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Articles de revues sur le sujet « Music perceptual evaluation »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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1

Houtsma, Adrianus J. M., and Henricus J. G. M. Tholen. "II. A Perceptual Evaluation." Music Perception 4, no. 3 (1987): 255–66. http://dx.doi.org/10.2307/40285369.

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This article reports a study of the musical appreciation of carillons consisting of computer-synthesized major-third bells, minor-third bells, and "neutral-third" bells. Paired comparison judgments of melodies played on these instruments were obtained from a group of carillon majors, a group of other music students from a local conservatory, and a group of nonmusicians. The results provide evidence that each group of subjects can hear the difference between the three computerized instruments, but each group evaluates these perceptual differences in a different way.

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de Man, Brecht, Kirk McNally, and Joshua Reiss. "Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production." Journal of the Audio Engineering Society 65, no. 1/2 (2017): 108–16. http://dx.doi.org/10.17743/jaes.2016.0062.

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Novello, Alberto, Martin M. F. McKinney, and Armin Kohlrausch. "Perceptual Evaluation of Inter-song Similarity in Western Popular Music." Journal of New Music Research 40, no. 1 (2011): 1–26. http://dx.doi.org/10.1080/09298215.2010.523470.

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Larrouy-Maestri, Pauline, Dominique Morsomme, David Magis, and David Poeppel. "Lay Listeners Can Evaluate the Pitch Accuracy of Operatic Voices." Music Perception 34, no. 4 (2017): 489–95. http://dx.doi.org/10.1525/mp.2017.34.4.489.

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Lay listeners are reliable judges when evaluating pitch accuracy of occasional singers, suggesting that enculturation and laypersons’ perceptual abilities are sufficient to judge “simple” music material adequately. However, the definition of pitch accuracy in operatic performances is much more complex than in melodies performed by occasional singers. Furthermore, because listening to operatic performances is not a common activity, laypersons‘ experience with this complicated acoustic signal is more limited. To address the question of music expertise in evaluating operatic singing voices, liste

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Liu, Fang, Cunmei Jiang, Tom Francart, Alice H. D. Chan, and Patrick C. M. Wong. "Perceptual Learning of Pitch Direction in Congenital Amusia." Music Perception 34, no. 3 (2017): 335–51. http://dx.doi.org/10.1525/mp.2017.34.3.335.

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Congenital amusia is a lifelong disorder of musical processing for which no effective treatments have been found. The present study aimed to treat amusics’ impairments in pitch direction identification through auditory training. Prior to training, twenty Chinese-speaking amusics and 20 matched controls were tested on the Montreal Battery of Evaluation of Amusia (MBEA) and two psychophysical pitch threshold tasks for identification of pitch direction in speech and music. Subsequently, ten of the twenty amusics undertook 10 sessions of adaptive-tracking pitch direction training, while the remain

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Ycart, Adrien, Lele Liu, Emmanouil Benetos, and Marcus T. Pearce. "Investigating the Perceptual Validity of Evaluation Metrics for Automatic Piano Music Transcription." Transactions of the International Society for Music Information Retrieval 3, no. 1 (2020): 68–81. http://dx.doi.org/10.5334/tismir.57.

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Zacharakis, Asterios, Maximos Kaliakatsos-Papakostas, Costas Tsougras, and Emilios Cambouropoulos. "Creating Musical Cadences via Conceptual Blending." Music Perception 35, no. 2 (2017): 211–34. http://dx.doi.org/10.1525/mp.2017.35.2.211.

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The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in or

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Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "The Evaluation of Vocal Pitch Accuracy." Music Perception 32, no. 1 (2014): 1–10. http://dx.doi.org/10.1525/mp.2014.32.1.1.

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The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality

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Rasumow, Eugen, Matthias Blau, Simon Doclo, et al. "Perceptual Evaluation of Individualized Binaural Reproduction Using a Virtual Artificial Head." Journal of the Audio Engineering Society 65, no. 6 (2017): 448–59. http://dx.doi.org/10.17743/jaes.2017.0012.

