Investigating the build-up of precedence effect using reflection masking

The auditory processing level involved in the build‐up of precedence [Freyman et al., J. Acoust. Soc. Am. 90, 874–884 (1991)] has been investigated here by employing reflection masked threshold (RMT) techniques. Given that RMT techniques are generally assumed to address lower levels of the auditory signal processing, such an approach represents a bottom‐up approach to the buildup of precedence. Three conditioner configurations measuring a possible buildup of reflection suppression were compared to the baseline RMT for four reflection delays ranging from 2.5–15 ms. No buildup of reflection suppression was observed for any of the conditioner configurations. Buildup of template (decrease in RMT for two of the conditioners), on the other hand, was found to be delay dependent. For five of six listeners, with reflection delay=2.5 and 15 ms, RMT decreased relative to the baseline. For 5‐ and 10‐ms delay, no change in threshold was observed. It is concluded that the low‐level auditory processing involved in RMT is not sufficient to realize a buildup of reflection suppression. This confirms suggestions that higher level processing is involved in PE buildup. The observed enhancement of reflection detection (RMT) may contribute to active suppression at higher processing levels

Characteristics of group oral interactions performed by Japanese learners of English

制度:新 ; 報告番号:甲3400号 ; 学位の種類:博士(教育学) ; 授与年月日:2011/7/26 ; 早大学位記番号:新572

Ultra-high-speed imaging of bubbles interacting with cells and tissue

Ultrasound contrast microbubbles are exploited in molecular imaging, where bubbles are directed to target cells and where their high-scattering cross section to ultrasound allows for the detection of pathologies at a molecular level. In therapeutic applications vibrating bubbles close to cells may alter the permeability of cell membranes, and these systems are therefore highly interesting for drug and gene delivery applications using ultrasound. In a more extreme regime bubbles are driven through shock waves to sonoporate or kill cells through intense stresses or jets following inertial bubble collapse. Here, we elucidate some of the underlying mechanisms using the 25-Mfps camera Brandaris128, resolving the bubble dynamics and its interactions with cells. We quantify acoustic microstreaming around oscillating bubbles close to rigid walls and evaluate the shear stresses on nonadherent cells. In a study on the fluid dynamical interaction of cavitation bubbles with adherent cells, we find that the nonspherical collapse of bubbles is responsible for cell detachment. We also visualized the dynamics of vibrating microbubbles in contact with endothelial cells followed by fluorescent imaging of the transport of propidium iodide, used as a membrane integrity probe, into these cells showing a direct correlation between cell deformation and cell membrane permeability

An original composition, Symphony No. 1, and the realization of Western and Japanese influences in Takemitsu\u27s November Steps

This dissertation is in two parts. Part one is an original composition, Symphony No. 1 and is inspired by different aspects of Japanese culture. Part two is an analysis of Tõru Takemitsu’s November Steps, which is scored for orchestra and the traditional Japanese instruments, biwa and shakuhachi. The first movement of Symphony No. 1 is entitled Rashõmon and is based on the structure of the 1951 Akira Kurosawa film. The harmonic language is primarily polytonal and is based on the octatonic scale. The second movement is entitled For a Person of a Floating World. Its form is derived from the 5-7-5 syllabic structure of haiku poetry. The harmonic language consists of contrasting pentatonic and whole-tone derived sonorities. The third and fourth movements are inspired by Katsushika Hokusai’s woodblock print The Great Wave Off Kanagawa. The third movement serves as a prelude and is entitled The Darkening Sky. The last movement is entitled The Great Wave Off Kanagawa and utilizes the percussion section to emulate a Japanese taiko drum ensemble. Both movements utilize transpositions of a symmetrical scale consisting of two [025] trichords (C-D-F / F#-G#-B). Part two is an analysis of November Steps and emphasizes the realization of Japanese and Western influences in the composition. It is divided into seven chapters. The first chapter is an introduction. The second chapter is a biography of the composer. The third chapter deals with the Western composers who have had the most profound influence on Takemitsu. The fourth chapter explores Japanese aesthetic concepts which are central to Takemitsu’s music. The fifth chapter discusses the biwa and shakuhachi. The sixth chapter analyzes November Steps. The introduction explains Takemitsu’s aesthetic approach. Next, previous analyses are described. The third section deals with Takemitsu’s notation for the biwa and shakuhachi. Next, Takemitsu’s orchestral seating plan is discussed. The next two sections analyze how November Step’s form is generated from stratified gestures which accumulate and dissipate over time. The last section explores how the Japanese aesthetic concepts of ma and cyclical time are realized in the composition. The seventh chapter is a conclusion