Individual Differences in Music Reward Experiences

Music is one of the most pleasant human experiences, even though it has no direct biological advantage. However little is known about individual differences in how people experience reward in music-related activities. The goal of the present study was to describe the main facets of music experience that could explain the variance observed in how people experience reward associated with music. To this end we developed the Barcelona Music Reward Questionnaire (BMRQ), which was administrated to three large samples. Our results showed that the musical reward experience can be decomposed into five reliable factors: Musical Seeking, Emotion Evocation, Mood Regulation, Social Reward, and Sensory-Motor. These factors were correlated with socio-demographic factors and measures of general sensitivity to reward and hedonic experience. We propose that the five-factor structure of musical reward experience might be very relevant in the study of psychological and neural bases of emotion and pleasure associated to music.

Estudi de casos pel control de síntesi d’instruments musicals virtuals mitjançant la veu cantada

Report for the scientific sojourn carried out at the Music Technology Area (Sound Processing and Control Lab), Faculty of Music, McGill University, Montreal, Canada, from October to December 2005.The aim of this research is to study the singing voice for controlling virtual musical instrument synthesis. It includes analysis and synthesis algorithms based on spectral audio processing. After digitalising the acoustic voice signal in the computer, a number of expressive descriptors of the singer are extracted. This process is achieved synchronously, thus all the nuance of the singer performance have been tracked. In a second stage, the extracted parameters are mapped to a sound synthesizer, the so-called digital musical instruments. In order achieve it, several tests with music students of the Faculty of Music, McGill University have been developed. These experiments have contributed to evaluate the system and to derive new control strategies to integrate: clarinet synthesis, bass guitar, visual representation of voice signals.

Tocant totes les tecles: Vicenç Sabater, un obrer de la música

Treball de recerca realitzat per un alumne d'ensenyament secundari i guardonat amb un Premi CIRIT per fomentar l'esperit cientí­fic del Jovent l'any 2009. El treball tracta sobre la petita memòria històrica en la faceta de l'oci de la nostra societat , el ball i la música concretament, centrat en la memòria de l'avi de l'autor, músic, arranjador i compositor. Es tracta doncs, d'una investigació sobre la música de ball a Barcelona i a Catalunya, i en general també a Europa, atès que gràcies a les vivències d'en Vicenç Sabater (l'avi), es relata com era la seva feina i el seu ofici, el de músic. La recerca està ordenada cronològicament, començant pel seu naixement (1930), la formació i les primeres actuacions, passant per tota la seva vida personal, però sobretot professional, i conclou amb un epíleg sense el qual el treball de recerca no tindria sentit, ja que aquest explica com el Vicenç no s'ha jubilat mai, perquè sempre ha estat treballant amb la música, i perquè sempre que el seu físic li permeti, ell s'hi seguirà dedicant. El treball inclou un apartat destacat de la llarga etapa (30 anys) de Sabater amb el grup musical 'Rudy Ventura y su conjunto'. Molta d'aquesta informació s'obté a través d'entrevistes a dos dels cinc integrants del grup: el mateix Jaume Ventura, i en Joan Antoni Calvet, cantant i bateria, respectivament. Apartat que, dissortadament, s'ha convertit en el meu involuntari i modest homenatge a Jaume ('Rudy') Ventura , recentment traspassat.

An active zone characterized by slow normal faults, the northwestern margin of the València trough (NE Iberia): a review

