur more complicated transversal modes which require 3D modelling. A special attention is given to the higher frequency range (above 3.5 Hz where transversal modes exist between piriform sinuses and valleculae. Comparison of the pressure oscillation inside and outside the vocal tract showed that formants differ in their efficiency, F4 (at about 3.5 kHz, i.e. at the speaker’s or singer’s formant region being the most effective. The higher formants created a clear formant cluster around 4 kHz after the vocal exercise with the tube. Since the human ear is most sensitive to frequencies between 2 and 4 kHz concentration of sound energy in this frequency region (F4–F5 is effective for communication. The results suggest that exercising using phonation into tubes help in improving the vocal economy.

Stereotypic Laryngeal and Respiratory Motor Patterns Generate Different Call Types in Rat Ultrasound Vocalization

Science.gov (United States)

RIEDE, TOBIAS

2014-01-01

Rodents produce highly variable ultrasound whistles as communication signals unlike many other mammals, who employ flow-induced vocal fold oscillations to produce sound. The role of larynx muscles in controlling sound features across different call types in ultrasound vocalization (USV) was investigated using laryngeal muscle electromyographic (EMG) activity, subglottal pressure measurements and vocal sound output in awake and spontaneously behaving Sprague–Dawley rats. Results support the hypothesis that glottal shape determines fundamental frequency. EMG activities of thyroarytenoid and cricothyroid muscles were aligned with call duration. EMG intensity increased with fundamental frequency. Phasic activities of both muscles were aligned with fast changing fundamental frequency contours, for example in trills. Activities of the sternothyroid and sternohyoid muscles, two muscles involved in vocal production in other mammals, are not critical for the production of rat USV. To test how stereotypic laryngeal and respiratory activity are across call types and individuals, sets of ten EMG and subglottal pressure parameters were measured in six different call types from six rats. Using discriminant function analysis, on average 80% of parameter sets were correctly assigned to their respective call type. This was significantly higher than the chance level. Since fundamental frequency features of USV are tightly associated with stereotypic activity of intrinsic laryngeal muscles and muscles contributing to build-up of subglottal pressure, USV provide insight into the neurophysiological control of peripheral vocal motor patterns. PMID:23423862

An analysis of rhythm in Japanese and English popular music

NARCIS (Netherlands)

Sadakata, M.; Desain, P.W.M.; Honing, H.J.; Patel, A.D.; Iversen, J.R.

2003-01-01

Recently, there has been evidence that the rhythm in English and French non-vocal musical themes are significantly different in their contrastiveness of successive durations in the same manner as those of spoken language, suggesting that acomposer's native language exerts an influence on the music

Phonetic characteristics of vocalizations during pain

DEFF Research Database (Denmark)

Niebuhr, Oliver; Lautenbacher, Stefan; Salinas-Ranneberg, Melissa

2017-01-01

” (central vowel, sounding like a darker “e” as in hesitations like “ehm”)—as experimental approximations to natural vocalizations. Methods: In 50 students vowel production and self-report ratings were assessed during painful and nonpainful heat stimulation (hot water immersion) as well as during baseline......Introduction and Objectives: There have, yet, been only few attempts to phonetically characterize the vocalizations of pain, although there is wide agreement that moaning, groaning, or other nonverbal utterance can be indicative of pain. We studied the production of vowels “u,” “a,” “i”, and “schwa...... pain. Furthermore, changes from nonpainful to painful stimulations in these parameters also significantly predicted concurrent changes in pain ratings. Conclusion: Vocalization characteristics of pain seem to be best described by an increase in pitch and in loudness. Future studies using more specific...

Babies in traffic: infant vocalizations and listener sex modulate auditory motion perception.

Science.gov (United States)

Neuhoff, John G; Hamilton, Grace R; Gittleson, Amanda L; Mejia, Adolfo

2014-04-01

Infant vocalizations and "looming sounds" are classes of environmental stimuli that are critically important to survival but can have dramatically different emotional valences. Here, we simultaneously presented listeners with a stationary infant vocalization and a 3D virtual looming tone for which listeners made auditory time-to-arrival judgments. Negatively valenced infant cries produced more cautious (anticipatory) estimates of auditory arrival time of the tone over a no-vocalization control. Positively valenced laughs had the opposite effect, and across all conditions, men showed smaller anticipatory biases than women. In Experiment 2, vocalization-matched vocoded noise stimuli did not influence concurrent auditory time-to-arrival estimates compared with a control condition. In Experiment 3, listeners estimated the egocentric distance of a looming tone that stopped before arriving. For distant stopping points, women estimated the stopping point as closer when the tone was presented with an infant cry than when it was presented with a laugh. For near stopping points, women showed no differential effect of vocalization type. Men did not show differential effects of vocalization type at either distance. Our results support the idea that both the sex of the listener and the emotional valence of infant vocalizations can influence auditory motion perception and can modulate motor responses to other behaviorally relevant environmental sounds. We also find support for previous work that shows sex differences in emotion processing are diminished under conditions of higher stress.

Music holographic physiotherapy by laser

Science.gov (United States)

Liao, Changhuan

1996-09-01

Based on the relationship between music and nature, the paper compares laser and light with music sound on the principles of synergetics, describes music physically and objectively, and proposes a music holographic therapy by laser. Maybe it will have certain effects on mechanism study and clinical practice of the music therapy.

Investigation of the Sound Pressure Level (SPL) of earphones during music listening with the use of physical ear canal models

Science.gov (United States)

Aying, K. P.; Otadoy, R. E.; Violanda, R.

2015-06-01

This study investigates on the sound pressure level (SPL) of insert-type earphones that are commonly used for music listening of the general populace. Measurements of SPL from earphones of different respondents were measured by plugging the earphone to a physical ear canal model. Durations of the earphone used for music listening were also gathered through short interviews. Results show that 21% of the respondents exceed the standard loudness/duration relation recommended by the World Health Organization (WHO).

Hearing the Music in the Spectrum of Hydrogen

Science.gov (United States)

LoPresto, Michael C.

