Rocking, Tapping and Stepping: A Prelude to Dance

Dancing to a rhythm, as humans do, is a complex process, andformulation of its dynamics and control are very difficult. Rhythmicexchange of the support surfaces and stability of the overall systemare not well understood. To produce a dancing movement, simplermovements such as rocking, tapping, and stepping can be combined. Therhythm of dancing is usually driven by a music beat. A method thatextracts beats from a wide variety of music in real time ispresented. Work is being done to couple the extracted rhythm of themusic to a dancing biped. The seven degree of freedom sagittal bipedwith sixteen actuators is controlled to move in a rocking, tapping,and stepping fashion. A pattern generator is described which takes amusical beat and generates oscillations. The oscillations are usedto select a finite sequence of predefined desired states, and todrive the system from the current desired state to the next. Thesenext desired states allow derivation of neural excitation inputs tothe sixteen muscle-like actuators. Simulations show the feasibilityof the control strategy moving the biped from desired state todesired state as it traverses the trajectories of these three simplermovements of rocking, tapping, and stepping. In a final simulation,the three movements of rocking, stepping, and tapping are combined ina three-step up and down dancing movement.     

Does music induce emotion? A theoretical and methodological analysis.

Is music ubiquitous in part because it is causally linked to emotion? In this article, a comprehensive theoretical and methodological reevaluation is presented of a classical problem: The direct induction of emotion by music (M→E). The author's Prototypical Emotion-Episode Model (PEEM) is used in the conceptual critique. A close scrutiny of the major published studies, and the author's new data regarding some substantive and methodological issues in several of these, reveal weak support for the M→E model. The conclusion seems justified that music may induce low-grade basic emotions through mediators, such as dance and cognitive associations to real-world events. However, it is suggested--on the basis of the recently developed Aesthetic Trinity Theory (ATT; Kone?ni, 2005) and its further development in the present article--that being moved and aesthetic awe, often accompanied by thrills, may be the most genuine and profound music-related emotional states. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

An experience sampling study of emotional reactions to music: Listener, music, and situation.

The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants were required to complete a questionnaire on the palmtop. Results showed that music occurred in 37% of the episodes, and in 64% of the music episodes, the participants reported that the music affected how they felt. Comparisons showed that happiness-elation and nostalgia-longing were more frequent in episodes with musical emotions, whereas anger-irritation, boredom-indifference, and anxiety-fear were more frequent in episodes with nonmusical emotions. The prevalence of specific musical emotions correlated with personality measures and also varied depending on the situation (e.g., current activity, other people present), thus highlighting the need to use representative samples of situations to obtain valid estimates of prevalence. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

智能化建筑的广播音响系统原理及系统集成设计

本根据相关的火灾自动报警系统设计规范，就智能化建筑的广播音响系统的设计及其工作原理、如何集成背景音乐和紧急广播这两个系统，提出了一种方案，以供探讨。     

Metaphors from music criticism.

"A vocabulary of metaphorical terms used to describe voice qualities was drawn from the writings of four music critics. The Ss who were not well informed about music listened to recordings of nine operatic voices and assigned terms from the metaphorical vocabulary to these voices. Many of the words were used with agreement and discrimination. Factor analysis of the results yielded three factors [evaluation, potency, activity] similar to those found in the more general factor analysis of linguistic meaning made by Osgood and Suci." (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Pitch-Dependent Identification of Musical Instrument Sounds

