A breathing sonification system to reduce stress during the COVID-19 pandemic

Since sound and music are powerful forces and drivers of human behavior and physiology, we propose the use of sonification to activate healthy breathing patterns in participants to induce relaxation. Sonification is often used in the context of biofeedback as it can represent an informational, non-invasive and real-time stimulus to monitor, motivate or modify human behavior. The first goal of this study is the proposal and evaluation of a distance-based biofeedback system using a tempo- and phase-aligned sonification strategy to adapt breathing patterns and induce states of relaxation. A second goal is the evaluation of several sonification stimuli on 18 participants that were recruited online and of which we analyzed psychometric and behavioral data using, respectively questionnaires and respiration rate and ratio. Sonification stimuli consisted of filtered noise mimicking a breathing sound, nature environmental sounds and a musical phrase. Preliminary results indicated the nature stimulus as most pleasant and as leading to the most prominent decrease of respiration rate. The noise sonification had the most beneficial effect on respiration ratio. While further research is needed to generalize these findings, this study and its methodological underpinnings suggest the potential of the proposed biofeedback system to perform ecologically valid experiments at participants' homes during the COVID-19 pandemic

An automatic song annotation system

Projecte final de carrera fet en col.laboració amb CCMAThe amount of multimedia content in the audiovisual sector, as well as on the Internet, is increasing a lot, and Music is one of the most outstanding forms of multimedia content requested by users. Every year, new songs, artists and genres appear in the market. Managing this musical content is, thus, becoming a very complex task. The present document presents the design and implementation of a system, that aims to solve the problem related to multimedia content management

Real-time online musical collaboration system for Indian percussion

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 111-119).Thanks to the Internet, musicians located in different countries can now aspire to play with each other almost as if they were in the same room. However, the time delays due to the inherent latency in computer networks (up to several hundreds of milliseconds over long distances) are unsuitable for musical applications. Some musical collaboration systems address this issue by transmitting compressed audio streams (such as MP3) over low-latency and high-bandwidth networks (e.g. LANs or Internet2) to constrain time delays and optimize musician synchronization. Other systems, on the contrary, increase time delays to a musically-relevant value like one phrase, or one chord progression cycle, and then play it in a loop, thereby constraining the music being performed. In this thesis I propose TablaNet, a real-time online musical collaboration system for the tabla, a pair of North Indian hand drums. This system is based on a novel approach that combines machine listening and machine learning. Trained for a particular instrument, here the tabla, the system recognizes individual drum strokes played by the musician and sends them as symbols over the network. A computer at the receiving end identifies the musical structure from the incoming sequence of symbols by mapping them dynamically to known musical constructs. To deal with transmission delays, the receiver predicts the next events by analyzing previous patterns before receiving the original events, and synthesizes an audio output estimate with the appropriate timing. Although prediction approximations may result in a slightly different musical experience at both ends, we find that this system demonstrates a fair level of playability by tabla players of various levels, and functions well as an educational tool.by Mihir Sarkar.S.M

Evaluation Of The Matadoc And Comparison Of Auditory Musical, Non-Musical, And Live Music Therapy Stimuli To Increase Awareness And Sense Of Self In Patients With Moderate And Severe Dementia: An Exploratory Case Study

Background: The severe stage of dementia (SSD) can cause the loss of self-awareness, affecting the proper assessment, treatment, and care. The Music Therapy Assessment Tool for Awareness of Disorders of Consciousness (MATADOC) is a validated and reliable tool to measure awareness in DOC populations and it might be able to track awareness levels in people with SSD. Also, there is a need to identify effective treatments with people with SSD since pharmacological treatments have shown limited and even negative results. Both live music therapy and music listening of recorded songs have evidence of positive effects. Purpose: The purpose of this study is twofold: 1) To explore the use of the MATADOC for the assessment of patients with advanced dementia, 2) To compare the effects of live music therapy, recorded songs, and simulated presence therapy on increasing MATADOC scores and signs of an enhanced sense of self. Method: A case study with four participants was conducted by a graduate student. Participants underwent 4 sessions of baseline assessment with the MATADOC. Afterward, each participant completed a 30-minute minute session of listening of recorded songs, live music therapy, and auditory simulated presence therapy, in a different order, and each one on a different day. Each condition was immediately followed by a single MATADOC session as a post-test. All the sessions were recorded on video for behavioral/thematic analysis. Caregivers were interviewed to provide reports. Results: Most of the items of the MATADOC showed consistency with the level of deterioration of dementia. Two items of intentional behavior and non-verbal communication were consistently high with the four participants. While, the vocalization and the emotional response items showed consistency with the type of dementia, vocal/speech health, or location of brain damage. The protocol appeared to increase arousal, verbalizations, and/or mood. The researcher identified 18 adaptations or considerations to better fit the MATADOC to the dementia population. The musical conditions showed a better response in 100% of participants over control. Live music therapy showed a better response in 3 out of 4 participants and listening to recorded songs was better for the other remaining participant. Conclusion: MATADOC might be able to identify awareness deficits with people with SSD, but it could be improved by including cognitive, sensory, and declining factors appropriate for the dementia population. The positive effects of live music therapy could be addressed to its flexibility and multimodal approach suited to be adapted to the individual strengths and needs of the participants. Listening of recorded songs appeared as an important treatment but with risks of harm. Five recommendations for future research were identified and outlined

Integrating Sensor Technology into Artistic Practice: A critical examination of the role of the performer

