Bayesian estimation of simultaneous musical notes based on frequency domain modelling

This paper proposes a Bayesian method for polyphonic music description. The method first divides an input audio signal into a series of sections called snapshots, and then estimates parameters such as fundamental frequencies and amplitudes of the notes contained in each snapshot. The parameter estimation process is based on a frequency domain modelling and Gibbs sampling. Experimental results obtained from audio signals of test note patterns are encouraging; the accuracy is better than 80% for the estimation of fundamental frequencies in terms of semitones and instrument names when the number of simultaneous notes is two.

Nonlinear analysis of cardiac rhythm fluctuations using DFA method

An approach by which the detrented fluctuation analysis (DFA) method can be used to help diagnose heart failure was demonstrated. DFA was applied to patients suffering from congestive heart failure (CHF) to check correlations between DFA indices and CHF, and determine a correlation between DFA indices and mortality, with a particular attention to the residue parameter, which is a measure of the departure of the DFA from its power law approximation. DFA parameters proved to be useful as a complement to the physiological parameters weber and FE to sort out the patients into three prognostic group.

The rhythm of fountains: The length and time scales of rise height fluctuations at low and high Froude numbers

The magnitude and frequency of vertical fluctuations of the top of an axisymmetric miscible Boussinesq fountain forms the focus of this work. We present measurements of these quantities for saline-aqueous fountains in uniform quiescent surroundings. Our results span source Froude numbers 0.3 ≤ Fr 0 ≤ 40 and, thereby, encompass very weak, weak, intermediate and forced classes of fountain. We identify distinct scalings, based on known quantities at the fountain source, for the frequency of fountain height fluctuations which collapse our data within bands of Fr0. Notably, our scalings reveal that the (dimensionless) frequency takes a constant value within each band. These results highlight characteristic time scales for the fluctuations which we decompose into a single, physically apparent, length scale and velocity scale within each band. Moreover, within one particular band, spanning source Froude numbers towards the lower end of the full range considered, we identify unexpectedly long-period fluctuations indicating a near balance of inertia and (opposing) buoyancy at the source. Our analysis identifies four distinct classes of fluctuation behaviour (four bands of Fr 0) and this classification matches well with existing classifications of fountains based on rise heights. As such, we show that an analysis of the behaviour of the fountain top alone, rather than the entire fountain, provides an alternative approach to classifying fountains. The similarity of classifications based on the two different methods confirms that the boundaries between classes mark tangible changes in the physics of fountains. For high Fr0 we show that the dominant fluctuations occur at the scale of the largest eddies which can be contained within the fountain near its top. Extending this, we develop a Strouhal number, Strtop, based on experimental measures of the fountain top, defined such that Strtop = 1 would suggest the dominant fluctuations are caused by a continual cycle of eddies forming and collapsing at this largest physical scale. For high- Fr 0 fountains we find Strtop ≈ 0. 9. © 2013 Cambridge University Press.

Food habits and feeding rhythm of the early juvenile Chinese mitten crab (Eriocheir sinensis) in experimental tanks

Gastric mills were examined from 98 early juvenile Chinese mitten crabs (Eriocheir sinensis) from experimental tanks. Recognizable food items were macrophytes, algae, oligochaetes, and detritus; their percent frequencies of occurrence were 94.6%, 86.5%, 10.7%, and 18.3%, respectively. The crabs had a diet feeding rhythm.

The effect of human rhythm on packet delivery

In communication networks such as the Internet, the relationship between packet generation rate and time is similar to a rectangle wavefunction due to the rhythm of humans. Thus, we investigate the traffic dynamics on a network with a rectangle wavepacket generation rate. It is found that the critical delivering capacity parameter beta(c) (which separates the congested phase and the free phase) decreases significantly with the duty cycle r of the rectangle wave for package generation. And, in the congested phase, more collective generation of packets (smaller r) is helpful for decreasing the packet aggregation rate. Moreover, it is found that the congested phase can be divided into two regions, i.e., region1 and region2, where the distributions of queue lengths are nonlinear and linear, respectively. Also, the linear expression for the distribution of queue lengths in region2 is obtained analytically. Our work reveals an obvious effect of the rectangle wave on the traffic dynamics and the queue length distribution in the system, which is of essential interest and may provide insights into the designing of work-rest schedules and routing strategies.

