Immersive Composition for Sensory Rehabilitation: 3D Visualisation, Surround Sound, and Synthesised Music to Provoke Catharsis and Healing

There is a wide range of sensory therapies using sound, music and visual stimuli. Some focus on soothing or distracting stimuli such as natural sounds or classical music as analgesic, while other approaches emphasize the active performance of producing music as therapy. This paper proposes an immersive multi-sensory Exposure Therapy for people suffering from anxiety disorders, based on a rich, detailed surround-soundscape. This soundscape is composed to include the users’ own idiosyncratic anxiety triggers as a form of habituation, and to provoke psychological catharsis, as a non-verbal, visceral and enveloping exposure. To accurately pinpoint the most effective sounds and to optimally compose the soundscape we will monitor the participants’ physiological responses such as electroencephalography, respiration, electromyography, and heart rate during exposure. We hypothesize that such physiologically optimized sensory landscapes will aid the development of future immersive therapies for various psychological conditions, Sound is a major trigger of anxiety, and auditory hypersensitivity is an extremely problematic symptom. Exposure to stress-inducing sounds can free anxiety sufferers from entrenched avoidance behaviors, teaching physiological coping strategies and encouraging resolution of the psychological issues agitated by the sound

Vocal fold vibratory and acoustic features in fatigued Karaoke singers

Session 3aMU - Musical Acoustics and Speech Communication: Singing Voice in Asian CulturesKaraoke is a popular singing entertainment particularly in Asia and is gaining more popularity in the rest of world. In Karaoke, an amateur singer sings with the background music and video (usually guided by the lyric captions on the video screen) played by Karaoke machine, using a microphone and an amplification system. As the Karaoke singers usually have no formal training, they may be more vulnerable to vocal fatigue as they may overuse and/or misuse their voices in the intensive and extensive singing activities. It is unclear whether vocal fatigue is accompanied by any vibration pattern or physiological changes of vocal folds. In this study, 20 participants aged from 18 to 23 years with normal voice were recruited to participate in an prolonged singing task, which induced vocal fatigue. High speed laryngscopic imaging and acoustic signals were recorded before and after the singing task. Images of /i/ phonation were quantitatively analyzed using the High Speed Video Processing (HSVP) program (Yiu, et al. 2010). It was found that the glottis became relatively narrower following fatigue, while the acoustic signals were not sensitive to measure change following fatigue. © 2012 Acoustical Society of Americapublished_or_final_versio

A multicomponential examination of tennis players’ emotional responses to music

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.The principal aim of this research programme was to examine multiple components of competitive tennis players’ emotional responses to pre-performance music. To this end, four objectives were defined: First, to develop a grounded theory (Glaser & Strauss, 1967) of players’ use of music to manipulate emotional state; second, to examine the impact of altering music tempo and intensity on players’ affective and behavioural responses; third, to identify neural origins for these phenomena; and fourth, to elucidate the role of motoneuron excitability in behavioural responses observed. These objectives were realised in four interrelated studies. First, 14 players provided quantitative and qualitative interview, questionnaire, and diary data to detail their use of personally emotive music; a grounded theory and associated model were consequently developed to facilitate future research and practice. Participants used music to attain five broad emotional states, including psyched-up; this was associated with faster tempi and louder intensities (volumes). Study 2 was conceived to examine the effects of manipulating these variables on 54 players’ affective and behavioural states, using measures based on Russell’s (1980) affective circumplex and reaction times (RTs). Faster tempi elicited higher valence and arousal, loud intensity yielded higher arousal and shorter RTs; and higher arousal was associated with shorter RTs. Functional magnetic resonance imaging was utilised in Study 3 to identify neural bases for 12 participants’ emotional responses to the same music manipulations; emotion-processing, visuomotor and sensorimotor structures were activated under high-arousal conditions. Transcranial magnetic stimulation and electromyography were used in Study 4 to investigate changes in 10 participants’ corticospinal excitability as a result of listening to purposively selected music; optimised music elicited higher arousal and reduced corticospinal response latencies. The foremost contribution of this thesis is to show that music variables may be carefully selected and/or manipulated to maximise performance-facilitating emotional responses to music in tennis