984 resultados para music perception


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In this report we give a summary of our work on the development of low-noise fiber-optic strain sensors. Three types of strain sensors were developed and were tested by attaching them to the bodies of acoustic guitars. The fibers are strained as the soundboards of the guitars vibrate. The resulting spectral shift of either a Fiber Bragg Grating or a fiber Fabry-Perot cavity is then used to record the sound of the instrument.

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Strasheela provides a means for the composer to create a symbolic score by formally describing it in a rule-based way. The environment defines a rich music representation for complex polyphonic scores. Strasheela enables the user to define expressive compositional rules and then to apply them to the score. Compositional rules can restrict many aspects of the music - including the rhythmic structure, the melodic structure and the harmonic structure - by constraining the parameters (e.g. duration or pitch) of musical events according to some numerical or logical relation. Strasheela combines this expressivity with efficient search strategies.

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Aim The aim of this study was to examine the relationship between obesity and self-esteem in children in relation to specific domains of their self-perception, and further to explore the extent to which this may vary by gender and economic circumstances. Method A total of 211 children aged 8–9 years drawn from both advantaged and disadvantaged areas of Belfast completed the Harter Self-Perception Profile for Children and measures of body mass index were obtained. Results Overweight, impoverished children had significantly reduced social acceptance and physical competence scores. Boys had significantly lower scores than girls in the behavioural conduct domain. Girls had significantly lower scores than boys for the athletic competence. Conclusion These results suggest that risk factors of increased weight and impoverished backgrounds have a combined negative effect, placing some children at increased risk of having lower self-perceptions in some, but not all domains. Health interventions for childhood obesity should consider the likelihood of specific relationships between physical and psychosocial factors.

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Background
When we move along in time with a piece of music, we synchronise the downward phase of our gesture with the beat. While it is easy to demonstrate this tendency, there is considerable debate as to its neural origins. It may have a structural basis, whereby the gravitational field acts as an orientation reference that biases the formulation of motor commands. Alternatively, it may be functional, and related to the economy with which motion assisted by gravity can be generated by the motor system.
Methodology/Principal Findings
We used a robotic system to generate a mathematical model of the gravitational forces acting upon the hand, and then to reverse the effect of gravity, and invert the weight of the limb. In these circumstances, patterns of coordination in which the upward phase of rhythmic hand movements coincided with the beat of a metronome were more stable than those in which downward movements were made on the beat. When a normal gravitational force was present, movements made down-on-the-beat were more stable than those made up-on-the-beat.
Conclusions/Significance
The ubiquitous tendency to make a downward movement on a musical beat arises not from the perception of gravity, but as a result of the economy of action that derives from its exploitation.

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The acclaimed Senegalese filmmaker Ousmane Sembene conceptualised himself as a modern day griot (West African oral performer), producing often didactic films that address a diverse spectatorship. Examining Xala, this paper argues that this address cannot be fully understood without attention to the film’s complex music/image relationships, which refigure classical and modernist film aesthetics to mobilise a discourse that recalls oral performance. In this way, Sembene negotiates the tensions of address generated by a spectatorship that is situated in the culturally hybrid spaces between the literate and the oral, the urban and the rural, and the global and the local.

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This study investigated two hypotheses regarding the mapping of perception to action during imitation. The first hypothesis predicted that as children’s cognitive capacities increase the tendency to map one goal and disregard others during imitation should decrease. This hypothesis was tested by comparing the performances of 168 4- to 7-year-olds in a gestural imitation task developed by Bekkering, Wohlschläger, and Gattis. The second hypothesis predicted that reducing the mapping between perception and action should reduce the demands on the cognitive resources of the child. This hypothesis was tested by creating a condition in which perception and action overlapped by sharing objects between experimenter and child. In three experimental conditions, an adult modelled four gestures, directed at either: 1) one of two sets of round stickers (proprietary objects); 2) the same location on the table, without any sticker (no objects); or 3) one set of round stickers, which were shared with the child (shared objects). The results confirmed both hypotheses. Four- and five-year-olds imitated less accurately when imitation involved mapping of both objects and movements (proprietary and shared objects) than when imitation involved mapping movements only (no objects). Seven-year-olds imitated accurately in all three conditions, demonstrating that increased cognitive capacity allowed them to map multiple goals from perception to action. Most importantly, reducing the mapping between perception and action in the shared objects condition facilitated imitation, specifically for the transitional group, 6-year-olds. We conclude that mapping between perception and action is not direct, but resembles mapping relations in analogical reasoning: cognitive processes mediate mapping from perception to action.

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Objective: To test the hypothesis that the self-perception of dental and facial attractiveness among patients requiring orthognathic surgery is no different from that of control patients.

Materials and Methods: Happiness with dental and facial appearance was assessed using questionnaires completed by 162 patients who required orthognathic treatment and 157 control subjects. Visual analog scale, binary, and open response data were collected. Analysis was carried out using a general linear model, logistic regression, and chi-square tests.

Results: Orthognathic patients were less happy with their dental appearance than were controls. Class II patients and women had lower happiness scores for their dental appearance. Among orthognathic patients, the "shape" and "prominence" of their teeth were the most frequent causes of concern. Older subjects, women, and orthognathic patients were less happy with their facial appearance. Class III orthognathic patients, older subjects, and women were more likely to have looked at their own face in profile. A greater proportion of Class II subjects than Class III subjects wished to change their appearance.

Conclusions: The hypothesis is rejected. The findings indicate that women and patients requiring orthognathic surgery had lower levels of happiness with their dentofacial appearance. Although Class II patients exhibited the lowest levels of happiness with their dental appearance, there was some evidence that concerns and awareness about their facial profile were more pronounced among the Class III patients.

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