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Fela, Randy Frans, Nick Zacharov, and Søren Forchhammer. "Assessor Selection Process for Perceptual Quality Evaluation of 360 Audiovisual Content." Journal of the Audio Engineering Society 70, no. 10 (2022): 824–42. http://dx.doi.org/10.17743/jaes.2022.0037.

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Buyens, Wim, Bas van Dijk, Marc Moonen, and Jan Wouters. "Evaluation of a Stereo Music Preprocessing Scheme for Cochlear Implant Users." Journal of the American Academy of Audiology 29, no. 01 (2018): 035–43. http://dx.doi.org/10.3766/jaaa.16103.

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AbstractAlthough for most cochlear implant (CI) users good speech understanding is reached (at least in quiet environments), the perception and the appraisal of music are generally unsatisfactory.The improvement in music appraisal was evaluated in CI participants by using a stereo music preprocessing scheme implemented on a take-home device, in a comfortable listening environment. The preprocessing allowed adjusting the balance among vocals/bass/drums and other instruments, and was evaluated for different genres of music. The correlation between the preferred settings and the participants’ spe

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Song, Baoqing, Hanchao Zhang, Junpeng Du, Na Na, Yukun Xu, and Jian Kang. "The Influence of General Music Education on the Perception of Soundscape." International Journal of Acoustics and Vibration 29, no. 1 (2024): 86–94. http://dx.doi.org/10.20855/ijav.2024.29.12049.

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Music is closely related to soundscape. The present study employs methods and tools for assessing soundscape perception to compare the evaluation of soundscape perception between students who had not been taught general music courses (n=80, equal into N1, N2) with that of students who had been taught general music courses (n=40, MU) in four distinct audio-visual environments. According to the results of the questionnaire in four scenes and eight perceptual dimensions, there are significant differences between MU and N1 N2 (4-5 items), whereas there is only a slight difference between N1 and N2

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Navarro-Cáceres, María, Javier Félix Merchán Sánchez-Jara, Valderi Reis Quietinho Leithardt, and Raúl García-Ovejero. "Assistive Model to Generate Chord Progressions Using Genetic Programming with Artificial Immune Properties." Applied Sciences 10, no. 17 (2020): 6039. http://dx.doi.org/10.3390/app10176039.

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In Western tonal music, tension in chord progressions plays an important role in defining the path that a musical composition should follow. The creation of chord progressions that reflects such tension profiles can be challenging for novice composers, as it depends on many subjective factors, and also is regulated by multiple theoretical principles. This work presents ChordAIS-Gen, a tool to assist the users to generate chord progressions that comply with a concrete tension profile. We propose an objective measure capable of capturing the tension profile of a chord progression according to di

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Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

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This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures s

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Rathcke, Tamara, Simone Falk, and Simone Dalla Bella. "Music to Your Ears." Music Perception 38, no. 5 (2021): 499–508. http://dx.doi.org/10.1525/mp.2021.38.5.499.

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Listeners usually have no difficulties telling the difference between speech and song. Yet when a spoken phrase is repeated several times, they often report a perceptual transformation that turns speech into song. There is a great deal of variability in the perception of the speech-to-song illusion (STS). It may result partly from linguistic properties of spoken phrases and be partly due to the individual processing difference of listeners exposed to STS. To date, existing evidence is insufficient to predict who is most likely to experience the transformation, and which sentences may be more c

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Moura, Nádia, Pedro Fonseca, Márcio Goethel, Patrícia Oliveira-Silva, João Paulo Vilas-Boas, and Sofia Serra. "The impact of visual display of human motion on observers’ perception of music performance." PLOS ONE 18, no. 3 (2023): e0281755. http://dx.doi.org/10.1371/journal.pone.0281755.

