New tonalities with the Thummer and The Viking

In this paper we explain the theoretical background of Dynamic Tonality using the Thummer, a new musical interface, and The Viking, a software synthesizer written especially for it. Dynamic Tonality is a musical audio routine that allows for novel tunings and enables the user to relate – to an arbitrary degree – these tunings with the partials of their notes. The Viking features Dynamic Tonality and works with any MIDI instrument, but when paired with the Thummer (or another two-dimensional interface) it creates a system of fingering invariance across chords and tunings. Thus, the Thummer and The Viking render non-standard tunings more physically, pedagogically, and aesthetically accessible

Adaptive Music Generation for Computer Games

This dissertation explores a novel approach to game music that addresses the limitations of conventional game music systems in supporting a dynamically changing narrative. In the proposed approach, the music is generated automatically based on a set of variable input parameters corresponding to emotional musical features. These are then tied to narrative parameters in the game, so that the features and emotions of the music are perceived to continuously adapt to the game's changing narrative. To investigate this approach, an algorithmic music generator was developed which outputs a stream of chords based on several input parameters. The parameters control different aspects of the music, including the transition matrix of a Markov model used to stochastically generate the chords, and can be adjusted continuously in real time. A tense first-person game was then configured to control the generator's input parameters to reflect the changing tension of its narrative---for example, as the narrative tension of the game increases, the generated music becomes more dissonant and the tempo increases. The approach was empirically evaluated primarily by having participants play the game under a variety of conditions, comparing them along several subjective dimensions. The participants' skin conductance was also recorded. The results indicate that the condition with the dynamically varied music described above was both rated and felt as the most tense and exciting, and, for participants who said they enjoy horror games and films, also rated as the most preferable and fun. Another study with music experts then demonstrated that the proposed approach produced smoother musical transitions than crossfades, the approach conventionally used in computer games. Overall, the findings suggest that dynamic music can have a significant positive impact on game experiences, and that generating it algorithmically based on emotional musical features is a viable and effective approach

Spectral pitch distance and microtonal melodies

We present an experiment designed to test the effectiveness of spectral pitch distance at modeling the degree of “affinity” or “fit” of pairs of successively played tones or chords (spectral pitch distance is the cosine distance between salience-weighted, Gaussian-smoothed, pitch domain embeddings of spectral pitches—typically the first eight to ten partials of a tone). The results of a previously conducted experiment, which collected ratings of the perceived similarity and fit of root-position major and minor triads, suggest the model works well for pairs of triads in standard 12-tone equal temperament tunings. The new experiment has been designed to test the effectiveness of spectral pitch distance at modeling the affinity of tones in microtonal melodies where the partials of the tones can be variably tempered between being perfectly harmonic and perfectly matched to the underlying microtonal tuning. The use of microtonal tunings helps to disambiguate innate perceptual (psychoacoustical) responses from learned (cultural) responses. Participants are presented with a software synthesizer containing two unlabeled controls: one adjusts the precise tuning of the tones; the other adjusts the extent to which the spectrum is tempered to match the tuning (as set by the first control). A selection of microtonal melodies are played in different tunings, and the participants adjust one, or both, controls until they find a “sweet spot” at which the music sounds most “in-tune” and the notes best “fit” together. The results of these experiments will be presented and discussed

Hex Player—a virtual musical controller

In this paper, we describe a playable musical interface for tablets and multi-touch tables. The interface is a generalized keyboard, inspired by the Thummer, and consists of an array of virtual buttons. On a generalized keyboard, any given interval always has the same shape (and therefore fingering); furthermore, the fingering is consistent over a broad range of tunings. Compared to a physical generalized keyboard, a virtual version has some advantages—notably, that the spatial location of the buttons can be transformed by shears and rotations, and their colouring can be changed to reflect their musical function in different scales. We exploit these flexibilities to facilitate the playing not just of conventional Western scales but also a wide variety of microtonal generalized diatonic scales known as moment of symmetry, or well-formed, scales. A user can choose such a scale, and the buttons are automatically arranged so their spatial height corresponds to their pitch, and buttons an octave apart are always vertically above each other. Furthermore, the most numerous scale steps run along rows, while buttons within the scale are light-coloured, and those outside are dark or removed. These features can aid beginners; for example, the chosen scale might be the diatonic, in which case the piano’s familiar white and black colouring of the seven diatonic and five chromatic notes is used, but only one scale fingering need ever be learned (unlike a piano where every key needs a different fingering). Alternatively, it can assist advanced composers and musicians seeking to explore the universe of unfamiliar microtonal scales

Methodological approaches to the evaluation of game music systems

Despite an emerging interest in the application of dynamic computer music systems to computer games, currently there are no commonly accepted approaches to empirically evaluating game music systems. In this paper we pose four questions that researchers could assess in order to evaluate different aspects of a game music system. They focus on the music's effect on the game playing experience (whether the music leads to a more enjoyable experience, and whether it affects the player in the intended way during the game), and how the music itself is perceived (whether it reaches a certain aesthetic standard, and whether it accurately conveys the intended narrative). We examine each of these questions in turn, for each one establishing a theoretical background as well as reviewing and comparing relevant research methodologies in order to show how it could be addressed in practice