2016-01-01

Throughout a general education course on sound and light aimed at music and art students, analogies between subjective perceptions of objective properties of sound and light waves are a recurring theme. Demonstrating that the pitch and loudness of musical sounds are related to the frequency and intensity of a sound wave is simple and students are…

RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN

Directory of Open Access Journals (Sweden)

Ester

2014-06-01

Full Text Available Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting and potong kerbau (buffalo slaughtering. Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording five kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives, Rijoq Patuk Ajer (advice, Rijoq Natal Tautn Bayuq (Christmas and New Year, Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman, and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone. But this paper is not intended to discuss these five kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most difficult Rijoq among the rest.

Functional results after external vocal fold medialization thyroplasty with the titanium vocal fold medialization implant.

Science.gov (United States)

Schneider, Berit; Denk, Doris-Maria; Bigenzahn, Wolfgang

2003-04-01

A persistent insufficiency of glottal closure is mostly a consequence of a unilateral vocal fold movement impairment. It can also be caused by vocal fold atrophy or scarring processes with regular bilateral respiratory vocal fold function. Because of consequential voice, breathing, and swallowing impairments, a functional surgical treatment is required. The goal of the study was to outline the functional results after medialization thyroplasty with the titanium vocal fold medialization implant according to Friedrich. In the period of 1999 to 2001, an external vocal fold medialization using the titanium implant was performed on 28 patients (12 women and 16 men). The patients were in the age range of 19 to 84 years. Twenty-two patients had a paralysis of the left-side vocal fold, and six patients, of the right-side vocal fold. Detailed functional examinations were executed on all patients before and after the surgery: perceptive voice sound analysis according to the "roughness, breathiness, and hoarseness" method, judgment of the s/z ratio and voice dysfunction index, voice range profile measurements, videostroboscopy, and pulmonary function tests. In case of dysphagia/aspiration, videofluoroscopy of swallowing was also performed. The respective data were statistically analyzed (paired t test, Wilcoxon-test). All patients reported on improvement of voice, swallowing, and breathing functions postoperatively. Videostroboscopy revealed an almost complete glottal closure after surgery in all of the patients. All voice-related parameters showed a significant improvement. An increase of the laryngeal resistance by the medialization procedure could be excluded by analysis of the pulmonary function test. The results confirm the external medialization of the vocal folds as an adequate method in the therapy of voice, swallowing, and breathing impairment attributable to an insufficient glottal closure. The titanium implant offers, apart from good tissue tolerability, the

Effective music therapy techniques in the treatment of nonfluent aphasia.

Science.gov (United States)

Tomaino, Concetta M

2012-04-01

In music therapy for nonfluent aphasia patients who have difficulty producing meaningful words, phrases, and sentences, various benefits of singing have been identified: strengthened breathing and vocal ability, improved articulation and prosody of speech, and increased verbal and nonverbal communicative behaviors. This paper will introduce these various techniques used in clinical music therapy, and summarize findings based on our recent study to illustrate the strength of different techniques emphasizing rhythm, pitch, memory, and vocal/oral motor components dealing with different symptoms. The efficacy of each component is enhanced or diminished by the choice of music and the way it is interactively delivered. This indicates that neural mechanisms underlying speech improvement vary greatly with available acoustic and social cues in aphasic brain. © 2012 New York Academy of Sciences.

Beacons of Sound

DEFF Research Database (Denmark)

Knakkergaard, Martin

2018-01-01

The chapter discusses expectations and imaginations vis-à-vis the concert hall of the twenty-first century. It outlines some of the central historical implications of western culture’s haven for sounding music. Based on the author’s study of the Icelandic concert-house Harpa, the chapter considers...... how these implications, together with the prime mover’s visions, have been transformed as private investors and politicians took over. The chapter furthermore investigates the objectives regarding musical sound and the far-reaching demands concerning acoustics that modern concert halls are required...

On music Therapy : Music and Healing

OpenAIRE

栗林, 文雄

1996-01-01

The theory of sound as energy is based on the relationship between music and positive humanfeelings. It was discussed the music therapy is effective in the care and cure of elderly with behavioral disorderssuch as senile dementia, and in patients in palliative medicine wards with cancer and in patientswith various kinds of mental disorders such as schizophrenia. alcohol. drug addiction and so on.

Musical and linguistic expertise influence pre-attentive and attentive processing of non-speech sounds.

Science.gov (United States)

Marie, Céline; Kujala, Teija; Besson, Mireille

2012-04-01

The aim of this experiment was two-fold. Our first goal was to determine whether linguistic expertise influences the pre-attentive [as reflected by the Mismatch Negativity - (MMN)] and the attentive processing (as reflected by behavioural discrimination accuracy) of non-speech, harmonic sounds. The second was to directly compare the effects of linguistic and musical expertise. To this end, we compared non-musician native speakers of a quantity language, Finnish, in which duration is a phonemically contrastive cue, with French musicians and French non-musicians. Results revealed that pre-attentive and attentive processing of duration deviants was enhanced in Finn non-musicians and French musicians compared to French non-musicians. By contrast, MMN in French musicians was larger than in both Finns and French non-musicians for frequency deviants, whereas no between-group differences were found for intensity deviants. By showing similar effects of linguistic and musical expertise, these results argue in favor of common processing of duration in music and speech. Copyright © 2010 Elsevier Srl. All rights reserved.

音乐声的情感属性与听者的情绪反应%Emotional Attributes of the Musical Sound and Mood Reactions of the Listeners

Institute of Scientific and Technical Information of China (English)

杨倩; 孟子厚

2013-01-01

以音乐声的情感为目标进行标注与分类，考察不同情感类别的音乐声对听者情绪的影响，分析听者情绪分量和音乐声情感属性之间的关联。%The musical sound was labelled and classified according to the different emotions, in the purpose of observation on the emotional influence that different types of music have on listeners, and analysis of the correlation between the mood components of the listeners and the emotional attributes of the musical sound.