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In investigating the influence of body movement in multimodal perception, human motion displays are frequently used as a means of visual standardization and control of external confounders. However, no principle is established regarding the selection of an adequate display for specific study purposes. The aim of this study was to evaluate the effects of adopting 4 visual displays (point-light, stick figure, body mass, skeleton) on the observers’ perception of music performances in 2 expressive conditions (immobile, projected expressiveness). Two hundred eleven participants rated 8 audio-visual

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Fela, Randy Frans, Nick Zacharov, and Søren Forchhammer. "Comparison of Full Factorial and Optimal Experimental Design for Perceptual Evaluation of Audiovisual Quality." Journal of the Audio Engineering Society 71, no. 1/2 (2023): 4–19. http://dx.doi.org/10.17743/jaes.2022.0063.

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Kantrowitz, J. T., N. Scaramello, A. Jakubovitz, et al. "Amusia and protolanguage impairments in schizophrenia." Psychological Medicine 44, no. 13 (2014): 2739–48. http://dx.doi.org/10.1017/s0033291714000373.

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BackgroundBoth language and music are thought to have evolved from a musical protolanguage that communicated social information, including emotion. Individuals with perceptual music disorders (amusia) show deficits in auditory emotion recognition (AER). Although auditory perceptual deficits have been studied in schizophrenia, their relationship with musical/protolinguistic competence has not previously been assessed.MethodMusical ability was assessed in 31 schizophrenia/schizo-affective patients and 44 healthy controls using the Montreal Battery for Evaluation of Amusia (MBEA). AER was assesse

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Wright, Rose, and Rosalie M. Uchanski. "Music Perception and Appraisal: Cochlear Implant Users and Simulated Cochlear Implant Listening." Journal of the American Academy of Audiology 23, no. 05 (2012): 350–65. http://dx.doi.org/10.3766/jaaa.23.5.6.

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Background: The inability to hear music well may contribute to decreased quality of life for cochlear implant (CI) users. Researchers have reported recently on the generally poor ability of CI users to perceive music, and a few researchers have reported on the enjoyment of music by CI users. However, the relation between music perception skills and music enjoyment is much less explored. Only one study has attempted to predict CI users’ enjoyment and perception of music from the users’ demographic variables and other perceptual skills (Gfeller et al, 2008). Gfeller's results yielded different p

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Henry, Molly J., and J. Devin McAuley. "Failure to Apply Signal Detection Theory to the Montreal Battery of Evaluation of Amusia May Misdiagnose Amusia." Music Perception 30, no. 5 (2012): 480–96. http://dx.doi.org/10.1525/mp.2013.30.5.480.

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This article considers a signal detection theory (SDT) approach to evaluation of performance on the Montreal Battery of Evaluation of Amusia (MBEA). One hundred fifty-five individuals completed the original binary response version of the MBEA (n = 62) or a confidence rating version (MBEA-C; n = 93). Confidence ratings afforded construction of empirical receiver operator characteristic (ROC) curves and derivation of bias-free performance measures against which we compared the standard performance metric, proportion correct (PC), and an alternative signal detection metric, d ′. Across the board,

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Han, Song-I. "Application of ARCS Learning Motivation Model in Project-based Music Class." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 6 (2024): 931–48. http://dx.doi.org/10.22251/jlcci.2024.24.6.931.

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Objectives The purpose of this study is to propose a method of applying the Keller’s ARCS learning motivation model on a project-based learning format for music class. Methods To this end, project-based learning and learning motivation models were studies through literature research, and music activities that can be part of a liberal arts music class were looked at for adaptability into such models in order to propose a teaching method that improves motivation through learners' active participation and engagement. Results To improve learner participation and motivation, Larmer, Mer

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Maidaniyk, Iryna, Oksana Strikhar, Roman Rudyy, Nataliya Shelepnytska-Govorun, Nataliia Bilova, and Olena Yeroshenko. "Development of Music Education in Postmodern Society." Revista Romaneasca pentru Educatie Multidimensionala 15, no. 2 (2023): 284–97. http://dx.doi.org/10.18662/rrem/15.2/734.

