Audio Features Affected by Music Expressiveness

Within a Music Information Retrieval perspective, the goal of the study presented here is to investigate the impact on sound features of the musician's affective intention, namely when trying to intentionally convey emotional contents via expressiveness. A preliminary experiment has been performed involving $10$ tuba players. The recordings have been analysed by extracting a variety of features, which have been subsequently evaluated by combining both classic and machine learning statistical techniques. Results are reported and discussed.Comment: Submitted to ACM SIGIR Conference on Research and Development in Information Retrieval (SIGIR 2016), Pisa, Italy, July 17-21, 201

(Anti-)deuteron production in pp collisions at 1as=13TeV

The study of (anti-)deuteron production in pp collisions has proven to be a powerful tool to investigate the formation mechanism of loosely bound states in high-energy hadronic collisions. In this paper the production of (anti-)deuterons is studied as a function of the charged particle multiplicity in inelastic pp collisions at s=13 TeV using the ALICE experiment. Thanks to the large number of accumulated minimum bias events, it has been possible to measure (anti-)deuteron production in pp collisions up to the same charged particle multiplicity (d Nch/ d \u3b7 3c 26) as measured in p\u2013Pb collisions at similar centre-of-mass energies. Within the uncertainties, the deuteron yield in pp collisions resembles the one in p\u2013Pb interactions, suggesting a common formation mechanism behind the production of light nuclei in hadronic interactions. In this context the measurements are compared with the expectations of coalescence and statistical hadronisation models (SHM)

Caractérisation du timbre des sons complexes.II. Analyses acoustiques et quantification psychophysique

A timbre space represents the mental organization of sound events at equal pitch, loudness, and duration. The geometric distance between two timbres corresponds to their degree of perceived dissimilarity. The dimensions of such a three-dimensional space, established by Krumhansl [1] for a set of 21 synthesized sounds, were investigated with respect to their acoustic characteristics. Several acoustical parameters based on the temporal and frequency properties of the sounds were calculated. The high degree of correlation of several parameters with the perceptual axes lend support to previous interpretations of the qualitative character of two perceptual dimensions and their semantic attributes. The perceptual dimensions "brightness" and "rapidity of attack" turn out to be quantitatively explainable by the center of gravity of the sound spectrum (CGS) and the rise time on a logarithmic scale (LTM), respectively. The third dimension, initially called "spectral flux" corresponds partially to the standard deviation of the time-averaged harmonic amplitudes from a spectral envelope (IRR). A new verbal descritor, "spectral fine structure" seems to fit better with the results of acoustic analyses

PERCEPTUAL SCALING OF SYNTHESIZED MUSICAL TIMBRES - COMMON DIMENSIONS, SPECIFICITIES, AND LATENT SUBJECT CLASSES.

International audienceTo study the perceptual structure of musical timbre and the effects of musical training, timbral dissimilarities of synthesized instrument sounds were rated by professional musicians, amateur musicians, and nonmusicians. The data were analyzed with an extended version of the multidimensional scaling algorithm CLASCAL (Winsberg & De Soete, 1993), which estimates the number of latent classes of subjects, the coordinates of each timbre on common Euclidean dimensions, a specificity value of unique attributes for each timbre, and a separate weight for each latent class on each of the common dimensions and the set of specificities. Five latent classes were found for a three-dimensional spatial model with specificities. Common dimensions were quantified psychophysically in terms of log-rise time, spectral centroid, and degree of spectral variation. The results further suggest that musical timbres possess specific attributes not accounted for by these shared perceptual dimensions. Weight patterns indicate that perceptual salience of dimensions and specificities varied across classes. A comparison of class structure with biographical factors associated with degree of musical training and activity was not clearly related to the class structure, though musicians gave more precise and coherent judgments than did non-musicians or amateurs. The model with latent classes and specificities gave a better fit to the data and made the acoustic correlates of the common dimensions more interpretable