The northwestern margin of the Valencia trough is an area of low strain characterized by slow normal faults and low to moderate seismicity. Since the mid 1990s this area has been the subject of a number of studies on active tectonic which have proposed different approaches to the location of active faults and to the calculation of the parameters that describe their seismic cycle. Fifty-six active faults have been found and a classification has been made in accordance with their characteristics: a) faults with clear evidence of large paleo-, historic or instrumental earthquakes (2/56); b) faults with evidence of accumulated activity during the Plio-Quaternary and with associated instrumental seismicity (7/56); c) faults with evidence of accumulated activity during the Plio-Quaternary and without associated instrumental seismicity (17/56); d) faults with associated instrumental seismicity and without evidence of accumulated activity during the Plio-Quaternary (30/56), and e) faults without evidence of activity or inactive faults. The parameters that describe the seismic cycle of these faults have been evaluated by different methods that use the geological data obtained for each fault except when paleoseismological studies were available. This classification can be applied to other areas with low slip faults because of the simplicity of the approaches adopted. This study reviews the different approaches proposed and describes the active faults located, highlighting the need a) to better understand active faults in slow strain zones through paleoseismological studies, and b) to include them in seismic hazard studies.

Digital learner portfolio as a tool for inovating assessment in the European Higher Education Area

The present article comes from a doctoral thesis that turns on digital learner portfolio, which is an innovating methodology from the perspective of European Higher Education Area. First, the educative concept of eportfolio is described in the sense of its procedure and its structure, by means of the technological support of a platform of virtual campus. Second, it is shown the pedagogical model of an eportfolio that adapts subjects with an instrumental character to one organization based on tasks and reflections. This design of virtual learning environment is based on a teaching- learning methodology sustained in the activity of the student, which tries to give support to the management of his or her own process of learning and assessment. Finally, the article illustrates the experience of implementation of the first digital learner portfolios in the University of Barcelona and the Autonomous University of Barcelona, with the objective of reflecting about the pedagogical consequences that this assessment model with technological support has in a traditional higher education institution.

La voz del violín en la Rusia de la últimos zares : contraste de sentimientos musicales

El objetivo general de este trabajo es intentar conseguir la particular visión del mundo del violín en la última etapa de la Rusia zarista, sometida a importantes cambios históricos que repercuten en la vida de la sociedad rusa y consecuentemente en su arte; descubriré las figuras de sus intérpretes y su relación con su época y su música. La metodología que he utilizado en el trabajo se trata de un tipo de investigación cualitativa, basada en las figuras de la época y una documentación bibliográfica seleccionada, un estilo historiográfico que nos acerque al sentimiento y el entendimiento de este periodo histórico. La parte final de mi trabajo se compondrá de una serie de conclusiones que avalen mi experiencia y trayectoria en la investigación del proyecto.

A two-stage approach for tonic identification in indian art music

In this paper we propose a new approach for tonic identification in Indian art music and present a proposal for acomplete iterative system for the same. Our method splits the task of tonic pitch identification into two stages. In the first stage, which is applicable to both vocal and instrumental music, we perform a multi-pitch analysis of the audio signal to identify the tonic pitch-class. Multi-pitch analysisallows us to take advantage of the drone sound, which constantlyreinforces the tonic. In the second stage we estimate the octave in which the tonic of the singer lies and is thusneeded only for the vocal performances. We analyse the predominant melody sung by the lead performer in order to establish the tonic octave. Both stages are individually evaluated on a sizable music collection and are shown toobtain a good accuracy. We also discuss the types of errors made by the method.Further, we present a proposal for a system that aims to incrementally utilize all the available data, both audio and metadata in order to identify the tonic pitch. It produces a tonic estimate and a confidence value, and is iterative in nature. At each iteration, more data is fed into the systemuntil the confidence value for the identified tonic is above a defined threshold. Rather than obtain high overall accuracy for our complete database, ultimately our goal is to develop a system which obtains very high accuracy on a subset of the database with maximum confidence.

A Musically aware system for browsing and interacting with audio music collections

In the context of the CompMusic project we are developing methods to automatically describe/annotate audio music recordings pertaining to various music cultures. As away to demonstrate the usefulness of the methods we are also developing a system to browse and interact with specific audio collections. The system is an online web application that interfaces with all the data gathered (audio, scores plus contextual information) and all the descriptions that are automatically generated with the developed methods. In this paper we present the basic architecture of the proposed system, the types of data sources that it includes,and we mention some of the culture specific issues that we are working on for its development. The system is in a preliminary stage but it shows the potential that MIR technologies can have in browsing and interacting with musiccollections of various cultures.