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The article is devoted to the emergence of new contradictory trends in the school music education of postmodern society, how young postmodern youth perceives and uses music and attempts to methodically solve these problems. We explain the relevance of the topic by the fact that postmodern historical trends are still very strong in developing countries, and the industrialization of music art is increasingly distancing young people from academic and folk music achievements. Objective of the article is to identify the main trends, contradictions and problems of music education in postmodernism, a

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Eriksson, Gillian I. "Developing Creative Thinking Through an Integrated Arts Programme for Talented Children." Gifted Education International 6, no. 1 (1989): 8–15. http://dx.doi.org/10.1177/026142948900600103.

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The Schmerenbeck Multi-Racial Educational Centre provides extra-mural enrichment to challenge gifted and talented children. In terms of a broader concept of identification, the Centre differentiated a Creative Arts Programme for talented children which has been in operation since 1983. This aims to extend children beyond their technical competence to develop creative excellence; to encourage psychological growth in developing perceptual, cultural, social and self-awareness; to develop aesthetic judgement, critical thinking and self-evaluation; and to develop metacognitive processes. The design

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Nagari, Widean, Joan Santoso, and Esther Irawati Setiawan. "Timbre Style Transfer for Musical Instruments Acoustic Guitar and Piano using the Generator-Discriminator Model." Knowledge Engineering and Data Science 7, no. 1 (2024): 101. http://dx.doi.org/10.17977/um018v7i12024p101-116.

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Music style transfer is a technique for creating new music by combining the input song's content and the target song's style to have a sound that humans can enjoy. This research is related to timbre style transfer, a branch of music style transfer that focuses on using the generator-discriminator model. This exciting method has been used in various studies in the music style transfer domain to train a machine learning model to change the sound of instruments in a song with the sound of instruments from other songs. This work focuses on finding the best layer configuration in the generator-disc

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Inabinet, Devin, Jan De La Cruz, Justin Cha, Kevin Ng, and Gabriella Musacchia. "Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians." Brain Sciences 11, no. 12 (2021): 1592. http://dx.doi.org/10.3390/brainsci11121592.

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The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (

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Lübeck, Tim, Hannes Helmholz, Johannes M. Arend, Christoph Pörschmann, and Jens Ahrens. "Perceptual Evaluation of Mitigation Approaches of Impairments due to Spatial Undersampling in Binaural Rendering of Spherical Microphone Array Data." Journal of the Audio Engineering Society 68, no. 6 (2020): 428–40. http://dx.doi.org/10.17743/jaes.2020.0038.

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Duhovska, Jana, and Inga Millere. "EXPRESSIVE THERAPIES CONTINUUM-INFORMED EVALUATION OF THREE RESOURCE-ORIENTED RECEPTIVE AND ACTIVE MUSIC THERAPY TECHNIQUES IN CANCER PATIENTS IN PSYCHOSOCIAL REHABILITATION PROGRAMME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 7 (May 20, 2020): 34. http://dx.doi.org/10.17770/sie2020vol7.5115.

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Expressive Therapies Continuum (ETC), a model posed by Lusebrink and widely used in arts therapies, stipulates that human being is perceiving the world and processing the information in three modes – motion (kinesthetic-sensory perception), emotion (perceptual-emotional perception) and thought (cognitive-symbolic perception), and that optimally functioning person can freely function in all the modes, can slide between the poles of each of the mode and can integrate the elements from various modes and poles. And vice versa - difficulty or inability to function or being stuck in certain modes, c

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Kwon, Sumi, Hayoung Yang, and Jieun Choi. "The Preliminary Validity Study for the Development of the Goldsmiths Musical Sophistication Index in Korean (Gold-MSI-K)." Korean Music Education Society 54, no. 1 (2025): 1–30. https://doi.org/10.30775/kmes.54.1.01.

