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

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

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

Obese patients after gastric bypass surgery have lower brain-hedonic responses to food than after gastric banding

Objectives Roux-en-Y gastric bypass (RYGB) has greater efficacy for weight loss in obese patients than gastric banding (BAND) surgery. We hypothesise that this may result from different effects on food hedonics via physiological changes secondary to distinct gut anatomy manipulations. Design We used functional MRI, eating behaviour and hormonal phenotyping to compare body mass index (BMI)-matched unoperated controls and patients after RYGB and BAND surgery for obesity. Results Obese patients after RYGB had lower brain-hedonic responses to food than patients after BAND surgery. RYGB patients had lower activation than BAND patients in brain reward systems, particularly to high-calorie foods, including the orbitofrontal cortex, amygdala, caudate nucleus, nucleus accumbens and hippocampus. This was associated with lower palatability and appeal of high-calorie foods and healthier eating behaviour, including less fat intake, in RYGB compared with BAND patients and/or BMI-matched unoperated controls. These differences were not explicable by differences in hunger or psychological traits between the surgical groups, but anorexigenic plasma gut hormones (GLP-1 and PYY), plasma bile acids and symptoms of dumping syndrome were increased in RYGB patients. Conclusions The identification of these differences in food hedonic responses as a result of altered gut anatomy/physiology provides a novel explanation for the more favourable long-term weight loss seen after RYGB than after BAND surgery, highlighting the importance of the gut–brain axis in the control of reward-based eating behaviour

A Melodic Contour Repeatedly Experienced by Human Near-Term Fetuses Elicits a Profound Cardiac Reaction One Month after Birth

Human hearing develops progressively during the last trimester of gestation. Near-term fetuses can discriminate acoustic features, such as frequencies and spectra, and process complex auditory streams. Fetal and neonatal studies show that they can remember frequently recurring sounds. However, existing data can only show retention intervals up to several days after birth.Here we show that auditory memories can last at least six weeks. Experimental fetuses were given precisely controlled exposure to a descending piano melody twice daily during the 35(th), 36(th), and 37(th) weeks of gestation. Six weeks later we assessed the cardiac responses of 25 exposed infants and 25 naive control infants, while in quiet sleep, to the descending melody and to an ascending control piano melody. The melodies had precisely inverse contours, but similar spectra, identical duration, tempo and rhythm, thus, almost identical amplitude envelopes. All infants displayed a significant heart rate change. In exposed infants, the descending melody evoked a cardiac deceleration that was twice larger than the decelerations elicited by the ascending melody and by both melodies in control infants.Thus, 3-weeks of prenatal exposure to a specific melodic contour affects infants 'auditory processing' or perception, i.e., impacts the autonomic nervous system at least six weeks later, when infants are 1-month old. Our results extend the retention interval over which a prenatally acquired memory of a specific sound stream can be observed from 3-4 days to six weeks. The long-term memory for the descending melody is interpreted in terms of enduring neurophysiological tuning and its significance for the developmental psychobiology of attention and perception, including early speech perception, is discussed