PLXTRM : prediction-led eXtended-guitar tool for real-time music applications and live performance

peer reviewedThis article presents PLXTRM, a system tracking picking-hand micro-gestures for real-time music applications and live performance. PLXTRM taps into the existing gesture vocabulary of the guitar player. On the first level, PLXTRM provides a continuous controller that doesn’t require the musician to learn and integrate extrinsic gestures, avoiding additional cognitive load. Beyond the possible musical applications using this continuous control, the second aim is to harness PLXTRM’s predictive power. Using a reservoir network, string onsets are predicted within a certain time frame, based on the spatial trajectory of the guitar pick. In this time frame, manipulations to the audio signal can be introduced, prior to the string actually sounding, ’prefacing’ note onsets. Thirdly, PLXTRM facilitates the distinction of playing features such as up-strokes vs. down-strokes, string selections and the continuous velocity of gestures, and thereby explores new expressive possibilities

Haptics for the development of fundamental rhythm skills, including multi-limb coordination

This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real-time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight are particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multi-limb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms – particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented. We reflect on related work, and discuss design issues for using haptics to support rhythm skills. Skills of this kind are essential not just to drummers and percussionists but also to keyboards players, and more generally to all musicians who need a firm grasp of rhythm

Ubiquitous emotion-aware computing

Emotions are a crucial element for personal and ubiquitous computing. What to sense and how to sense it, however, remain a challenge. This study explores the rare combination of speech, electrocardiogram, and a revised Self-Assessment Mannequin to assess people’s emotions. 40 people watched 30 International Affective Picture System pictures in either an office or a living-room environment. Additionally, their personality traits neuroticism and extroversion and demographic information (i.e., gender, nationality, and level of education) were recorded. The resulting data were analyzed using both basic emotion categories and the valence--arousal model, which enabled a comparison between both representations. The combination of heart rate variability and three speech measures (i.e., variability of the fundamental frequency of pitch (F0), intensity, and energy) explained 90% (p < .001) of the participants’ experienced valence--arousal, with 88% for valence and 99% for arousal (ps < .001). The six basic emotions could also be discriminated (p < .001), although the explained variance was much lower: 18–20%. Environment (or context), the personality trait neuroticism, and gender proved to be useful when a nuanced assessment of people’s emotions was needed. Taken together, this study provides a significant leap toward robust, generic, and ubiquitous emotion-aware computing

Individual rhythmic abilities and temporal predictability : an electrophysiological approach

Les habiletés rythmiques varient considérablement d’un individu à l’autre. Cependant, notre compréhension du lien entre ces variations au niveau comportemental et les marqueurs électrophysiologiques qui les sous-tendent est incertaine. L’objectif du travail actuel était d’examiner la signature cérébrale (EEG) des différences individuelles des habiletés rythmiques impliquant la prédiction temporelle (i.e., perceptuelles, sensorimotrices). Les participants (n=43) ont effectué deux tâches provenant de la Battery for the Assessment of Auditory Sensorimotor and Rhythmic abilities (BAASTA, Dalla Bella et al., 2017). De plus, l’activité cérébrale de ces participants a été enregistrée lors d’une tâche de prédiction temporelle. Cette tâche utilisant le paradigme du stimulus discordant (i.e., oddball paradigm) consistait en la présentation de sons purs standards (i.e., non pertinents) et discordants (i.e., pertinents) sur des séquences isochrones ou non-isochrones (i.e., régulières ou non). Les résultats ont montré des différences individuelles dans les habiletés rhythmiques se reflétant au niveau des composantes ERP. Chez tous les participants, des meilleures habiletés sensorimotrices ont été associées à de plus petites amplitudes de la P50 lors de la présentation de sons standards, suggérant une inhibition accrue des stimuli non pertinents. Aussi, l’amplitude de la composante N100 pourrait servir de marqueur de la capacité de traitement de la discordance des stimuli. Effectivement, les individus ayant de bonnes habiletés de traitement du rythme, présente des amplitudes moins négatives de la N100 pour les sons discordants présentés régulièrement, suggérant une discrimination accrue des sons discordants. Ainsi, ces résultats ajoutent à notre compréhension des processus sous-jacents aux différences individuelles dans les habiletés rhythmiques.It is known that rhythmic abilities vary widely in the general population. However, our understanding of the link between these variations at the behavioral level and their underlying brain electrophysiological patterns is uncertain. The aim of the present work was to investigate the electrophysiological correlates of individual differences in rhythmic abilities (i.e., perceptual, sensorimotor). Participants (n=43) performed two tasks of rhythmic abilities (beat alignment test and paced tapping) from the Battery for the Assessment of Auditory Sensorimotor and Rhythmic abilities (BAASTA, Dalla Bella et al., 2017). Moreover, the brain activity (EEG) of these participants was recorded while they performed a temporal predictability task. This task consisted in an oddball paradigm where standard (i.e., irrelevant tones) and deviant (i.e., relevant tones) sinusoidal tones were presented in isochronous (i.e., regular) and temporally random (i.e., irregular) sequences. Results indicated that individual differences in rhythmic abilities are reflected in electrophysiological markers of temporal predictability. Across all participants, improved sensorimotor abilities were associated with smaller amplitudes of the P50 auditory evoked potential to standard tones, suggesting increased inhibition of irrelevant stimuli. Moreover, the amplitude of the N100 component serve as a potential marker of the ability to process stimuli deviance. Indeed, individuals with good rhythm abilities have less negative amplitudes of N100 for deviant tones presented in the isochronous sequence, suggesting enhanced discrimination of deviant tones. Altogether, these findings add to our understanding of the processes underlying individual differences in rhythmic abilities