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This study aims to develop the Korean version of the Goldsmiths Musical Sophistication Index (Gold- MSI-K) by translating the Gold-MSI into Korean, creating a final questionnaire, and conducting a preliminary validity test. The Gold-MSI is a self-assessment tool that measures various aspects of musical sophistication, encompassing a wide range of musical experiences while allowing for efficient evaluation in a short time. The questionnaire consists of 38 items rated on a 7-point Likert scale and includes five sub-scales (Active Engagement, Perceptual Abilities, Musical Training, Singing Abilit

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GAN, Shafei, Xiaojing LIU, Feng NIU, Hongyan ZHANG, and Ping YANG. "Temporal and spectral analyses of decorative noises in Chinese Pipa music generated via Merge, Twist, Refrain and Flap skills." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 7 (2024): 4208–15. http://dx.doi.org/10.3397/in_2024_3427.

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Pipa is a short-necked, normally four-stringed Chinese lute with a shallow, pear-shaped body. Noises can be conveniently generated from Pipa and are very often used as decorative components for improved perceptual experience. A few episodes from classic Chinese Pipa songs with decorative noises played using Merge, Twist, Refrain, and Flap skills were selected, played, and recorded for comparative studies. The episodes were also played and recorded without the decorative noises. Temporal and spectral analyses were conducted to evaluate the two versions, with and without the decorative noises, r

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Yoshie, Michiko, Kazutoshi Kudo, and Tatsuyuki Ohtsuki. "Effects of Psychological Stress on State Anxiety, Electromyographic Activity, and Arpeggio Performance in Pianists." Medical Problems of Performing Artists 23, no. 3 (2008): 120–32. http://dx.doi.org/10.21091/mppa.2008.3024.

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The present study examined the effects of psychological stress, as manipulated by performance evaluation, on the cognitive, physiological, and behavioral components of music performance anxiety (MPA) and performance quality. Twelve skilled pianists (five women, seven men) aged 21.9 ± 3.3 yrs performed arpeggios on a digital piano at the metronome-paced fastest possible tempo under the evaluation and no-evaluation conditions. Measurements were made of self-reported state anxiety, heart rate (HR), sweat rate (SR), and electromyographic (EMG) activity from eight arm and shoulder muscles, and MIDI

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Wise, Karen J., and John A. Sloboda. "Establishing an empirical profile of self-defined “tone deafness”: Perception, singing performance and self-assessment." Musicae Scientiae 12, no. 1 (2008): 3–26. http://dx.doi.org/10.1177/102986490801200102.

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Research has suggested that around 17% of Western adults self-define as “tone deaf” (Cuddy, Balkwill, Peretz & Holden, 2005). But questions remain about the exact nature of tone deafness. One candidate for a formal definition is “congenital amusia” (Peretz et al., 2003), characterised by a dense music-specific perceptual deficit. However, most people self-defining as tone deaf are not congenially amusic (Cuddy et al., 2005). According to Sloboda, Wise and Peretz (2005), the general population defines tone deafness as perceived poor singing ability, suggesting the need to extend investigati

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Macit, Hüseyin Bilal. "Spread Embedding of Fragile Copyright Information to Protect Audio Signal." International Journal of Innovative Engineering Applications 9, no. 1 (2025): 125–34. https://doi.org/10.46460/ijiea.1645813.

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Nowadays, millions of gigabytes of new data are generated every second and a large part of it is multimedia data. The security of this large amount of data is an important problem as well as its transmission and storage. Data without proven authenticity should not be distributed or used without permission. Audio data, unlike other types of multimedia, is quite weak in terms of copyright protection. Industrial practices generally prioritize the quality of audio data over the security of copyright data, contrary to academic recommendations. In this study, a spread hash-supported copyright embedd

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Solekhan, Solekhan, Yoyon K. Suprapto, and Wirawan Wirawan. "Impulsive spike enhancement on gamelan audio using harmonic percussive separation." International Journal of Electrical and Computer Engineering (IJECE) 9, no. 3 (2019): 1700. http://dx.doi.org/10.11591/ijece.v9i3.pp1700-1710.