Effect of reducing and replacing pork fat on the physicochemical, instrumental and sensory characteristics throughout storage time of small caliber non-acid fermented sausages with reduced sodium content

The effect of pork fat reduction (from 44% to 20% final fat content) and its partial substitution by sunflower oil (3% addition) on the physicochemical, instrumental and sensory properties throughout storage time of small caliber non-acid fermented sausages (fuet type) with reduced sodium content (with partial substitution of NaCl by KCl and K-lactate) and without direct addition of nitrate and nitrite (natural nitrate source used instead), was studied. Results showed that sausages with reduced fat (10% initial fat content) and with acceptable sensory characteristics can be obtained by adding to the shoulder lean (8% fat content) during the grinding, either 3.3% backfat (3% fat content) or 3% sunflower oil, both previously finely comminuted with lean. Furthermore, sunflower oil showed to be suitable for partial pork backfat substitution in very lean fermented sausages, conferring desirable sensory properties similar to those of sausages with standard fat content. The sensory quality of the sausages was maintained after three-month cold storage in modified atmosphere.

The Instrumental voter goes to the news-agent: demand for information, election closeness, and the media

This paper studies the impact of instrumental voting on information demand and mass media behaviour during electoral campaigns. If voters act instrumentally then information demand should increase with the closeness of an election. Mass media are modeled as profit-maximizing firms that take into account information demand, the value of customers to advertisers and the marginal cost of customers. Information supply should be larger in electoral constituencies where the contest is expected to be closer, there is a higher population density, and customers are on average more profitable for advertisers. The impact of electorate size is theoretically undetermined. These conclusions are then tested with comfortable results on data from the 1997 general election in Britain.

Towards an emotion-driven interactive music system: ridging the gaps between affect, physiology and sound generation

Report for the scientific sojourn at the Stanford University from January until June 2007. Music is well known for affecting human emotional states, yet the relationship between specific musical parameters and emotional responses is still not clear. With the advent of new human-computer interaction (HCI) technologies, it is now possible to derive emotion-related information from physiological data and use it as an input to interactive music systems. Providing such implicit musical HCI will be highly relevant for a number of applications including music therapy, diagnosis, nteractive gaming, and physiologically-based musical instruments. A key question in such physiology-based compositions is how sound synthesis parameters can be mapped to emotional states of valence and arousal. We used both verbal and heart rate responses to evaluate the affective power of five musical parameters. Our results show that a significant correlation exists between heart rate and the subjective evaluation of well-defined musical parameters. Brightness and loudness showed to be arousing parameters on subjective scale while harmonicity and even partial attenuation factor resulted in heart rate changes typically associated to valence. This demonstrates that a rational approach to designing emotion-driven music systems for our public installations and music therapy applications is possible.

Correcting Measurement Error Bias in Interaction Models with Small Samples

Several methods have been suggested to estimate non-linear models with interaction terms in the presence of measurement error. Structural equation models eliminate measurement error bias, but require large samples. Ordinary least squares regression on summated scales, regression on factor scores and partial least squares are appropriate for small samples but do not correct measurement error bias. Two stage least squares regression does correct measurement error bias but the results strongly depend on the instrumental variable choice. This article discusses the old disattenuated regression method as an alternative for correcting measurement error in small samples. The method is extended to the case of interaction terms and is illustrated on a model that examines the interaction effect of innovation and style of use of budgets on business performance. Alternative reliability estimates that can be used to disattenuate the estimates are discussed. A comparison is made with the alternative methods. Methods that do not correct for measurement error bias perform very similarly and considerably worse than disattenuated regression