Further Evaluation of Methods to Identify Matched Stimulation

OpenAIRE

Rapp, John T

2007-01-01

The effects of preferred stimulation on the vocal stereotypy of 2 individuals were evaluated in two experiments. The results of Experiment 1 showed that (a) the vocal stereotypy of both participants persisted in the absence of social consequences, (b) 1 participant manipulated toys that did and did not produce auditory stimulation, but only sound-producing toys decreased his vocal stereotypy, and (c) only noncontingent music decreased vocal stereotypy for the other participant, but sterotypy ...

Unsound Sound

DEFF Research Database (Denmark)

Knakkergaard, Martin

2016-01-01

This article discusses the change in premise that digitally produced sound brings about and how digital technologies more generally have changed our relationship to the musical artifact, not simply in degree but in kind. It demonstrates how our acoustical conceptions are thoroughly challenged...... by the digital production of sound and, by questioning the ontological basis for digital sound, turns our understanding of the core term substance upside down....

In situ vocal fold properties and pitch prediction by dynamic actuation of the songbird syrinx

DEFF Research Database (Denmark)

Düring, Daniel N; Knörlein, Benjamin J; Elemans, Coen P H

2017-01-01

, forces and torques exerted on, and motion of the syringeal skeleton during song. Here, we present a novel marker-based 3D stereoscopic imaging technique to reconstruct 3D motion of servo-controlled actuation of syringeal muscle insertions sites in vitro and focus on two muscles controlling sound pitch......The biomechanics of sound production forms an integral part of the neuromechanical control loop of avian vocal motor control. However, we critically lack quantification of basic biomechanical parameters describing the vocal organ, the syrinx, such as material properties of syringeal elements...... motion and forces, acoustic effects of muscle recruitment, and calibration of computational birdsong models, enabling experimental access to the entire neuromechanical control loop of vocal motor control....

Assessing Vocal Performances Using Analytical Assessment: A Case Study

Science.gov (United States)

Gynnild, Vidar

2016-01-01

This study investigated ways to improve the appraisal of vocal performances within a national academy of music. Since a criterion-based assessment framework had already been adopted, the conceptual foundation of an assessment rubric was used as a guide in an action research project. The group of teachers involved wanted to explore thinking…

Improving left spatial neglect through music scale playing.

Science.gov (United States)

Bernardi, Nicolò Francesco; Cioffi, Maria Cristina; Ronchi, Roberta; Maravita, Angelo; Bricolo, Emanuela; Zigiotto, Luca; Perucca, Laura; Vallar, Giuseppe

2017-03-01

The study assessed whether the auditory reference provided by a music scale could improve spatial exploration of a standard musical instrument keyboard in right-brain-damaged patients with left spatial neglect. As performing music scales involves the production of predictable successive pitches, the expectation of the subsequent note may facilitate patients to explore a larger extension of space in the left affected side, during the production of music scales from right to left. Eleven right-brain-damaged stroke patients with left spatial neglect, 12 patients without neglect, and 12 age-matched healthy participants played descending scales on a music keyboard. In a counterbalanced design, the participants' exploratory performance was assessed while producing scales in three feedback conditions: With congruent sound, no-sound, or random sound feedback provided by the keyboard. The number of keys played and the timing of key press were recorded. Spatial exploration by patients with left neglect was superior with congruent sound feedback, compared to both Silence and Random sound conditions. Both the congruent and incongruent sound conditions were associated with a greater deceleration in all groups. The frame provided by the music scale improves exploration of the left side of space, contralateral to the right hemisphere, damaged in patients with left neglect. Performing a scale with congruent sounds may trigger at some extent preserved auditory and spatial multisensory representations of successive sounds, thus influencing the time course of space scanning, and ultimately resulting in a more extensive spatial exploration. These findings offer new perspectives also for the rehabilitation of the disorder. © 2015 The British Psychological Society.

A feasibility study of predictable and unpredictable surf-like sounds for tinnitus therapy using personal music players.

Science.gov (United States)

Durai, Mithila; Kobayashi, Kei; Searchfield, Grant D

2018-05-28

To evaluate the feasibility of predictable or unpredictable amplitude-modulated sounds for tinnitus therapy. The study consisted of two parts. (1) An adaptation experiment. Loudness level matches and rating scales (10-point) for loudness and distress were obtained at a silent baseline and at the end of three counterbalanced 30-min exposures (silence, predictable and unpredictable). (2) A qualitative 2-week sound therapy feasibility trial. Participants took home a personal music player (PMP). Part 1: 23 individuals with chronic tinnitus and part 2: seven individuals randomly selected from Part 1. Self-reported tinnitus loudness and annoyance were significantly lower than baseline ratings after acute unpredictable sound exposure. Tinnitus annoyance ratings were also significantly lower than the baseline but the effect was small. The feasibility trial identified that participant preferences for sounds varied. Three participants did not obtain any benefit from either sound. Three participants preferred unpredictable compared to predictable sounds. Some participants had difficulty using the PMP, the average self-report hours of use were low (less <1 h/day). Unpredictable surf-like sounds played using a PMP is a feasible tinnitus treatment. Further work is required to improve the acceptance of the sound and ease of PMP use.

The Decline and Revival of Music Education in New South Wales Schools, 1920-1956

Science.gov (United States)

Chaseling, Marilyn; Boyd, William E.

2014-01-01

This paper overviews the decline and revival of music education in New South Wales schools from 1920 to 1956. Commencing with a focus on vocal music during the period up to 1932, a time of decline in music teaching, the paper examines initiatives introduced in 1933 to address shortcomings in music education, and the subsequent changes in…

Two organizing principles of vocal production: Implications for nonhuman and human primates.

