Check-list of North American birds : according to the canons of nomenclature of the American Ornithologists' Union.

1889 Abridged Edition (Revised)

Music and health in Kenya : sound, spirituality and altered consciousness juxtaposed with emotions

Music and Healing, African Music, Music therapy, Healing Rituals, Kenyan Music

New Caledonian land and fresh-water snails; an annotated check list.

v.41:no.3(1961)

Check list of North American water-mites / Rodger D. Mitchell.

v.35:no.3(1954)

Conference on the Matter of Pollution of the Navigable Waters of Puget Sound, the Strait of Juan de Fuca and Their Tributaries and Estuaries. 2d, Seattle, Sept. 6-7, and Oct. 6, 1967: Proceedings.

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Conference on the Matter of Pollution of the Navigable Waters of Puget Sound, the Strait of Juan de Fuca and Their Tributaries and Estuaries. 2d, Seattle, Sept. 6-7, and Oct. 6, 1967: Proceedings.

2

Conference on the Matter of Pollution of the Navigable Waters of Puget Sound, the Strait of Juan de Fuca and Their Tributaries and Estuaries. 2d, Seattle, Sept. 6-7, and Oct. 6, 1967: Proceedings.

3

Codificación a nivel de paquete para comunicaciones móviles por satélite

Una de les opcions que es contemplen per transmetre continguts multimèdia i proporcionar accés a Internet a grups de usuaris mòbils és fer servir satèl·lits. Les condiciones de propagació del canal mòbil impliquen que d'una manera o altra haurem de garantir la qualitat de servei. Això té fins i tot més importància si tenim en compte que, en el cas d'accés a Internet, no es té la capacitat d'assumir cert percentatge de pèrdua de dades que tenim, per exemple, en la transmissió de so o vídeo (rebaixant la qualitat). Entre les principals alternatives per a aquesta classe d’entorns es troba la inclusió de codificacions a nivell de paquet. El funcionament d'aquesta tècnica es basa en incloure a la transmissió paquets redundants, obtinguts mitjançant un determinat algoritme. El receptor podrà recuperar la informació original que es volia enviar, sempre que hagi rebut una certa quantitat de paquets, similar a la quantitat de paquets originals. A aquest mecanisme se'l coneix com Forward Error Correction (FEC) a nivell de paquet. En aquesta memòria es valoren breument les alternatives existents i s'expliquen algunes de les codificacions per a FEC més importants. A continuació es realitza un estudi compartiu d’algunes d'elles: les variants de LDPC (Low Density Parity Check) conegudes com LDGM (Low Density Generator Matrix), i la codificació Raptor

The role of the right parietal cortex in sound localization: a chronometric single pulse transcranial magnetic stimulation study.

Auditory spatial functions, including the ability to discriminate between the positions of nearby sound sources, are subserved by a large temporo-parieto-frontal network. With the aim of determining whether and when the parietal contribution is critical for auditory spatial discrimination, we applied single pulse transcranial magnetic stimulation on the right parietal cortex 20, 80, 90 and 150 ms post-stimulus onset while participants completed a two-alternative forced choice auditory spatial discrimination task in the left or right hemispace. Our results reveal that transient TMS disruption of right parietal activity impairs spatial discrimination when applied at 20 ms post-stimulus onset for sounds presented in the left (controlateral) hemispace and at 80 ms for sounds presented in the right hemispace. We interpret our finding in terms of a critical role for controlateral temporo-parietal cortices over initial stages of the building-up of auditory spatial representation and for a right hemispheric specialization in integrating the whole auditory space over subsequent, higher-order processing stages.

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.