18,883 research outputs found
The spike train statistics for consonant and dissonant musical accords
The simple system composed of three neural-like noisy elements is considered.
Two of them (sensory neurons or sensors) are stimulated by noise and periodic
signals with different ratio of frequencies, and the third one (interneuron)
receives the output of these two sensors and noise. We propose the analytical
approach to analysis of Interspike Intervals (ISI) statistics of the spike
train generated by the interneuron. The ISI distributions of the sensory
neurons are considered to be known. The frequencies of the input sinusoidal
signals are in ratios, which are usual for music. We show that in the case of
small integer ratios (musical consonance) the input pair of sinusoids results
in the ISI distribution appropriate for more regular output spike train than in
a case of large integer ratios (musical dissonance) of input frequencies. These
effects are explained from the viewpoint of the proposed theory.Comment: 22 pages, 6 figure
Speculations on a privileged state of cognitive dissonance
This paper examines two commonly held and conflicting cognitions in the modern world, each based on a belief vital to the individual's sense of self, both maintained in what is here considered as a chronic state of dissonance. This psychological inconsistency consists of an inherent practical belief in the goodness of empirical knowledge and a culturally-developed transcendent belief denying, or at least mitigating, empirical evidence about the finite nature of individual life and affirming a counter-empirical belief in supernatural: supra-cause-and-effect forces that influence life. I argue that since both beliefs are highly resistant to change, they lead to an impasse that individuals in diverse cultures have borne and been motivated to maintain. They have borne it, as I hope to show, because the consonant “cure” has proved to be more discomforting than the dissonant condition. \ud
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Plug-in to fear: game biosensors and negative physiological responses to music
The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience
The perception of melodic consonance: an acoustical and neurophysiological explanation based on the overtone series
The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form "flow lines" that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a model for how the auditory system judges melodic consonance, which is used to algorithmically construct melodic sequences of tones
The influence of affect on attitude
Priests of the medieval Catholic Church understood something about the relationship between affect and attitude. To instill the proper attitude in parishioners, priests dramatized the power of liturgy to save them from Hell in a service in which the experience of darkness and fear gave way to light and familiar liturgy. These ceremonies “were written and performed so as to first arouse and then allay anxieties and fears ” (Scott, 2003, p. 227): The service usually began in the dark of night with the gothic cathedral’s nave filled with worship-pers cast into total darkness. Terrifying noises, wailing, shrieks, screams, and clanging of metal mimicked the chaos of hell, giving frightened witnesses a taste of what they could expect if they were tempted to stray. After a prolonged period of this imitation of hell, the cathedral’s interior gradually became filled with the blaze of a thousand lights. As the gloom diminished, cacophony was supplanted by the measured tones of Gregorian chants and polyphony. Light and divine order replaced darkness and chaos (R. Scott, personal correspondence, March 15, 2004). This ceremony was designed to buttress beliefs by experience and to transfigure abstractions into attitudes. In place of merely hearing about “the chaos and perdition of hell that regular performances of liturgy were designed to hold in check ” (Scott, 2003), parishioners shoul
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