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Impulsive spikes often occur in audio recording of gamelan where most existing methods reduce it. This research offers new method to enhance audio impulsive spike in gamelan music that is able to reduce, eliminate and even strengthen spikes. The process separates audio components into harmonics and percussive components. Percussion component is set to rise or lowered, and the results of the process combined with harmonic components again. This study proposes a new method that allows reducing, eliminating and even amplifying the spike. From the similarity test using the Cosine Distance method,

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Solekhan, K. Suprapto Yoyon, and Wirawan. "Impulsive spike enhancement on gamelan audio using harmonic percussive separation." International Journal of Electrical and Computer Engineering (IJECE) 9, no. 3 (2019): 1700–1710. https://doi.org/10.11591/ijece.v9i3.pp1700-1710.

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Impulsive spikes often occur in audio recording of gamelan where most existing methods reduce it. This research offers new method to enhance audio impulsive spike in gamelan music that is able to reduce, eliminate and even strengthen spikes. The process separates audio components into harmonics and percussive components. Percussion component is set to rise or lowered, and the results of the process combined with harmonic components again. This study proposes a new method that allows reducing, eliminating and even amplifying the spike. From the similarity test using the Cosine Distance method,

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Mamykina, Olena. "Theoretical and methodological aspects of the development of the future Music teachers’ artistic taste in the process of teaching pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (2020): 98–105. http://dx.doi.org/10.24195/2617-6688-2020-3-11.

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The article is devoted to the scientific development of the problem related to the development of an artistic taste of the future teachers specialised in Musical Art. The purpose of the article is to theoretically and methodologically substantiate the development process of an artistic taste of the future teachers specialised in Musical Art in the process of teaching pop singing. The purpose is realised through the implementation of relevant tasks using the methods of theoretical research: analysis, synthesis, deduction, induction, generalisation and extrapolation. The article considers the ca

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Ismail, Mostafa Refat. "Soniferous Architecture." International Journal of Art, Culture and Design Technologies 4, no. 1 (2014): 42–62. http://dx.doi.org/10.4018/ijacdt.2014010104.

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“I call architecture frozen music” a quote by Johan Wolfgan von Goethe. It seems that his description of architecture will not be this much long lasting. Since many architectural structures now are considered soniferous. In an approach to rational the thinking of positive soundscape and move onwards in terms of systematic decision making, and creating tools for more creative planning techniques, this paper utilizes two methodologies in assessing soundscape impacts. One approach usually implemented in quality of manufacturing and product development, namely the Kano Model. The other approach de

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Bai, Mingsian R., and Chia-Hao Kuo. "Acoustic Source Localization and Deconvolution-Based Separation." Journal of Computational Acoustics 23, no. 02 (2015): 1550008. http://dx.doi.org/10.1142/s0218396x15500083.

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This paper examines two fundamental issues in sound field analysis: acoustic sources localization and separation. Algorithms are developed to locate and separate acoustic signals on the basis of plane-wave decomposition. In the localization stage, directions of plane waves are determined using either minimum variance distortionless response (MVDR) method or multiple signal classification (MUSIC) method. For broadband scenarios, coherent and incoherent techniques are utilized in the localization procedure. In the separation stage, two approaches with overdetermined and underdetermined settings

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Zhao, Hua, Aibo Wang, and Ying Fan. "Research on the Identification and Evaluation of Aerobics Movements Based on Deep Learning." Scientific Programming 2021 (December 21, 2021): 1–10. http://dx.doi.org/10.1155/2021/6433260.

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A deep learning approach is used in this study to provide insight into aerobics movement recognition, and the model is used for aerobics movement recognition. The model complexity is significantly reduced, while the multi-scale features of the target at the fine-grained level are extracted, significantly improving the characterization of the target, by embedding lightweight multi-scale convolution modules in 3D convolutional residual networks to increase the local perceptual field range in each layer of the network. Finally, using the channel attention mechanism, the key features are extracted

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Ishino, Takashi, Kei Nakagawa, Fumiko Higashikawa, et al. "Intelligibility Sound Therapy Enhances the Ability of Speech-in-Noise Perception and Pre-Perceptual Neurophysiological Response." Biology 13, no. 12 (2024): 1021. https://doi.org/10.3390/biology13121021.