Science.gov (United States)

Owren, Michael J; Amoss, R Toby; Rendall, Drew

2011-06-01

Vocal communication in nonhuman primates receives considerable research attention, with many investigators arguing for similarities between this calling and speech in humans. Data from development and neural organization show a central role of affect in monkey and ape sounds, however, suggesting that their calls are homologous to spontaneous human emotional vocalizations while having little relation to spoken language. Based on this evidence, we propose two principles that can be useful in evaluating the many and disparate empirical findings that bear on the nature of vocal production in nonhuman and human primates. One principle distinguishes production-first from reception-first vocal development, referring to the markedly different role of auditory-motor experience in each case. The second highlights a phenomenon dubbed dual neural pathways, specifically that when a species with an existing vocal system evolves a new functionally distinct vocalization capability, it occurs through emergence of a second parallel neural pathway rather than through expansion of the extant circuitry. With these principles as a backdrop, we review evidence of acoustic modification of calling associated with background noise, conditioning effects, audience composition, and vocal convergence and divergence in nonhuman primates. Although each kind of evidence has been interpreted to show flexible cognitively mediated control over vocal production, we suggest that most are more consistent with affectively grounded mechanisms. The lone exception is production of simple, novel sounds in great apes, which is argued to reveal at least some degree of volitional vocal control. If also present in early hominins, the cortically based circuitry surmised to be associated with these rudimentary capabilities likely also provided the substrate for later emergence of the neural pathway allowing volitional production in modern humans. © 2010 Wiley-Liss, Inc.

Principles of musical acoustics

CERN Document Server

Hartmann, William M

2013-01-01

Principles of Musical Acoustics focuses on the basic principles in the science and technology of music. Musical examples and specific musical instruments demonstrate the principles. The book begins with a study of vibrations and waves, in that order. These topics constitute the basic physical properties of sound, one of two pillars supporting the science of musical acoustics. The second pillar is the human element, the physiological and psychological aspects of acoustical science. The perceptual topics include loudness, pitch, tone color, and localization of sound. With these two pillars in place, it is possible to go in a variety of directions. The book treats in turn, the topics of room acoustics, audio both analog and digital, broadcasting, and speech. It ends with chapters on the traditional musical instruments, organized by family. The mathematical level of this book assumes that the reader is familiar with elementary algebra. Trigonometric functions, logarithms and powers also appear in the book, but co...

An abstract approach to music.

Energy Technology Data Exchange (ETDEWEB)

Kaper, H. G.; Tipei, S.

1999-04-19

In this article we have outlined a formal framework for an abstract approach to music and music composition. The model is formulated in terms of objects that have attributes, obey relationships, and are subject to certain well-defined operations. The motivation for this approach uses traditional terms and concepts of music theory, but the approach itself is formal and uses the language of mathematics. The universal object is an audio wave; partials, sounds, and compositions are special objects, which are placed in a hierarchical order based on time scales. The objects have both static and dynamic attributes. When we realize a composition, we assign values to each of its attributes: a (scalar) value to a static attribute, an envelope and a size to a dynamic attribute. A composition is then a trajectory in the space of aural events, and the complex audio wave is its formal representation. Sounds are fibers in the space of aural events, from which the composer weaves the trajectory of a composition. Each sound object in turn is made up of partials, which are the elementary building blocks of any music composition. The partials evolve on the fastest time scale in the hierarchy of partials, sounds, and compositions. The ideas outlined in this article are being implemented in a digital instrument for additive sound synthesis and in software for music composition. A demonstration of some preliminary results has been submitted by the authors for presentation at the conference.

Music and the auditory brain: where is the connection?

Directory of Open Access Journals (Sweden)

Israel eNelken

2011-09-01

Full Text Available Sound processing by the auditory system is understood in unprecedented details, even compared with sensory coding in the visual system. Nevertheless, we don't understand yet the way in which some of the simplest perceptual properties of sounds are coded in neuronal activity. This poses serious difficulties for linking neuronal responses in the auditory system and music processing, since music operates on abstract representations of sounds. Paradoxically, although perceptual representations of sounds most probably occur high in auditory system or even beyond it, neuronal responses are strongly affected by the temporal organization of sound streams even in subcortical stations. Thus, to the extent that music is organized sound, it is the organization, rather than the sound, which is represented first in the auditory brain.

New and Old User Interface Metaphors in Music Production

DEFF Research Database (Denmark)

Walther-Hansen, Mads

2017-01-01

This paper outlines a theoretical framework for interaction with sound in music mixing. Using cognitive linguistic theory and studies exploring the spatiality of recorded music, it is argued that the logic of music mixing builds on three master metaphors—the signal flow metaphor, the sound stage...... metaphor and the container metaphor. I show how the metaphorical basis for interacting with sound in music mixing has changed with the development of recording technology, new aesthetic ideals and changing terminology. These changes are studied as expressions of underlying thought patterns that govern how...... music producers and engineers make sense of their actions. In conclusion, this leads to suggestions for a theoretical framework through which more intuitive music mixing interfaces may be developed in the future....

Validating a perceptual distraction model using a personal two-zone sound system

DEFF Research Database (Denmark)

Rämö, Jussi; Christensen, Lasse; Bech, Søren

2017-01-01

This paper focuses on validating a perceptual distraction model, which aims to predict user's perceived distraction caused by audio-on-audio interference. Originally, the distraction model was trained with music targets and interferers using a simple loudspeaker setup, consisting of only two...... sound zones within the sound-zone system. Thus, validating the model using a different sound-zone system with both speech-on-music and music-on-speech stimuli sets. The results show that the model performance is equally good in both zones, i.e., with both speech- on-music and music-on-speech stimuli...

Sound and Music in A Mixed Martial Arts Gym: Exploring the Functions and Effects of Organized Noise as an Aid to Training and Fighting

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John Paul

2014-05-01

Full Text Available This paper has two distinct yet interrelated parts. First, it is a study into the sociology of sound and music—an exploration of how the phenomena of noise organizes and structures human behavior. Second, it is an auditory ethnographic excursion into the world of mixed martial arts (MMA fighting. Using a general qualitative approach grounded by the soundscape, participant observation and semi-structured interviews, we query MMA fighters’ experiences with sound and music, noting how these “sonic things” become key aids in bonding, training, and fighting. Lastly, we describe how participants use music to achieve various motivational and psychophysical outcomes.

