A Review on EEG Signals Based Emotion Recognition

Emotion recognition has become a very controversial issue in brain-computer interfaces (BCIs). Moreover, numerous studies have been conducted in order to recognize emotions. Also, there are several important definitions and theories about human emotions. In this paper we try to cover important topics related to the field of emotion recognition. We review several studies which are based on analyzing electroencephalogram (EEG) signals as a biological marker in emotion changes. Considering low cost, good time and spatial resolution, EEG has become very common and is widely used in most BCI applications and studies. First, we state some theories and basic definitions related to emotions. Then some important steps of an emotion recognition system like different kinds of biologic measurements (EEG, electrocardiogram [EEG], respiration rate, etc), offline vs online recognition methods, emotion stimulation types and common emotion models are described. Finally, the recent and most important studies are reviewed

Signal to Noise: Harmonic Temperaments and Patterns of Interference

An audio/visual exploration of historical tuning systems. Most contemporary Western audiences will seldom if ever encounter harmony outside of post-Renaissance tuning conventions. This presentation highlights some of those pre-orthodox harmonic relationships which existed throughout most of history. The corresponding paper documents correlates in recent advances of acoustic ecology

you are variations

you are variations is a ten-year-long study of tree water-cycles in which scientific climate change research has provided environmental data on sap flow that is here transposed into a musical score. The score is enacted live – including in-situ – in collaboration with electro-acoustic ensembles. By turning climate data into sound-performances, the research draws attention to the sophisticated energy balance of trees under changing environmental conditions, contributing to scientific research concerned with climate futures, and evidences a committed stance in art as sustained experimental (re-)search into transformative power. Inspired ecopolitically by Isabelle Stengers, Donna J. Haraway and Bruno Latour, aesthetically by Pauline Oliveros and Catherine Christer Hennix et. al., the project exercises how to think and work across wounded worlds together. In gathering disciplines that are unfamiliar to each other – linking environmental, cultural and mental ecologies – the project reveals ‘difference’, theoretically drawing on the work of Alfred North Whitehead, Félix Guattari, Gilles Deleuze, Jean-Luc Nancy and Elizabeth Grosz. The key methodology, ‘ecology of translation’, incites gaps and transpositions as acts of mediation in a complex process of evolving relationalities between art-music, science and the climate. It conceives of ‘trans-lation’ as human, and more-than-human activity; creative in the making of a ‘re-lational, resonant kinship’, based not on sameness, but alterity. It is the experience of wholeness that is the significant outcome of this transdisciplinary practice across a vast range of contemporary climate urgencies. The conclusion elicits a new term for the felt experience of wholeness instantiated by you are variations performances: /wi/. Addressing the problematic term ‘we’, exclusive in its presupposed inclusivity, /wi/ denotes the experiential communion of tree, you and self, exemplified in the poetic, ecopolitical movement the research brought about: in asking ‘Can we learn to listen to a tree?’ you are variations advocates how to become /wi/ with the world

From heuristics-based to data-driven audio melody extraction

The identification of the melody from a music recording is a relatively easy task for humans, but very challenging for computational systems. This task is known as "audio melody extraction", more formally defined as the automatic estimation of the pitch sequence of the melody directly from the audio signal of a polyphonic music recording. This thesis investigates the benefits of exploiting knowledge automatically derived from data for audio melody extraction, by combining digital signal processing and machine learning methods. We extend the scope of melody extraction research by working with a varied dataset and multiple definitions of melody. We first present an overview of the state of the art, and perform an evaluation focused on a novel symphonic music dataset. We then propose melody extraction methods based on a source-filter model and pitch contour characterisation and evaluate them on a wide range of music genres. Finally, we explore novel timbre, tonal and spatial features for contour characterisation, and propose a method for estimating multiple melodic lines. The combination of supervised and unsupervised approaches leads to advancements on melody extraction and shows a promising path for future research and applications

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

Bowdoin Orient v.118, no.1-27 (1988-1989)

https://digitalcommons.bowdoin.edu/bowdoinorient-1980s/1009/thumbnail.jp