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Aural rehabilitation with hearing aids can decrease the attentional requirements of cognitive resources by amplifying deteriorated-frequency sound in hearing loss patients and improving auditory discrimination ability like speech-in-noise perception. As aural rehabilitation with an intelligible-hearing sound also can be hopeful, the aim of this study was to evaluate the effectiveness of aural rehabilitation with intelligible-hearing sound for hearing loss patients. Adult native Japanese speakers (17 males and 23 females, 68.43 ± 9.23 years) with hearing thresholds exceeding 30 dB at any of the

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Li, Renjie. "From Cognitive Memory to Self-Regulation: A Multidimensional Pathway to Stable Musical Score Memory." International Theory and Practice in Humanities and Social Sciences 2, no. 6 (2025): 315–29. https://doi.org/10.70693/itphss.v2i6.1144.

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This review proposes an integrative theoretical framework that explains the development of stable musical score memory as a function of both cognitive architecture and self-regulatory processes. Grounded in the multiple memory systems theory and the three-phase self-regulated learning (SRL) model, the framework conceptualizes musical memorization as a dynamic, recursive process involving the selective activation and coordination of five long-term memory systems—semantic, emotional, perceptual, procedural, and narrative—across the SRL phases of forethought, performance, and reflection. Drawing

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Ramalakshmi, S., and G. Asha. "Exploring Generative AI: Models, Applications, and Challenges in Data Synthesis." Asian Journal of Research in Computer Science 17, no. 12 (2024): 123–36. https://doi.org/10.9734/ajrcos/2024/v17i12533.

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Generative AI has emerged as a transformative field within artificial intelligence, enabling the creation of new data that mimics real-world information and expands the boundaries of what machines can autonomously generate. This study discuss the various models of generative AI, focusing on Variational Autoencoders (VAEs), Generative Adversarial Networks (GANs), and Auto-Regressive models, each offering distinct approaches and strengths in data generation. VAEs excel in learning latent representations, making them ideal for applications like anomaly detection and data imputation. GANs, renowne

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Lachenmayr, Winfried, Nils Meyer-Kahlen, Otavio Colella Gomes, Antti Kuusinen, and Tapio Lokki. "Chamber music hall acoustics: Measurements and perceptual differences." Journal of the Acoustical Society of America 154, no. 1 (2023): 388–400. http://dx.doi.org/10.1121/10.0020066.

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This study investigates the room acoustics of seven chamber music halls of various modern and historical architecture by means of objective room acoustic measures and a subjective listening experiment. The acoustic measurements were performed with heavy cloth covering the audience areas to simulate occupancy in the halls. A loudspeaker quartet was used for auralizations, which were reproduced in a surrounding loudspeaker array. The perceptual differences between the halls were evaluated in terms of envelopment, warmth, clarity, proximity, and preference by using a paired comparison paradigm. T

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Tahmasebi, Sina, Manuel Segovia-Martinez, and Waldo Nogueira. "Optimization of Sound Coding Strategies to Make Singing Music More Accessible for Cochlear Implant Users." Trends in Hearing 27 (January 2023): 233121652211480. http://dx.doi.org/10.1177/23312165221148022.

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Cochlear implants (CIs) are implantable medical devices that can partially restore hearing to people suffering from profound sensorineural hearing loss. While these devices provide good speech understanding in quiet, many CI users face difficulties when listening to music. Reasons include poor spatial specificity of electric stimulation, limited transmission of spectral and temporal fine structure of acoustic signals, and restrictions in the dynamic range that can be conveyed via electric stimulation of the auditory nerve. The coding strategies currently used in CIs are typically designed for

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Schepker, Henning, Florian Denk, Birger Kollmeier, and Simon Doclo. "Acoustic Transparency in Hearables - Perceptual Sound Quality Evaluations." Journal of the Audio Engineering Society 68, no. 7/8 (2020): 495–507. http://dx.doi.org/10.17743/jaes.2020.0045.