From Leisure to Work: Amateur Musicians Taking up Instrumental or Vocal Teaching as a Second Career

Science.gov (United States)

Taylor, Angela; Hallam, Susan

2011-01-01

This article aims to increase our understanding of how amateur musicians become teachers as a change of career, how they use their musical and life skills in their teaching, and how their teaching impacts on their musical identity. The questionnaire responses of 67 career-change instrumental and vocal teachers showed evidence of their strong…

Attitudes of college music students towards noise in youth culture.

Science.gov (United States)

Chesky, Kris; Pair, Marla; Lanford, Scott; Yoshimura, Eri

2009-01-01

The effectiveness of a hearing loss prevention program within a college may be dependent on attitudes among students majoring in music. The purpose of this study was to assess the attitudes of music majors toward noise and to compare them to students not majoring in music. Participants ( N = 467) filled out a questionnaire designed to assess attitudes toward noise in youth culture and attitudes toward influencing their sound environment. Results showed that students majoring in music have a healthier attitude toward sound compared to students not majoring in music. Findings also showed that music majors are more aware and attentive to noise in general, likely to perceive sound that may be risky to hearing as something negative, and are more likely to carry out behaviors to decrease personal exposure to loud sounds. Due to these differences, music majors may be more likely than other students to respond to and benefit from a hearing loss prevention program.

Difference between the vocalizations of two sister species of pigeons explained in dynamical terms.

Science.gov (United States)

Alonso, R Gogui; Kopuchian, Cecilia; Amador, Ana; Suarez, Maria de Los Angeles; Tubaro, Pablo L; Mindlin, Gabriel B

2016-05-01

Vocal communication is an unique example, where the nonlinear nature of the periphery can give rise to complex sounds even when driven by simple neural instructions. In this work we studied the case of two close-related bird species, Patagioenas maculosa and Patagioenas picazuro, whose vocalizations differ only in the timbre. The temporal modulation of the fundamental frequency is similar in both cases, differing only in the existence of sidebands around the fundamental frequency in the P. maculosa. We tested the hypothesis that the qualitative difference between these vocalizations lies in the nonlinear nature of the syrinx. In particular, we propose that the roughness of maculosa's vocalizations is due to an asymmetry between the right and left vibratory membranes, whose nonlinear dynamics generate the sound. To test the hypothesis, we generated a biomechanical model for vocal production with an asymmetric parameter Q with which we can control the level of asymmetry between these membranes. Using this model we generated synthetic vocalizations with the principal acoustic features of both species. In addition, we confirmed the anatomical predictions by making post mortem inspection of the syrinxes, showing that the species with tonal song (picazuro) has a more symmetrical pair of membranes compared to maculosa.

Evaluation of a Stereo Music Preprocessing Scheme for Cochlear Implant Users.

Science.gov (United States)

Buyens, Wim; van Dijk, Bas; Moonen, Marc; Wouters, Jan

2018-01-01

Although for most cochlear implant (CI) users good speech understanding is reached (at least in quiet environments), the perception and the appraisal of music are generally unsatisfactory. The improvement in music appraisal was evaluated in CI participants by using a stereo music preprocessing scheme implemented on a take-home device, in a comfortable listening environment. The preprocessing allowed adjusting the balance among vocals/bass/drums and other instruments, and was evaluated for different genres of music. The correlation between the preferred settings and the participants' speech and pitch detection performance was investigated. During the initial visit preceding the take-home test, the participants' speech-in-noise perception and pitch detection performance were measured, and a questionnaire about their music involvement was completed. The take-home device was provided, including the stereo music preprocessing scheme and seven playlists with six songs each. The participants were asked to adjust the balance by means of a turning wheel to make the music sound most enjoyable, and to repeat this three times for all songs. Twelve postlingually deafened CI users participated in the study. The data were collected by means of a take-home device, which preserved all the preferred settings for the different songs. Statistical analysis was done with a Friedman test (with post hoc Wilcoxon signed-rank test) to check the effect of "Genre." The correlations were investigated with Pearson's and Spearman's correlation coefficients. All participants preferred a balance significantly different from the original balance. Differences across participants were observed which could not be explained by perceptual abilities. An effect of "Genre" was found, showing significantly smaller preferred deviation from the original balance for Golden Oldies compared to the other genres. The stereo music preprocessing scheme showed an improvement in music appraisal with complex music and

Efeito imediato de técnicas vocais em mulheres sem queixa vocal Immediate effect of vocal techniques in women without vocal complaint

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Eliane Cristina Pereira

2011-10-01

Full Text Available OBJETIVO: verificar o efeito imediato das técnicas vocais vibração, som nasal e sobrearticulação na voz e na laringe de mulheres sem queixas vocais. MÉTODO: participaram da pesquisa 32 sujeitos do sexo feminino, com idades entre 20 e 45 anos, sem queixas vocais, com qualidade vocal avaliada entre normal e alteração de grau leve Os sujeitos foram submetidos à análise perceptivo-auditiva pela escala visual analógica da vogal /ε/ e fala espontânea, análise acústica e laringoestroboscopia antes e após a realização das técnicas. RESULTADOS: a análise perceptivo-auditiva revelou melhora significante dos parâmetros impressão global da voz, rouquidão e estabilidade na vogal /ε/ e articulação na fala espontânea. A análise acústica evidenciou melhora significante do jitter e shimmer. A laringoestroboscopia evidenciou significante melhora no fechamento glótico e melhora na movimentação muco-ondulatória das pregas vocais. CONCLUSÃO: as técnicas vocais estudadas são capazes de proporcionar melhora imediata significante da qualidade vocal e da configuração laríngea.PURPOSE: to check the immediate effect of vocal techniques: vibration, nasal sound and overarticulation. METHOD: 32 female subjects with normal to mild dysphonia took part in the study, with ages from 20 to 45 years. Subjects were submitted to perceptual analysis and laryngostroboscopic exams before and after the use of vocal techniques. RESULTS: subjects' vocal classification in perceptual analysis after accomplishing the vocal techniques showed significant improvement on parameters voice global impression, hoarseness and stability; and, in spontaneous speech, one showed a significant improvement on the parameter articulation. The acoustic analysis evidenced significant improvement of the jitter and shimmer. Laryngostroboscopic examination evidenced a significant increase in the glottic closing and an increase in the mucondulatory movement of the vocal folds

Vocal effort modulates the motor planning of short speech structures

Science.gov (United States)

Taitz, Alan; Shalom, Diego E.; Trevisan, Marcos A.