Locomotor activity rhythm in the Japanese eel Anguilla japonica elvers

Under artificial LD cycles (6, 12, 18 L), the elvers of Japanese eel, Anguilla japonica, showed a 24 h cycle of locomotor activity rhythm being most active at light transitions: the eels' activity rose to a primary peak after lights-off, followed by a quiescent period during which they buried into the shelters or lying motionlessly on sand for most of the time, and then reached a secondary peak before lights-on. Elvers could resynchronize their activity rhythm with a new photo cycle within 4 d. Moreover, their activity level at dark phase significantly increased as the light period was prolonged: higher activity levels during shorter dark period. However, the elvers did not display clearly the existence of a circadian rhythm under constant light or dark conditions. The timing of daily activity rhythm evidenced in the Japanese eels may occur through the action of the LD cycles with a weak participation of an endogenous circadian system. In all the LD cycles, over 99% of the activity occurred in the dark phase, indicating that the eels were always nocturnally active no matter what time of day it might be. Under 12 L conditions, the eels' activity level and the time outside sand were significantly elevated both at light and dark phases as temperature increased from 10 similar to 15 to 20 similar to 25 degrees C. The activity rhythm pattern (i.e., two peaks occurring around light transitions) did not apparently change among temperatures. However, in contrast with the primary activity peaks immediately after lights-off at 20 and 25 degrees C, the timing of the primary peaks at 10 and 15 degrees C showed a latency of a few hours following lights-off, indicating the inhibiting effect of low temperature on the eels' activity.

Syntax-Based Analytic Reading of Musical Scores

As part of a larger research project in musical structure, a program has been written which "reads" scores encoded in an input language isomorphic to music notation. The program is believed to be the first of its kind. From a small number of parsing rules the program derives complex configurations, each of which is associated with a set of reference points in a numerical representation of a time-continuum. The logical structure of the program is such that all and only the defined classes of events are represented in the output. Because the basis of the program is syntactic (in the sense that parsing operations are performed on formal structures in the input string), many extensions and refinements can be made without excessive difficulty. The program can be applied to any music which can be represented in the input language. At present, however, it constitutes the first stage in the development of a set of analytic tools for the study of so-called atonal music, the revolutionary and little understood music which has exerted a decisive influence upon contemporary practice of the art. The program and the approach to automatic data-structuring may be of interest to linguists and scholars in other fields concerned with basic studies of complex structures produced by human beings.

A Parallel Processing Model of Musical Structures

Euterpe is a real-time computer system for the modeling of musical structures. It provides a formalism wherein familiar concepts of musical analysis may be readily expressed. This is verified by its application to the analysis of a wide variety of conventional forms of music: Gregorian chant, Mediaeval polyphony, Back counterpoint, and sonata form. It may be of further assistance in the real-time experiments in various techniques of thematic development. Finally, the system is endowed with sound-synthesis apparatus with which the user may prepare tapes for musical performances.

Innovation and hybrid genres: disturbing social rhythm in legal practice.

This paper explores the non-adoption of an innovation via the concept of hybrid genres, that is digital genres that emerge from a non-digital material precedent. As instances of innovation these are often resisted because they disturb the order of activity and balance of power relations in a given situation, or require users to make conceptual and physical adaptation efforts that they consider too costly. The authors investigate such issues with a case study of the introduction of a hybrid digital genre, ODR or online dispute resolution, in legal practice

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.

Full moon dance

A Jazz Celtic World Music Fusion Jig. A jig time melody placed in a setting where the rhythm section plays in 4/4 and 6/4 time simultaneously over contemporary modal jazz voicings

West Brompton blues

A Celtic Jig time melody performed over a rhythm section part that combines a 4/4 Latin feel with a 6/4 Jazz time feel simultaneously. This is all placed in a contemporary jazz harmonic context

Major and minor music compared to excited and subdued speech.

The affective impact of music arises from a variety of factors, including intensity, tempo, rhythm, and tonal relationships. The emotional coloring evoked by intensity, tempo, and rhythm appears to arise from association with the characteristics of human behavior in the corresponding condition; however, how and why particular tonal relationships in music convey distinct emotional effects are not clear. The hypothesis examined here is that major and minor tone collections elicit different affective reactions because their spectra are similar to the spectra of voiced speech uttered in different emotional states. To evaluate this possibility the spectra of the intervals that distinguish major and minor music were compared to the spectra of voiced segments in excited and subdued speech using fundamental frequency and frequency ratios as measures. Consistent with the hypothesis, the spectra of major intervals are more similar to spectra found in excited speech, whereas the spectra of particular minor intervals are more similar to the spectra of subdued speech. These results suggest that the characteristic affective impact of major and minor tone collections arises from associations routinely made between particular musical intervals and voiced speech.