Model predictive control techniques for hybrid systems

This paper describes the main issues encountered when applying model predictive control to hybrid processes. Hybrid model predictive control (HMPC) is a research field non-fully developed with many open challenges. The paper describes some of the techniques proposed by the research community to overcome the main problems encountered. Issues related to the stability and the solution of the optimization problem are also discussed. The paper ends by describing the results of a benchmark exercise in which several HMPC schemes were applied to a solar air conditioning plant.Ministerio de Eduación y Ciencia DPI2007-66718-C04-01Ministerio de Eduación y Ciencia DPI2008-0581

Backwards is the way forward: feedback in the cortical hierarchy predicts the expected future

Clark offers a powerful description of the brain as a prediction machine, which offers progress on two distinct levels. First, on an abstract conceptual level, it provides a unifying framework for perception, action, and cognition (including subdivisions such as attention, expectation, and imagination). Second, hierarchical prediction offers progress on a concrete descriptive level for testing and constraining conceptual elements and mechanisms of predictive coding models (estimation of predictions, prediction errors, and internal models)

A general procedure to measure the pacing of body movements timed to music and metronome in younger and older adults

© The Author(s) 2021. This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/.Finger-tapping tasks are classically used to investigate sensorimotor synchronization in relation to neutral auditory cues, such as metronomes. However, music is more commonly associated with an entrained bodily response, such as toe tapping, or dancing. Here we report an experimental procedure that was designed to bridge the gap between timing and intervention studies by directly comparing the effects of metronome and musical cue types on motor timing abilities across the three naturalistic voluntary actions of finger tapping, toe tapping, and stepping on the spot as a simplified case of whole body movement. Both pacing cues were presented at slow, medium, and fast tempi. The findings suggested that the task of stepping on the spot enabled better timing performances than tapping both in younger and older adults (75+). Timing performances followed an inverse U shape with best performances observed in the medium tempi that were set close to the spontaneous motor tempo in each movement type. Finally, music provided an entrainment effect in addition to pace setting that enabled better motor timing and greater stability than classically reported using a metronome. By applying time-stamp analyses to kinetic data, we demonstrate that tapping and stepping engage different timing modes. This work details the importance of translational research for a better understanding of motor timing. It offers a simple procedure that strengthens the validity of applying academic work and contributes in knowledge towards a wide range of therapeutic interventions.Peer reviewe

Neural Entrainment is Associated with Subjective Groove and Complexity for Performed but not Mechanical Musical Rhythms

Both movement and neural activity in humans can be entrained by the regularities of an external stimulus, such as the beat of musical rhythms. Neural entrainment to auditory rhythms supports temporal perception, and is enhanced by selective attention and by hierarchical temporal structure imposed on rhythms. However, it is not known how neural entrainment to rhythms is related to the subjective experience of groove (the desire to move along with music or rhythm), the perception of a regular beat, the perception of complexity, and the experience of pleasure. In two experiments, we used musical rhythms (from Steve Reich’s Clapping Music) to investigate whether rhythms that are performed by humans (with naturally variable timing) and rhythms that are mechanical (with precise timing), elicit differences in 1) neural entrainment, as measured by inter-trial phase coherence, and 2) subjective ratings of the complexity, preference, groove, and beat strength of rhythms. We also combined results from the two experiments to investigate relationships between neural entrainment and subjective perception of musical rhythms. We found that mechanical rhythms elicited a greater degree of neural entrainment than performed rhythms, likely due to the greater temporal precision in the stimulus, and the two types only elicited different ratings for some individual rhythms. Neural entrainment to performed rhythms, but not to mechanical ones, correlated with subjective desire to move and subjective complexity. These data therefore suggest multiple interacting influences on neural entrainment to rhythms, from low-level stimulus properties to high-level cognition and perception