2018-05-01

Speech requires programming the sequence of vocal gestures that produce the sounds of words. Here we explored the timing of this program by asking our participants to pronounce, as quickly as possible, a sequence of consonant-consonant-vowel (CCV) structures appearing on screen. We measured the delay between visual presentation and voice onset. In the case of plosive consonants, produced by sharp and well defined movements of the vocal tract, we found that delays are positively correlated with the duration of the transition between consonants. We then used a battery of statistical tests and mathematical vocal models to show that delays reflect the motor planning of CCVs and transitions are proxy indicators of the vocal effort needed to produce them. These results support that the effort required to produce the sequence of movements of a vocal gesture modulates the onset of the motor plan.

Speech versus singing: Infants choose happier sounds

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Marieve eCorbeil

2013-06-01

Full Text Available Infants prefer speech to non-vocal sounds and to non-human vocalizations, and they prefer happy-sounding speech to neutral speech. They also exhibit an interest in singing, but there is little knowledge of their relative interest in speech and singing. The present study explored infants’ attention to unfamiliar audio samples of speech and singing. In Experiment 1, infants 4-13 months of age were exposed to happy-sounding infant-directed speech versus hummed lullabies by the same woman. They listened significantly longer to the speech, which had considerably greater acoustic variability and expressiveness, than to the lullabies. In Experiment 2, infants of comparable age who heard the lyrics of a Turkish children’s song spoken versus sung in a joyful/happy manner did not exhibit differential listening. Infants in Experiment 3 heard the happily sung lyrics of the Turkish children’s song versus a version that was spoken in an adult-directed or affectively neutral manner. They listened significantly longer to the sung version. Overall, happy voice quality rather than vocal mode (speech or singing was the principal contributor to infant attention, regardless of age.

Sound Health: Music Gets You Moving and More

Science.gov (United States)

... diseases and conditions,” he explains. Your Brain on Music The brain is a complex processing hub. It’s ... out a person’s voice in a noisy background. Music Therapy Listening to and making music on your ...

Vocal behaviour of Orange River Francolin Scleroptila ...

African Journals Online (AJOL)

Fieldwork to study the vocal behaviour of Orange River Francolin Scleroptilia levaillantoides was conducted on a farm in the Heidelberg district, Gauteng province, South Africa, during August 2009 to March 2011. Orange River Francolins possess a basic repertoire of seven calls and one mechanical sound. From 83 ...

Music Videos: The Look of the Sound

Science.gov (United States)

Aufderheide, Pat

1986-01-01

Asserts that music videos, rooted in mass marketing culture, are reshaping the language of advertising, affecting the flow of information. Raises question about the society that creates and receives music videos. (MS)

When speech sounds like music.

Science.gov (United States)

Falk, Simone; Rathcke, Tamara; Dalla Bella, Simone

2014-08-01

Repetition can boost memory and perception. However, repeating the same stimulus several times in immediate succession also induces intriguing perceptual transformations and illusions. Here, we investigate the Speech to Song Transformation (S2ST), a massed repetition effect in the auditory modality, which crosses the boundaries between language and music. In the S2ST, a phrase repeated several times shifts to being heard as sung. To better understand this unique cross-domain transformation, we examined the perceptual determinants of the S2ST, in particular the role of acoustics. In 2 Experiments, the effects of 2 pitch properties and 3 rhythmic properties on the probability and speed of occurrence of the transformation were examined. Results showed that both pitch and rhythmic properties are key features fostering the transformation. However, some properties proved to be more conducive to the S2ST than others. Stable tonal targets that allowed for the perception of a musical melody led more often and quickly to the S2ST than scalar intervals. Recurring durational contrasts arising from segmental grouping favoring a metrical interpretation of the stimulus also facilitated the S2ST. This was, however, not the case for a regular beat structure within and across repetitions. In addition, individual perceptual abilities allowed to predict the likelihood of the S2ST. Overall, the study demonstrated that repetition enables listeners to reinterpret specific prosodic features of spoken utterances in terms of musical structures. The findings underline a tight link between language and music, but they also reveal important differences in communicative functions of prosodic structure in the 2 domains.

Tuning Features of Chinese Folk Song Singing: A Case Study of Hua'er Music.

Science.gov (United States)

Yang, Yang; Welch, Graham; Sundberg, Johan; Himonides, Evangelos

2015-07-01

The learning and teaching of different singing styles, such as operatic and Chinese folk singing, was often found to be very challenging in professional music education because of the complexity of varied musical properties and vocalizations. By studying the acoustical and musical parameters of the singing voice, this study identified distinctive tuning characteristics of a particular folk music in China-Hua'er music-to inform the ineffective folk singing practices, which were hampered by the neglect of inherent tuning issues in music. Thirteen unaccompanied folk song examples from four folk singers were digitally audio recorded in a sound studio. Using an analyzing toolkit consisting of Praat, PeakFit, and MS Excel, the fundamental frequencies (F0) of these song examples were extracted into sets of "anchor pitches" mostly used, which were further divided into 253 F0 clusters. The interval structures of anchor pitches within each song were analyzed and then compared across 13 examples providing parameters that indicate the tuning preference of this particular singing style. The data analyses demonstrated that all singers used a tuning pattern consisting of five major anchor pitches suggesting a nonequal-tempered bias in singing. This partly verified the pentatonic scale proposed in previous empirical research but also argued a potential misunderstanding of the studied folk music scale that failed to take intrinsic tuning issues into consideration. This study suggests that, in professional music training, any tuning strategy should be considered in terms of the reference pitch and likely tuning systems. Any accompanying instruments would need to be tuned to match the underlying tuning bias. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The 'folk-choral concept' of the music of Okechukwu Ndubuisi ...