This research questions how interactive music technology might enable creativity in performers. The format is a semi-autoethnographic narrative that follows the performer’s artistic process of preparing nine compositions for performance; these works are for bass clarinet or clarinet and live processing (created with Ableton Live, Max for Live, and the SABRe multi-sensor and remote). In order to conduct this research, I remixed two existing bass clarinet works, collaborated with two composers on six new works, and composed my own piece. I maintained a reflective journal for four and a half years that documented the process of preparing these compositions for performance. Excerpts from this journal are interwoven throughout the main text of this thesis and provide insight into the activities of music practice and performance, programming, collaboration, improvisation, remixing, and composition. The findings from this research highlight the human aspect of using technology in performance and demonstrate that technology can expand the practice of performers. As both the programmer and performer, I found that my performance practice informed how I programmed the sensors, and programming in turn affected how I practiced. The sensors required me to make decisions on how physical movements would affect the live electronics, thus causing me to reconsider the connection between my mind and body in performance. Additionally, the process of deciding how to integrate the sensors in performance compelled me to look inward at my own practice and question preconceived ideas of creativity. Ultimately, this research provides an in-depth look into contemporary performance practice, while also offering several new approaches to using interactive music technology in performance

From locomotion to dance and back : exploring rhythmic sensorimotor synchronization

Le rythme est un aspect important du mouvement et de la perception de l’environnement. Lorsque l’on danse, la pulsation musicale induit une activité neurale oscillatoire qui permet au système nerveux d’anticiper les évènements musicaux à venir. Le système moteur peut alors s’y synchroniser. Cette thèse développe de nouvelles techniques d’investigation des rythmes neuraux non strictement périodiques, tels que ceux qui régulent le tempo naturellement variable de la marche ou la perception rythmes musicaux. Elle étudie des réponses neurales reflétant la discordance entre ce que le système nerveux anticipe et ce qu’il perçoit, et qui sont nécessaire pour adapter la synchronisation de mouvements à un environnement variable. Elle montre aussi comment l’activité neurale évoquée par un rythme musical complexe est renforcée par les mouvements qui y sont synchronisés. Enfin, elle s’intéresse à ces rythmes neuraux chez des patients ayant des troubles de la marche ou de la conscience.Rhythms are central in human behaviours spanning from locomotion to music performance. In dance, self-sustaining and dynamically adapting neural oscillations entrain to the regular auditory inputs that is the musical beat. This entrainment leads to anticipation of forthcoming sensory events, which in turn allows synchronization of movements to the perceived environment. This dissertation develops novel technical approaches to investigate neural rhythms that are not strictly periodic, such as naturally tempo-varying locomotion movements and rhythms of music. It studies neural responses reflecting the discordance between what the nervous system anticipates and the actual timing of events, and that are critical for synchronizing movements to a changing environment. It also shows how the neural activity elicited by a musical rhythm is shaped by how we move. Finally, it investigates such neural rhythms in patient with gait or consciousness disorders

From learning to creativity: Identifying the behavioural and neural correlates of learning to predict human judgements of musical creativity

Human creativity is strongly linked to acquired knowledge. However, to date learning a new musical style and subsequent creativity have largely been studied in isolation. We introduced a novel experimental paradigm combining behavioural, electrophysiological, and computational methods, to examine the neural correlates of unfamiliar music learning, and to investigate how neural and computational measures can predict human creativity. We investigated music learning by training non-musicians (N = 40) on an artificial music grammar. Participants’ knowledge of the grammar was tested before and after three training sessions by assessing explicit recognition of the notes of the grammar, while additionally recording EEG. After each training session, participants created their own musical compositions, which were later evaluated by human experts. A computational model of auditory expectation was used to quantify the statistical properties of both the grammar and the compositions. Results showed that participants successfully learned the grammar. This was also reflected in the N100, P200, and P3a components, which were higher in response to incorrect than correct notes. Delta band power in response to grammatical notes during first exposure to the grammar positively correlated with learning, suggesting a potential encoding neural mechanism. On the other hand, better learning was associated with lower alpha and higher beta band power after training, potentially reflecting neural mechanisms of retrieval. Importantly, learning was a significant predictor of creativity, as judged by experts. There was also an inverted U-shaped relationship between percentage of correct intervals and creativity, as compositions with an intermediate proportion of correct intervals were associated with the highest creativity. Finally, the P200 in response to incorrect notes was predictive of creativity, suggesting a link between the neural correlates of learning, and creativity. Overall, our findings shed light on the neural mechanisms of learning an unfamiliar music grammar, as well as offering contributions to the associations between learning measures and human evaluation of creativity

An automatic song annotation system

Projecte final de carrera fet en col.laboració amb CCMAThe amount of multimedia content in the audiovisual sector, as well as on the Internet, is increasing a lot, and Music is one of the most outstanding forms of multimedia content requested by users. Every year, new songs, artists and genres appear in the market. Managing this musical content is, thus, becoming a very complex task. The present document presents the design and implementation of a system, that aims to solve the problem related to multimedia content management

A History of the Royal (Toronto) Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence

Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students progress through its Examinations, recently retitled as The Certificate Program. The Conservatorys internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions. Recently they have been hardy enough to enter the American market. Overall, the Conservatorys examination system has created a cultural asset ideal for a country such as Canada, providing, promoting, and disseminating both the branded curriculum and controlled assessment, which contributed to the development and improvement of music education rapidly and effectively. A distinctive part of the dissertation in addition to its detailed history is the interviews with current examiners and teachers, who face a whole new set of challenges and uncharted waters as technology offers new approaches to teaching and evaluation. In this ethnographic approach, their voices add a whole new dimension to the historical survey of the examinations system, arguing that despiteor perhaps because ofthe weight of tradition they still have much to offer