1,161 research outputs found
Language Design for Reactive Systems: On Modal Models, Time, and Object Orientation in Lingua Franca and SCCharts
Reactive systems play a crucial role in the embedded domain. They continuously interact with their environment, handle concurrent operations, and are commonly expected to provide deterministic behavior to enable application in safety-critical systems. In this context, language design is a key aspect, since carefully tailored language constructs can aid in addressing the challenges faced in this domain, as illustrated by the various concurrency models that prevent the known pitfalls of regular threads. Today, many languages exist in this domain and often provide unique characteristics that make them specifically fit for certain use cases. This thesis evolves around two distinctive languages: the actor-oriented polyglot coordination language Lingua Franca and the synchronous statecharts dialect SCCharts. While they take different approaches in providing reactive modeling capabilities, they share clear similarities in their semantics and complement each other in design principles. This thesis analyzes and compares key design aspects in the context of these two languages. For three particularly relevant concepts, it provides and evaluates lean and seamless language extensions that are carefully aligned with the fundamental principles of the underlying language. Specifically, Lingua Franca is extended toward coordinating modal behavior, while SCCharts receives a timed automaton notation with an efficient execution model using dynamic ticks and an extension toward the object-oriented modeling paradigm
UMSL Bulletin 2023-2024
The 2023-2024 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1088/thumbnail.jp
LIPIcs, Volume 251, ITCS 2023, Complete Volume
LIPIcs, Volume 251, ITCS 2023, Complete Volum
UMSL Bulletin 2022-2023
The 2022-2023 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1087/thumbnail.jp
Neural Architecture Search for Image Segmentation and Classification
Deep learning (DL) is a class of machine learning algorithms that relies on deep neural networks (DNNs) for computations. Unlike traditional machine learning algorithms, DL can learn from raw data directly and effectively. Hence, DL has been successfully applied to tackle many real-world problems. When applying DL to a given problem, the primary task is designing the optimum DNN. This task relies heavily on human expertise, is time-consuming, and requires many trial-and-error experiments.
This thesis aims to automate the laborious task of designing the optimum DNN by exploring the neural architecture search (NAS) approach. Here, we propose two new NAS algorithms for two real-world problems: pedestrian lane detection for assistive navigation and hyperspectral image segmentation for biosecurity scanning. Additionally, we also introduce a new dataset-agnostic predictor of neural network performance, which can be used to speed-up NAS algorithms that require the evaluation of candidate DNNs
Understanding Agreement and Disagreement in Listeners’ Perceived Emotion in Live Music Performance
Emotion perception of music is subjective and time dependent. Most computational music emotion recognition (MER) systems overlook time- and listener-dependent factors by averaging emotion judgments across listeners. In this work, we investigate the influence of music, setting (live vs lab vs online), and individual factors on music emotion perception over time. In an initial study, we explore changes in perceived music emotions among audience members during live classical music performances. Fifteen audience members used a mobile application to annotate time-varying emotion judgments based on the valence-arousal model. Inter-rater reliability analyses indicate that consistency in emotion judgments varies significantly across rehearsal segments, with systematic disagreements in certain segments. In a follow-up study, we examine listeners' reasons for their ratings in segments with high and low agreement. We relate these reasons to acoustic features and individual differences. Twenty-one listeners annotated perceived emotions while watching a recorded video of the live performance. They then reflected on their judgments and provided explanations retrospectively. Disagreements were attributed to listeners attending to different musical features or being uncertain about the expressed emotions. Emotion judgments were significantly associated with personality traits, gender, cultural background, and music preference. Thematic analysis of explanations revealed cognitive processes underlying music emotion perception, highlighting attributes less frequently discussed in MER studies, such as instrumentation, arrangement, musical structure, and multimodal factors related to performer expression. Exploratory models incorporating these semantic features and individual factors were developed to predict perceived music emotion over time. Regression analyses confirmed the significance of listener-informed semantic features as independent variables, with individual factors acting as moderators between loudness, pitch range, and arousal. In our final study, we analyzed the effects of individual differences on music emotion perception among 128 participants with diverse backgrounds. Participants annotated perceived emotions for 51 piano performances of different compositions from the Western canon, spanning various era. Linear mixed effects models revealed significant variations in valence and arousal ratings, as well as the frequency of emotion ratings, with regard to several individual factors: music sophistication, music preferences, personality traits, and mood states. Additionally, participants' ratings of arousal, valence, and emotional agreement were significantly associated to the historical time periods of the examined clips. This research highlights the complexity of music emotion perception, revealing it to be a dynamic, individual and context-dependent process. It paves the way for the development of more individually nuanced, time-based models in music psychology, opening up new avenues for personalised music emotion recognition and recommendation, music emotion-driven generation and therapeutic applications
A New Place at the Table: Ancient Cadential Patterns for Modern Improvision and Aural Skills Training
Contemporary efforts to integrate improvisation practice into institutional music education are many and varied, but lack of improvisatory skill remains an ongoing problem, especially in classical music instruction. Drawing on artisanal training, in which a corpus of memorized repertoire becomes a stylistic knowledge base, source of cognitive schemata and raw material for creative variation, a useful set of historically-derived “standards” can be found in the three introductory cadences used in the Neapolitan conservatory partimento tradition (It. Cadenza Semplice, Cadenza Composta, Cadenza Doppia) of the seventeenth and eighteenth centuries. Referencing music cognition research, music theory sources and improvisation discourse, this paper argues that intervallic suspensions in these schemata (4-3, 7-6) can be seen as a simple demonstration of error perception and correction, a cognitive process that can be deployed to develop and strengthen both aural and creative skills. Integration of these cadences into beginner training also suggests a reassessment of the order of introduction of musical elements found in formal music instruction, which privileges the chord as a discrete entity, and relegates intervallic suspension, schemata and counterpoint to intermediate, advanced, or supplementary study. These cadences concisely synthesize and demonstrate contrapuntal interplay and voice leading between bass and treble voices, basic syncopation and rhythmic division, and the concept of dissonance/consonance within linear parameters as an integral aspect of musical form. A series of beginner to intermediate exercises for use in vocal and instrumental training are presented. The dissertation recommends that intervallic suspensions be given a renewed “place at the table,” once again taking their former role as primal examples of compositional structure and aesthetic possibility
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