African Journals Online (AJOL)

Okechukwu Ndubuisi is a distinguished composer and arranger of vocal music in Nigeria. Even though he was an accomplished pianist, his major contribution in the field of Nigerian art music was in the choral medium. This work therefore examines the composer and his works in order to establish the contributions he has ...

Three-month-old human infants use vocal cues of body size.

Science.gov (United States)

Pietraszewski, David; Wertz, Annie E; Bryant, Gregory A; Wynn, Karen

2017-06-14

Differences in vocal fundamental ( F 0 ) and average formant ( F n ) frequencies covary with body size in most terrestrial mammals, such that larger organisms tend to produce lower frequency sounds than smaller organisms, both between species and also across different sex and life-stage morphs within species. Here we examined whether three-month-old human infants are sensitive to the relationship between body size and sound frequencies. Using a violation-of-expectation paradigm, we found that infants looked longer at stimuli inconsistent with the relationship-that is, a smaller organism producing lower frequency sounds, and a larger organism producing higher frequency sounds-than at stimuli that were consistent with it. This effect was stronger for fundamental frequency than it was for average formant frequency. These results suggest that by three months of age, human infants are already sensitive to the biologically relevant covariation between vocalization frequencies and visual cues to body size. This ability may be a consequence of developmental adaptations for building a phenotype capable of identifying and representing an organism's size, sex and life-stage. © 2017 The Author(s).

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.

Vocal production complexity correlates with neural instructions in the oyster toadfish (Opsanus tau)

DEFF Research Database (Denmark)

Elemans, C. P. H.; Mensinger, A. F.; Rome, L. C.

2014-01-01

frequencies are determined directly by the firing rate of a vocal-acoustic neural network that drives the contraction frequency of superfast swimbladder muscles. The oyster toadfish boatwhistle call starts with an irregular sound waveform that could be an emergent property of the peripheral nonlinear sound...

FEATURES OF MINIMALIST MUSIC FUNCTIONING IN FILMS

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Mikheeva Julia V.

2015-01-01

Full Text Available The article examines the role of musical minimalism in aesthetic perception and theoretical interpretation of cinematographic works. The film music of Philip Glass, Michael Nyman, Alfred Schnittke, Arvo Pärt, Alexei Aigui is analysed. Author specifies the analysis of the principles of musical minimalism in films in two basic phenomenons. The first one is a transcending of art space through the self-worth of a single sound (sound pattern. The second one is a change the meaning of film-time through the repetitive music technique.

Oral and vocal fold diadochokinesis in dysphonic women

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Talita Louzada

2011-12-01

Full Text Available The evaluation of oral and vocal fold diadochokinesis (DDK in individuals with voice disorders may contribute to the understanding of factors that affect the balanced vocal production. Scientific studies that make use of this assessment tool support the knowledge advance of this area, reflecting the development of more appropriate therapeutic planning. Objective: To compare the results of oral and vocal fold DDK in dysphonic women and in women without vocal disorders. Material and methods: For this study, 28 voice recordings of women from 19 to 54 years old, diagnosed with dysphonia and submitted to a voice assessment from speech pathologist and otorhinolaryngologist, were used. The control group included 30 nondysphonic women evaluated in prior research from normal adults. The analysis parameters like number and duration of emissions, as well as the regularity of the repetition of syllables "pa", "ta", "ka" and the vowels "a" and "i," were provided by the Advanced Motor Speech Profile program (MSP Model-5141, version-2.5.2 (KayPentax. The DDK sequence "pataka" was analyzed quantitatively through the Sound Forge 7.0 program, as well as manually with the audio-visual help of sound waves. Average values of oral and vocal fold DDK dysphonic and nondysphonic women were compared using the "t Student" test and were considered significant when p<0.05. Results: The findings showed no significant differences between populations; however, the coefficient of variation of period (CvP and jitter of period (JittP average of the "ka," "a" and "i" emissions, respectively, were higher in dysphonic women (CvP=10.42%, 12.79%, 12.05%; JittP=2.05%, 6.05%, 3.63% compared to the control group (CvP=8.86%; 10.95%, 11.20%; JittP=1.82%, 2.98%, 3.15%. Conclusion: Although the results do not indicate any difficulties in oral and laryngeal motor control in the dysphonic group, the largest instability in vocal fold DDK in the experimental group should be considered, and

Processing of vocalizations in humans and monkeys: A comparative fMRI study

International Nuclear Information System (INIS)

Joly, Olivier; Orban, Guy A.; Pallier, Christophe; Ramus, Franck; Pressnitzer, Daniel; Vanduffel, Wim

2012-01-01

Humans and many other animals use acoustical signals to mediate social interactions with con-specifics. The evolution of sound-based communication is still poorly understood and its neural correlates have only recently begun to be investigated. In the present study, we applied functional MRI to humans and macaque monkeys listening to identical stimuli in order to compare the cortical networks involved in the processing of vocalizations. At the first stages of auditory processing, both species showed similar fMRI activity maps within and around the lateral sulcus (the Sylvian fissure in humans). Monkeys showed remarkably similar responses to monkey calls and to human vocal sounds (speech or otherwise), mainly in the lateral sulcus and the adjacent superior temporal gyrus (STG). In contrast, a preference for human vocalizations and especially for speech was observed in the human STG and superior temporal sulcus (STS). The STS and Broca's region were especially responsive to intelligible utterances. The evolution of the language faculty in humans appears to have recruited most of the STS. It may be that in monkeys, a much simpler repertoire of vocalizations requires less involvement of this temporal territory. (authors)

New sounds, new stories : narrativity in contemporary music

NARCIS (Netherlands)

Meelberg, Vincent

2006-01-01

In this dissertation, I study the relation between narrativity and contemporary composed music. The purpose of this study is twofold. Firstly, in so doing, I am able to articulate what musical narrativity is in a precise manner. Since many contemporary musical works question or problematize the

A study on the mutual relationship between Sa’di’s ghazals and Iranian vocal music

