Adaptive Kernel Function of SVM for Improving Speech/Music Classification of 3GPP2 SMV

Because a wide variety of multimedia services are provided through personal wireless communication devices, the demand for efficient bandwidth utilization becomes stronger. This demand naturally results in the introduction of the variable bitrate speech coding concept. One exemplary work is the selectable mode vocoder (SMV) that supports speech/music classification. However, because it has severe limitations in its classification performance, a couple of works to improve speech/music classification by introducing support vector machines (SVMs) have been proposed. While these approaches significantly improved classification accuracy, they did not consider correlations commonly found in speech and music frames. In this paper, we propose a novel and orthogonal approach to improve the speech/music classification of SMV codec by adaptively tuning SVMs based on interframe correlations. According to the experimental results, the proposed algorithm yields improved results in classifying speech and music within the SMV framework.     

社区会所智能系统工程设计

本文结合济南恒大名都小区会所智能化的设计实例,总结了会所智能化系统建设过程中应遵循的原则以及采取的各类措施。     

基于S7-300控制的音乐演奏系统仿真设计

针对西门子S7-300可编程控制器的脉冲输出功能,将25个半音阶音符的周期及对应的脉冲数存放S7-300相应的内存单元中,通过合理分配S7-300的I/O端口,设计了一种音乐演奏控制系统.在硬件电路和软件编程的基础上,结合Wincc flexible仿真软件进行仿真与调试,实现了音乐演奏系统的功能需求.实践表明,该设计具有功能强、运用灵活、可靠性高、稳定性好、编程简单、使用方便以及体积小、功耗低等特点.     

基于Proteus和Keil的单片机演奏乐曲的仿真

针对乐曲演奏在单片机实践教学中实现的不足,介绍了基于Proteus和Keil联调的单片机演奏乐曲的设计方法,通过对乐谱的音符和节拍进行编码,实现了乐曲演奏的功能。仿真结果表明：该方法电路简单、调试方便,只需简单的修改程序就可实现其它歌曲的演奏。     

Positive and negative opinion modeling: The influence of another's similarity and dissimilarity.

Modeling research that has focused on the effects of observing similar others appears to have underestimated the influence of observing dissimilar others. Two experiments demonstrated that observing a model express liking for a piece of music induced more favorable opinions of the music (positive modeling) when the model was similar to the participant observer in relevant opinions, and more negative opinions (negative modeling) when the model was dissimilar to the participant in relevant opinions. Of note, this pattern was more pronounced when participants also believed their general backgrounds were dissimilar rather than similar to that of the model. Underlying social comparison processes and the mediational role of participants' liking of the model are considered. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Documenting and explaining the common AAB pattern in music and humor: Establishing and breaking expectations.

The AAB pattern consists of two similar events followed by a third dissimilar event. The prevalence of this pattern in the aesthetic domain may be explained as violation of expectation: A minimum of two iterations is required to establish a repetitive pattern; once established, it is most efficient to promptly violate the expected continuance of the pattern to produce the maximal aesthetic effect. We demonstrate the prevalence of this pattern (in comparison to AB or AAAB) in a representative sample of a variety of musical genres and in a representative sample of repetitive genre of jokes. We also provide experimental evidence that the AAB pattern in jokes is maximally effective in producing a humor response in participants. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

新加坡滨海艺术中心音乐厅的声学特性

新加坡滨海艺术中心音乐厅是目前全世界声学规模最大、声学设置最复杂和齐全的音乐厅，并采用混响室来控制音乐厅自然混响。对该音乐厅的设计思想、结构特征、声学控制机构以及音乐厅建成后实测的声学特性作了比较全面的介绍。     

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)