Las escuelas de música del País Vasco. Análisis de una realidad educativa.

387 p.+ anexos

Influence of music on the growth of koi carp, Cyprinus carpio (Pisces: Cyprindae)

An experiment was carried out to investigate the influence of music on the growth of Koi Carp (Cyprinus carpio) by subjecting the fish to music. Weekly growth in weight was recorded and used to calculate the growth rate and specific growth rate. The difference in growth between the control and experiment groups of fishes was statistically tested for significance. It was observed that the growth of fish subjected to music was significantly higher.

Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study

目的 研究古琴(一种古老的中国乐器)和钢琴音乐对认知的影响.方法 记录和分析了中国被试在两种音乐背景(古琴音乐,钢琴音乐)下完成听觉oddball任务的行为和事件相关电位(event-related potential,ERP)数据.结果 中国被试在本土文化的音乐环境(古琴音乐)下,前额区诱导出更大的P300,这一结果和已有的相关研究是相符的.同时,不同音乐背景对ERP产生的影响在N1和LPC(包括P300和P500)上也表现出差别:中国被试在古琴音乐背景下比钢琴音乐背景下表现出更多的右前侧颞叶的参与.结论 因为古琴音乐的五声调式和汉语发音的音调具有对应关系,因此我们推断在古琴音乐下所表现出的这种特性与被试的汉语环境有关.

Crossmodal effects of Guqin and piano music on selective attention: An event-related potential study

To compare the effects of music from different cultural environments (Guqin: Chinese music; piano: Western music) on crossmodal selective attention, behavioral and event-related potential (ERP) data in a standard two-stimulus visual oddball task were reco

Crossmodal effects of Guqin and piano music on selective attention: An event-related potential study (vol 466, pg 21, 2009)

Special thanks to Christopher Blair and Mumtaz Baig for their suggestions. This work was supported by National Basic Research Program of China (973 Program, 2007CB411600), National Natural Science Foundation of China (30621092), and Bureau of Science and Technology of Yunnan Province.

FEEDING AND VOCAL BEHAVIORS OF BLACK GIBBONS (HYLOBATES-CONCOLOR) IN YUNNAN - A PRELIMINARY-STUDY

Feeding and vocal behaviours of wild black gibbons (Hylobates concolor) were observed from 1987 to 1989 in south-western Yunnan, notably H. concolor jingdongensis at Mt. Wuliang (24-degrees 18-42'N, 100-degrees 30-50'E) in the early spring of 1989. 12 plant species were observed to have been eaten by the gibbons; these included tree species, lianas and epiphytes. Approximately 21 % of feeding time was devoted to eating fruits, 61 % to leaf buds and shoots, 7 % to flowers and 11 % to leaves. The gibbons preferred fruits to leaves even though they commonly ate leaves. In this study, the morning songs (duet and solo), reponsive (territorial) songs, alarm calls and communication calls were recorded. The gibbons sang their morning songs mainly in the early morning, with a single bout lasting more than 10 min on average. The singing of a group would trigger other groups, and all groups in an area tended to sing sequentially. The morning duet song bout was dominated by an adult male. The male emitted booms, aa notes, early multimodulated figures, intermediate multimodulated figures and codas, the latter occurring only in duets following the female's great call. The female uttered great calls and abortive great calls. The subadults or juveniles also took part in the morning songs. Lone males were heard to utter solos which lasted longer than the duets of the pairs.

Mixed source model and its adapted vocal tract filter estimate for voice transformation and synthesis

In current methods for voice transformation and speech synthesis, the vocal tract filter is usually assumed to be excited by a flat amplitude spectrum. In this article, we present a method using a mixed source model defined as a mixture of the Liljencrants-Fant (LF) model and Gaussian noise. Using the LF model, the base approach used in this presented work is therefore close to a vocoder using exogenous input like ARX-based methods or the Glottal Spectral Separation (GSS) method. Such approaches are therefore dedicated to voice processing promising an improved naturalness compared to generic signal models. To estimate the Vocal Tract Filter (VTF), using spectral division like in GSS, we show that a glottal source model can be used with any envelope estimation method conversely to ARX approach where a least square AR solution is used. We therefore derive a VTF estimate which takes into account the amplitude spectra of both deterministic and random components of the glottal source. The proposed mixed source model is controlled by a small set of intuitive and independent parameters. The relevance of this voice production model is evaluated, through listening tests, in the context of resynthesis, HMM-based speech synthesis, breathiness modification and pitch transposition. © 2012 Elsevier B.V. All rights reserved.

BitBox!: A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications.

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.