Algorithmic music as intelligent game music

Current game music systems typically involve the playback of prerecorded audio tracks which are crossfaded in response to game events such as level changes. However, crossfading can limit the expressive power of musical transitions, and can make fine grained structural variations difficult to achieve. We therefore describe an alternative approach in which music is algorithmically generated based on a set of high-level musical features that can be controlled in real-time according to a player’s progression through a game narrative. We outline an implementation of the approach in an actual game, focusing primarily on how the music system traces the game’s emotional narrative by periodically querying certain narrative parameters and adjusting the musical features of its output accordingly

A MIDI sequencer that widens access to the compositional possibilities of novel tunings

We present a new Dynamic Tonality MIDI sequencer, Hex, that aims to make sequencing music in and across a large variety of novel tunings as straightforward as sequencing in twelve-tone equal temperament. It replaces the piano roll used in conventional MIDI sequencers with a two-dimensional lattice roll in order to enable the intuitive visualization and dynamic manipulation of tuning. In conventional piano roll sequencers, a piano keyboard is displayed on the left side of the window, and white and black note lanes extend horizontally to the right, into which a user can draw a sequence of notes. Similarly, in Hex, a button lattice is displayed in its own pane on the left side of the window, and horizontal lines are drawn from the center of each note to the right. These lines function as generalized note lanes, just like in piano roll sequencers, but with the added benefit that each note lane's height is always proportional to its pitch, even if the user changes the tuning. The presence of the button lattice on the left side of the window illustrates exactly which buttons a performer would play in order to replicate the sequence when playing a physical button lattice instrument

Spectral tools for Dynamic Tonality and audio morphing

The analysis-resynthesis method used by the spectral toolbox allows the independent control of both frequency and amplitude for every partial in a given sound. The spectral toolbox begins by separating the 'signal' from the 'noise' which allows the peaks in the spectrum to be treated differently from the wide-band components. The spectral mapping technology is used to map the input to a fixed destination spectrum G like the SpT.Ntet routine maps all partials of the input sound to scale steps of the N-tone equal tempered scale that can be used to create sounds that are particularly appropriate for use in a given N-TET scale. Spectral morphing generates sound that moves smoothly between a source spectrum F and a destination spectrum G over a specified time t. A Dynamic Tonality synthesizer like Trans-FormSynth has a small number of parameters that enable many musically useful, and relatively, unexplored features like the continuous parameters α,β and γ move the tuning between a number of equal temperaments, non-equal temperaments and circulating temperaments

Does Bypass of the Proximal Small Intestine Impact Food Intake, Preference, and Taste Function in Humans? An Experimental Medicine Study Using the Duodenal-Jejunal Bypass Liner

The duodenal-jejunal bypass liner (Endobarrier) is an endoscopic treatment for obesity and type 2 diabetes mellitus (T2DM). It creates exclusion of the proximal small intestine similar to that after Roux-en-Y Gastric Bypass (RYGB) surgery. The objective of this study was to employ a reductionist approach to determine whether bypass of the proximal intestine is the component conferring the effects of RYGB on food intake and sweet taste preference using the Endobarrier as a research tool. A nested mechanistic study within a large randomised controlled trial compared the impact of lifestyle modification with vs. without Endobarrier insertion in patients with obesity and T2DM. Forty-seven participants were randomised and assessed at several timepoints using direct and indirect assessments of food intake, food preference and taste function. Patients within the Endobarrier group lost numerically more weight compared to the control group. Using food diaries, our results demonstrated similar reductions of food intake in both groups. There were no significant differences in food preference and sensory, appetitive reward, or consummatory reward domain of sweet taste function between groups or changes within groups. In conclusion, the superior weight loss seen in patients with obesity and T2DM who underwent the Endobarrier insertion was not due to a reduction in energy intake or change in food preferences

Inhibition of T1/St2 during Respiratory Syncytial Virus Infection Prevents T Helper Cell Type 2 (Th2)- but Not Th1-Driven Immunopathology

T cells secreting interleukin (IL)-4 and IL-5 (T helper cell type 2 [Th2] cells) play a detrimental role in a variety of diseases, but specific methods of regulating their activity remain elusive. T1/ST2 is a surface ligand of the IL-1 receptor family, expressed on Th2- but not on interferon (IFN)-γ–producing Th1 cells. Prior exposure of BALB/c mice to the attachment (G) or fusion (F) protein of respiratory syncytial virus (RSV) increases illness severity during intranasal RSV challenge, due to Th2-driven lung eosinophilia and exuberant Th1-driven pulmonary infiltration, respectively. We used these polar models of viral illness to study the recruitment of T1/ST2 cells to the lung and to test the effects of anti-T1/ST2 treatment in vivo. T1/ST2 was present on a subset of CD4+ cells from mice with eosinophilic lung disease. Monoclonal anti-T1/ST2 treatment reduced lung inflammation and the severity of illness in mice with Th2 (but not Th1) immunopathology. These results show that inhibition of T1/ST2 has a specific effect on virally induced Th2 responses and suggests that therapy targeted at this receptor might be of value in treating Th2-driven illness