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Neuhoff, Hans, Rainer Polak, and Timo Fischinger. "Perception and Evaluation of Timing Patterns in Drum Ensemble Music from Mali." Music Perception 34, no. 4 (2017): 438–51. http://dx.doi.org/10.1525/mp.2017.34.4.438.

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Polak’s (2010) chronometric analyses of Malian jembe music suggested that the characteristic “feel” of individual pieces rests upon nonisochronous subdivisions of the beat. Each feel is marked by a specific pattern of two or three different subdivisional pulses—these being either short, medium, or long. London (2010) called the possibility of more than two different pulse classes into question on psychological and theoretical grounds. To shed light on this issue, 23 professional Malian percussionists and dancers were presented with timing-manipulated phrases from a piece of Malian drumming mus

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Andreopoulou, Areti, and Brian F. G. Katz. "Perceptual Impact on Localization Quality Evaluations of Common Pre-Processing for Non-Individual Head-Related Transfer Functions." Journal of the Audio Engineering Society 70, no. 5 (2022): 340–54. http://dx.doi.org/10.17743/jaes.2022.0008.

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Kim, Sungyoung, and Will Howie. "Neural-network clustering for evaluating immersive sound fields." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 2 (2023): 6140–46. http://dx.doi.org/10.3397/in_2023_0907.

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Evaluating immersive sound fields requires a group of trained and experienced listeners. This study investigates whether unsupervised clustering using a self-organizing map can be used to group listeners based on their perceptual responses to immersive reproduction of two orchestral music recordings. The study trained a clustering model using 82 subjects' subjective responses, which consisted of five attribute ratings and one preference rating. Subsequently, the model was validated with a new data set from 19 subjects. The results showed that the model was 84% accurate compared to manual clust

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Yi, Mingxin, Kai Zhang, Pei Liu, Tanli Zuo, and Jingduo Tian. "DiffRAW: Leveraging Diffusion Model to Generate DSLR-Comparable Perceptual Quality sRGB from Smartphone RAW Images." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 7 (2024): 6711–19. http://dx.doi.org/10.1609/aaai.v38i7.28494.

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Deriving DSLR-quality sRGB images from smartphone RAW images has become a compelling challenge due to discernible detail disparity, color mapping instability, and spatial misalignment in RAW-sRGB data pairs. We present DiffRAW, a novel method that incorporates the diffusion model for the first time in learning RAW-to-sRGB mappings. By leveraging the diffusion model, our approach effectively learns the high-quality detail distribution of DSLR images, thereby enhancing the details of output images. Simultaneously, we use the RAW image as a diffusion condition to maintain image structure informat

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Soraghan, Sean, Felix Faire, Alain Renaud, and Ben Supper. "A New Timbre Visualization Technique Based on Semantic Descriptors." Computer Music Journal 42, no. 1 (2018): 23–36. http://dx.doi.org/10.1162/comj_a_00449.

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This article introduces the concept of Sound Signature audio visualization, a new form of amplitude waveform that also visualizes perceptually salient spectral features and their evolution over time. A brief review of existing research into timbre description and visualization is given. This is followed by an in-depth description of the algorithm. Rationale is given for the various visual mappings with reference to existing literature. The results of an online subjective evaluation survey are reported and discussed. The survey examined user preferences for the visual mappings used in Sound Sig

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Vos, Piet G., and Paul P. Verkaart. "Inference of Mode in Melodies." Music Perception 17, no. 2 (1999): 223–39. http://dx.doi.org/10.2307/40285892.

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Listeners' ability to infer the mode (major vs. minor) of a piece of Western tonal music was examined. Twenty-four subjects, divided into two groups according to their level of musical expertise, evaluated 11 musical stimuli, selected from J. S. Bach's "Well-Tempered Clavier". The stimuli included both unambiguous and ambiguous examples of the two modes, as well as one example of a modulation (from minor into major). The stimuli consisted of unaccompanied melodic openings of compositions, each containing 10 tones. Stimulus presentation and evaluation took place in nine progressively longer ste

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