This paper describes a musical instrument identification method that takes into consideration the pitch dependency of timbres of musical instruments. The difficulty in musical instrument identification resides in the pitch dependency of musical instrument sounds, that is, acoustic features of most musical instruments vary according to the pitch (fundamental frequency, F0). To cope with this difficulty, we propose an F0-dependent multivariate normal distribution, where each element of the mean vector is represented by a function of F0. Our method first extracts 129 features (e.g., the spectral centroid, the gradient of the straight line approximating the power envelope) from a musical instrument sound and then reduces the dimensionality of the feature space into 18 dimension. In the 18-dimensional feature space, it calculates an F0-dependent mean function and an F0-normalized covariance, and finally applies the Bayes decision rule. Experimental results of identifying 6,247 solo tones of 19 musical instruments shows that the proposed method improved the recognition rate from 75.73% to 79.73%. This research was partially supported by the Ministry of Education, Culture, Sports, Science and Technology (MEXT), Grant-in-Aid for Scientific Research (A), No.15200015, and Informatics Research Center for Development of Knowledge Society Infrastructure (COE program of MEXT, Japan). Tetsuro Kitahara received the B.S. from Tokyo University of Science in 2002 and the M.S. from Kyoto University in 2004. He is currently a Ph.D. course student at Graduate School of Informatics, Kyoto University. Since 2005, he has been a Research Fellow of the Japan Society for the Promotion of Science. His research interests include music informatics. He recieved IPSJ 65th National Convention Student Award in 2003, IPSJ 66th National Convention Student Award and TELECOM System Technology Award for Student in 2004, and IPSJ 67th National Convention Best Paper Award for Young Researcher in 2005. He is a student member of IPSJ, IEICE, JSAI, ASJ, and JSMPC. Masataka Goto received his Doctor of Engineering degree in Electronics, Information and Communication Engineering from Waseda University, Japan, in 1998. He then joined the Electrotechnical Laboratory (ETL; reorganized as the National Institute of Advanced Industrial Science and Technology (AIST) in 2001), where he has been engaged as a researcher ever since. He served concurrently as a researcher in Precursory Research for Embryonic Science and Technology (PRESTO), Japan Science and Technology Corporation (JST) from 2000 to 2003, and an associate professor of the Department of Intelligent Interaction Technologies, Graduate School of Systems and Information Engineering, University of Tsukuba since 2005. His research interests include music information processing and spoken language processing. Dr. Goto received seventeen awards including the IPSJ Best Paper Award and IPSJ Yamashita SIG Research Awards (MUS and SLP) from the Information Processing Society of Japan (IPSJ), Awaya Prize for Outstanding Presentation and Award for Outstanding Poster Presentation from the Acoustical Society of Japan (ASJ), Award for Best Presentation from the Japanese Society for Music Perception and Cognition (JSMPC), WISS 2000 Best Paper Award and Best Presentation Award, and Interaction 2003 Best Paper Award. He is a member of the IPSJ, ASJ, JSMPC, Institute of Electronics, Information and Communication Engineers (IEICE), and International Speech Communication Association (ISCA). Hiroshi G. Okuno received the B.A. and Ph.D from the University of Tokyo in 1972 and 1996, respectively. He worked for Nippon Telegraph and Telephone, Kitano Symbiotic Systems Project, and Tokyo University of Science. He is currently a professor at the Department of Intelligence Technology and Science, Graduate School of Informatics, Kyoto University. He was a visiting scholar at Stanford University, and a visiting associate professor at the University of Tokyo. He has done research in programming languages, parallel processing, and reasoning mechanism in AI, and he is currently engaged in computational auditory scene analysis, music scene analysis and robot audition. He received the best paper awards from the Japanese Society for Artificial Intelligence and the International Society for Applied Intelligence, in 1991 and 2001, respectively. He edited with David Rosenthal “Computational Auditory Scene Analysis” from Lawrence Erlbaum Associates in 1998 and with Taiichi Yuasa “Advanced Lisp Technology” from Taylor and Francis Inc. in 2002. He is a member of IPSJ, JSAI, JSSST, JSCS, ACM, AAAI, ASA, and IEEE.     

Measurement of music achievement at college entrance.

The development of the Aliferis Music Achievement Test, which in its final edition consists of 26 melodic items, 18 harmonic items, and 20 rhythmic items, is described. Distributions of test mean scores for a national sample of college music students are given by geographic region and type of institution. For a sample of 177 Ss, correlations between freshman honor-point ratios in music courses and test scores were .54 (melodic), .41 (harmonic), .46 (rhythmic), and .61 (total score). (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

"Arousal hypothesis" and the effects of music on purchasing behavior.

Replicates, in a naturalistic setting, a prior finding which supported that portion of the "arousal hypothesis" which predicts that a certain degree of noise will actually increase activity. Music was varied from loud to soft in 8 counterbalanced experimental sessions in 2 large supermarkets (N = 1100). The "arousal hypothesis" seems to account for the results: significantly less time was spent in the markets during the loud session, although there was no significant difference in sales, nor in the customers' reported satisfaction. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

基于谱减算法语音增强的研究

谱减法是处理宽带噪声较为传统和有效的方法,它的运算量较小,容易实时实现,增强效果也较好.比较详细地叙述了谱减法的基本原理和降低音乐噪声的方法.     

Enhancement of Spatial Learning-Memory in Developing Rats via Mozart Music

This paper studies the effect of musical stimulations on the capability of the spatial learningmemory in developing rats by behavioral and electrophysiological techniques. Rats, which are exposed to Mozart's Sonata for Two Pianos in D Major, complete learning tasks of the Moriss water maze with significantly shorter latencies, and the power spectrum of alpha band of electrohippocampogram (EHG) significantly increase, compared with the control rats and rats exposed to the horror music. The results indicate that if given the stimulation of Mozart music in the developmental period of the auditory cortex, the capability of the spatial learning-memory can be significantly changed. The enhancement of alpha band of EHG may be related to the change of this function mainly.