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Zolfaghar Alami

2016-06-01

feature in which he moves from the parts to the whole and as a result, such a trend gives an artistic dynamism to the development of the thought in ghazal couplets. Position of phonemes: Language features also play an essential part in why men of music welcome the great Sheikh’s ghazals. In the course of speech, each sentence, word and syllable involves some degrees of high and low pitched voice. In poetry, phonemes in addition to the role they play in the musical beauty of the poem, sometimes in harmonious with other parts induce meaning. It is in such a situation where the poet, using words with certain letters, creates with those letters the image he wants to present. Impressiveness of ghazal rhythm: The beauty of a word is a result of the suitable choice and collection of that word in the poem. In sa’di’s ghazals the poet’s word possibilities and his awareness of words and their different forms are so vast that they make his poetry uniform and that the sequence of its parts can be guessed. Sa’di’s ghazals enjoy uniform and rhythmic tone and they regardless of the way the poet relates the event, in musical expression follow a particular order, too. Exchange of couplets and musical melodies: The main purpose of the present paper is investigating the mutual relationship between couplets of sa’di’s ghazals, Naqarat and melodies of musical tones. This type of ghazal due to its magic tone and its suitability for the radif of music is the most famous one and has become popular among people. The tone of the lover’s call, request, submissiveness and helplessness, yearning and pain of love, the lover’s unconditional compliance and the beloved’s undeniable dominion and … in sa’di’s ghazals has been shown in such a way that they are in complete agreement with elegances of Persian vocal “Gooshes” and can be conveyed in the best way to the listener. It is all these features that have made Sa’di’s ghazals preferable in connection with Persian

Vocal performance reflects individual quality in a nonpasserine

NARCIS (Netherlands)

Janicke, T.; Hahn, S.M.; Ritz, M.S.; Peter, H.-U.

2008-01-01

Recent studies on mate-quality recognition in passerines showed that females use subtle differences in sound production to assess males. We analysed long calls of brown skuas, Catharacta antarctica lonnbergi, to test whether vocal performance could serve as an indicator of individual quality in a

PROCEEDINGS OF THE 2008 Computers in Music Modeling and Retrieval and Network for Cross-Disciplinary Studies of Music and Meaning Conference

DEFF Research Database (Denmark)

and encouraged studies that linked sound modeling by analysis-synthesis to perception and cognition. CMMR 2008 seeks to enlarge upon the Sense of Sounds-concept by taking into account the musical structure as a whole. More precisely, the workshop will have as its theme Genesis of Meaning in Sound and Music......The field of computer music is interdisciplinary by nature and closely related to a number of areas in computer science and engineering. The first CMMR  gatherings mainly focused on information retrieval, programming, digital libraries, hypermedia, artificial intelligence, acoustics and signal...... processing. In 2005 CMMR started moving towards a more interdisciplinary view of the field by putting increased emphasis on the investigation of the role of human interaction at all levels of musical practice. CMMR 2007 focused on the Sense of Sounds from the synthesis and retrieval point of view...

Effects of Style, Tempo, and Performing Medium on Children's Music Preference.

Science.gov (United States)

LeBlanc, Albert

1981-01-01

Fifth-graders listened to a tape incorporating fast and slow vocal and instrumental excerpts within the generic styles of rock/pop, country, older jazz, newer jazz, art music, and band music. A preference hierarchy emerged favoring the popular styles. Across pooled styles, faster tempos and instrumentals were slightly preferred. (Author/SJL)

What is Sound?

OpenAIRE

Nelson, Peter

2014-01-01

What is sound? This question is posed in contradiction to the every-day understanding that sound is a phenomenon apart from us, to be heard, made, shaped and organised. Thinking through the history of computer music, and considering the current configuration of digital communi-cations, sound is reconfigured as a type of network. This network is envisaged as non-hierarchical, in keeping with currents of thought that refuse to prioritise the human in the world. The relationship of sound to musi...

Modeling the Biomechanical Influence of Epilaryngeal Stricture on the Vocal Folds: A Low-Dimensional Model of Vocal-Ventricular Fold Coupling

Science.gov (United States)

Moisik, Scott R.; Esling, John H.

2014-01-01

Purpose: Physiological and phonetic studies suggest that, at moderate levels of epilaryngeal stricture, the ventricular folds impinge upon the vocal folds and influence their dynamical behavior, which is thought to be responsible for constricted laryngeal sounds. In this work, the authors examine this hypothesis through biomechanical modeling.…

''1/f noise'' in music: Music from 1/f noise

Energy Technology Data Exchange (ETDEWEB)

Voss, R.F.; Clarke, J.

1978-01-01

The spectral density of fluctuations in the audio power of many musical selections and of English speech varies approximately as 1/f (f is the frequency) down to a frequency of 5 x 10/sup -4/ Hz. This result implies that the audio-power fluctuations are correlated over all times in the same manner as ''1/f noise'' in electronic components. The frequency fluctuations of music also have a 1/f spectral density at frequencies down to the inverse of the length of the piece of music. The frequency fluctuations of English speech have a quite different behavior, with a single characteristic time of about 0.1 s, the average length of a syllable. The observations on music suggest that 1/f noise is a good choice for stochastic composition. Compositions in which the frequency and duration of each note were determined by 1/f noise sources sounded pleasing. Those generated by white-noise sources sounded too random, while those generated by 1/f/sup 2/ noise sounded too correlated.

Timbre as an Elusive Component of Imagery for Music

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Freya Bailes

2007-01-01

Full Text Available Evidence of the ability to imagine timbre is either anecdotal, or applies to isolated instrument tones rather than timbre in real music. Experiments were conducted to infer the vividness of timbre in imagery for music. Music students were asked to judge whether the timbre of a sounded target note was the same or different from the original following a heard, imagined, or control musical context. A pilot experiment manipulated instrumentation, while the main experiment manipulated sound filters. The hypothesis that participants are able to internalise timbral aspects of music was supported by an ability to perform the timbre discrimination task, and by facilitated response when imaging the timbre context compared with non-imaging. However, while participants were able to mentally represent timbre, this was not always reported as being a conscious dimension of their musical image. This finding is discussed in relation to previous research suggesting that timbre may be a sound characteristic that is optionally present in imagery for music.