Learnability and discriminability of melodic medical equipment alarms

Melodic alarms proposed in the IEC 60601-1-8 standard for medical electrical equipment were tested for learnability and discriminability. Thirty-three non-anaesthetist participants learned the alarms over two sessions of practice, with or without mnemonics suggested in the standard. Fewer than 30% of participants could identify the alarms with 100% accuracy at the end of practice. Confusions persisted between pairs of alarms, especially if mnemonics were used during learning (p = 0.011). Participants responded faster (p < 0.00001) and more accurately (p = 0.002) to medium priority alarms than to high priority alarms, even though they rated the high priority alarms as sounding more urgent (p < 0.00001). Participants with at least 1 year of formal musical training identified the alarms more accurately (p = 0.0002) than musically untrained participants, and found the task easier overall (p < 0.00001). More intensive studies of the IEC 60601-1-8 alarms are needed for their effectiveness to be determined.

Werner Büttner and the Melodic Tactics of Subversive Affirmation: an Introduction

An introduction to the work and practice of Werner Büttner included in Werner Büttner: Coincidence in Splendour, a retrospective monograph on the artist's painting practice from the late 1970s to present. In this shorter text, Slyce contextualises Büttner's practice amongst his contemporary German painters with which he worked and operated alongside.

All maximal-pairs in step-leap representation of melodic sequence

This paper proposes an efficient pattern extraction algorithm that can be applied on melodic sequences that are represented as strings of abstract intervallic symbols; the melodic representation introduces special “binary don’t care” symbols for intervals that may belong to two partially overlapping intervallic categories. As a special case the well established “step–leap” representation is examined. In the step–leap representation, each melodic diatonic interval is classified as a step (±s), a leap (±l) or a unison (u). Binary don’t care symbols are used to represent the possible overlapping between the various abstract categories e.g. *=s, *=l and #=-s, #=-l. We propose an O(n+d(n-d)+z)-time algorithm for computing all maximal-pairs in a given sequence x=x[1..n], where x contains d occurrences of binary don’t cares and z is the number of reported maximal-pairs.

All maximal-pairs in step-leap representation of melodic sequence

This paper proposes an efficient pattern extraction algorithm that can be applied on melodic sequences that are represented as strings of abstract intervallic symbols; the melodic representation introduces special “binary don’t care” symbols for intervals that may belong to two partially overlapping intervallic categories. As a special case the well established “step–leap” representation is examined. In the step–leap representation, each melodic diatonic interval is classified as a step (±s), a leap (±l) or a unison (u). Binary don’t care symbols are used to represent the possible overlapping between the various abstract categories e.g. *=s, *=l and #=-s, #=-l. We propose an O(n+d(n-d)+z)-time algorithm for computing all maximal-pairs in a given sequence x=x[1..n], where x contains d occurrences of binary don’t cares and z is the number of reported maximal-pairs.

Effects of training and melodic features on mode perception

The two modes most widely used in Western music today convey opposite moods—a distinction that nonmusicians and even young children are able to make. However, the current studies provide evidence that, despite a strong link between mode and affect, mode perception is problematic. Nonmusicians found mode discrimination to be harder than discrimination of other melodic features, and they were not able to accurately classify major and minor melodies with these labels. Although nonmusicians were able to classify major and minor melodies using affective labels, they performed at chance in mode discrimination. Training, in the form of short lessons given to nonmusicians and the natural musical experience of musicians, improved performance, but not to ceiling levels. Tunes with high note density were classified as major, and tunes with low note density as minor, even though these features were actually unrelated in the experimental material. Although these findings provide support for the importance of mode in the perception of emotion, they clearly indicate that these mode perceptions are inaccurate, even in trained individuals, without the assistance of affective labeling.

Musical Expertise and Melodic Structure in Memory for Musical Notation

Two experiments plus a pilot investigated the role of melodic structure on short-term memory for musical notation by musicians and nonmusicians. In the pilot experiment, visually similar melodies that had been rated as either "good" or "bad" were presented briefly, followed by a 15-sec retention interval and then recall. Musicians remembered good melodies better than they remembered bad ones: nonmusicians did not distinguish between them. In the second experiment, good, bad, and random melodies were briefly presented, followed by immediate recall. The advantage of musicians over nonmusicians decreased as the melody type progressed from good to bad to random. In the third experiment, musicians and nonmusicians divided the stimulus melodies into groups. For each melody, the consistency of grouping was correlated with memory performance in the first two experiments. Evidence was found for use of musical groupings by musicians and for use of a simple visual strategy by nonmusicians. The nature of these musical groupings and how they may be learned are considered. The relation of this work to other studies of comprehension of symbolic diagrams is also discussed.

Learnability and discriminability of melodic medical equipment alarms

Melodic alarms proposed in the IEC 60601-1-8 standard for medical electrical equipment were tested for learnability and discriminability. Thirty-three non-anaesthetist participants learned the alarms over two sessions of practice, with or without mnemonics suggested in the standard. Fewer than 30% of participants could identify the alarms with 100% accuracy at the end of practice. Confusions persisted between pairs of alarms, especially if mnemonics were used during learning (p = 0.011). Participants responded faster (p < 0.00001) and more accurately (p = 0.002) to medium priority alarms than to high priority alarms, even though they rated the high priority alarms as sounding more urgent (p < 0.00001). Participants with at least 1 year of formal musical training identified the alarms more accurately (p = 0.0002) than musically untrained participants, and found the task easier overall (p < 0.00001). More intensive studies of the IEC 60601-1-8 alarms are needed for their effectiveness to be determined.

The bass as a melodic voice in jazz : extended program notes for thesis recital

This thesis discusses the use of the bass as a melodic instrument in jazz. It focuses on seven compositions performed for a Master's recital on March 22, 2010. For each selection, I provide a brief biography of the composer, information about the song and insight on performance practice. I examine the advanced techniques pioneered by innovative bassists and explore ways in which they can be used to further exploit the melodic potential of the bass in a jazz context. A compact disc recording of the recital is included.