Els marges del pensament polític contemporani

La crisi i esfondrament del pensament metafísic heretat de la modernitat deixa la filosofia contemporània davant d'un nou paradigma on el coneixement s’ha de construir prescindint de tota identitat i fonamentació. El meu projecte s’estableix com un recorregut descendent que parteix d’un àmbit concret, com és el del problema de la manca de fonamentació en la filosofia política contemporània, per arribar a la veritable arrel del problema general que no és altre que la mateixa naturalesa del llenguatge filosòfic. El punt de partida és la pregunta sobre la possibilitat d’una filosofia política en termes postmetafísics. La filosofia política, atrapada entre les forces de la tirania unitària del concepte metafísic i la dissolució pràctica en pro de la realitat instrumental, traça ponts cap a l’estètica i la deconstrucció, que tenen com a corol•lari final qüestionar-nos els propis límits del pensament polític. El concepte d’impolític és una sortida deconstructiva a aquest atzucac. Des d’Esposito, Rancière, Nancy, però sobretot Massimo Cacciari, he aprofundit en el paradigma postmetafísic que origina aquesta negació política de la pròpia política, política com els seus límits, relació com a distància i identitat com a silenci. És evident que la clau de volta és l’herència i recepció contemporània de Nietzsche i la seva crítica a la transcendentalitat moderna en el sí de l’elaboració d’un coneixement en un naufragi constant pel fracàs de la síntesi que anhela. És aquesta herència la que ha possibilitat aquest pensament negatiu contemporani, el del joc wittgensteinià, la deconstrucció del valor que queda convertit en el seu propi marge (Derrida). Definim així no només una comunitat política basada en la incommensurabilitat dels seus membres alhora buits de contingut (Musil), sinó un model de llenguatge que és el seu propi silenci, un llenguatge en contínua lluita contra sí mateix. El meu projecte és una relectura d’aquesta veritat no identitària on el concepte de diàleg pren una importància cabdal. La filosofia de la música aquí es presenta com un terreny fèrtil d’eines conceptuals a l’hora de desenvolupar-ho. La música és el llenguatge negatiu que només troba possibilitat en la seva pròpia impossibilitat de contingut sintètic. Més enllà de les referències obligatòries a chönberg i Adorno entre altres, el camí iniciat per Bergson amb la introducció de la temporalitat a la discussió obra la porta al paper de l’esdveniment en aquest discurs sobre la impossibilitat. Tornant a la filosofia, on el propi llenguatge filosòfic es defineix ja com a impossible, l’esdeveniment reobre l’antiga tensió entre l’escriptura i la paraula viva, veritable fonament del problema, i vèrtex de la possibilitat d’aquesta filosofia impossible.

An Instrumental analysis of the European Union´s capability to act in conflict response

Since its origins, the European Union has striven to be an actor on the International scene and a place in conflict Management. Yet the EU’s lack of activity cannot be justified by a mere lack of capacities. The EU counts with numerous political, economic, and, since 2003, civil and military instruments that should allow it to precede a comprehensive conflict response. This publication consists of a description of these instruments and an analysis of the final use that the Union makes of them in the different stages of a conflict. Examples will show us the EU’s main weakness in providing a comprehensive and timely response when a conflict breaks out.

Opportunities for a cultural specific approach in the computational description of music

The current research in Music Information Retrieval (MIR) is showing the potential that the Information Technologies can have in music related applications. Amajor research challenge in that direction is how to automaticallydescribe/annotate audio recordings and how to use the resulting descriptions to discover and appreciate music in new ways. But music is a complex phenomenonand the description of an audio recording has to deal with this complexity. For example, each musicculture has specificities and emphasizes different musicaland communication aspects, thus the musical recordings of each culture should be described differently. At the same time these cultural specificities give us the opportunity to pay attention to musical concepts andfacets that, despite being present in most world musics, are not easily noticed by listeners. In this paper we present some of the work done in the CompMusic project, including ideas and specific examples on how to take advantage of the cultural specificities of differentmusical repertoires. We will use examples from the art music traditions of India, Turkey and China.