scholarly journals Hebbian learning with elasticity explains how a musician’s spontaneous motor tempo affects periodic synchronization

2020 ◽  
Author(s):  
Iran R Roman ◽  
Adrian S Roman ◽  
Edward W. Large
Keyword(s):  
Natural Frequency ◽  
Hebbian Learning ◽  
Music Performance ◽  
Stimulus Frequency ◽  
Musical Performance ◽  
Adaptive Synchronization ◽  
Behavioral Studies ◽  
The Difference ◽  
Pulling Force ◽  
Musical Tempo

3.1AbstractMusic has a tempo (or frequency of the underlying beat) that musicians maintain throughout a performance. Musicians maintain this musical tempo on their own or paced by a metronome. Behavioral studies have found that each musician shows a spontaneous rate of movement, called spontaneous motor tempo (SMT), which can be measured when a musician spontaneously plays a simple melody. Data shows that a musician’s SMT systematically influences how actions align with the musical tempo. In this study we present a model that captures this phenomenon. To develop our model, we review the results from three musical performance settings that have been previously published: (1) solo musical performance with a pacing metronome tempo that is different from the SMT, (2) solo musical performance without a metronome at a spontaneous tempo that is faster or slower than the SMT, and (3) duet musical performance between musician pairs with matching and mismatching SMTs. In the first setting, the asynchrony between the pacing metronome and the musician’s tempo grew as a function of the difference between the metronome tempo and the musician’s SMT. In the second setting, musicians drifted away from the initial spontaneous tempo toward the SMT. And in the third setting, the absolute asynchronies between performing musicians were smaller if their SMTs matched compared to when they did not. Based on these previous observations, we hypothesize that, while musicians can perform musical actions at a tempo different from their SMT, the SMT constantly acts as a pulling force. We developed a model to test our hypothesis. The model is an oscillatory dynamical system with Hebbian and elastic tempo learning that simulates music performance. We simulate an individual’s SMT with the dynamical system’s natural frequency. Hebbian learning lets the system’s frequency adapt to match the stimulus frequency. The pulling force is simulated with an elasticity term that pulls the learned frequency toward the system’s natural frequency. We used this model to simulate the three music performance settings, replicating behavioral results. Our model also lets us make predictions of musician’s performance not yet tested. The present study offers a dynamical explanation of how an individual’s SMT affects adaptive synchronization in realistic musical performance.

scholarly journals Logarithmic distributions prove that intrinsic learning is Hebbian

F1000Research ◽  
2017 ◽  
Vol 6 ◽  
pp. 1222 ◽  
Author(s):  
Gabriele Scheler
Keyword(s):  
Adaptive Learning ◽  
Hebbian Learning ◽  
Neural Model ◽  
Intrinsic Excitability ◽  
Logarithmic Scale ◽  
Brain Areas ◽  
Lognormal Distributions ◽  
Learning Rules ◽  
Heavy Tailed ◽  
The Difference

In this paper, we present data for the lognormal distributions of spike rates, synaptic weights and intrinsic excitability (gain) for neurons in various brain areas, such as auditory or visual cortex, hippocampus, cerebellum, striatum, midbrain nuclei. We find a remarkable consistency of heavy-tailed, specifically lognormal, distributions for rates, weights and gains in all brain areas examined. The difference between strongly recurrent and feed-forward connectivity (cortex vs. striatum and cerebellum), neurotransmitter (GABA (striatum) or glutamate (cortex)) or the level of activation (low in cortex, high in Purkinje cells and midbrain nuclei) turns out to be irrelevant for this feature. Logarithmic scale distribution of weights and gains appears to be a general, functional property in all cases analyzed. We then created a generic neural model to investigate adaptive learning rules that create and maintain lognormal distributions. We conclusively demonstrate that not only weights, but also intrinsic gains, need to have strong Hebbian learning in order to produce and maintain the experimentally attested distributions. This provides a solution to the long-standing question about the type of plasticity exhibited by intrinsic excitability.

scholarly journals Empathy as a Tool for Embodiment Processes in Vocal Performance

2015 ◽  
Vol 10 (1-2) ◽  
pp. 104 ◽  
Author(s):  
Erin Heisel
Keyword(s):  
Art Song ◽  
Music Performance ◽  
Musical Performance ◽  
Vocal Performance ◽  
Preparation Process ◽  
Healthy Habits ◽  
Role Preparation ◽  
Moral Convictions

One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions?  This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.

Analysis of Stress Distribution for Powder Compression Molding by Finite Element Method

2019 ◽  
Vol 891 ◽  
pp. 269-274 ◽  
Author(s):  
Prakorb Chartpuk ◽  
Chaiwat Chaimahapuk
Keyword(s):  
Stress Distribution ◽  
Natural Frequency ◽  
Ceramic Powder ◽  
Bearing Steel ◽  
Outer Diameter ◽  
Maximum Compression ◽  
Aisi 52100 ◽  
Steel Aisi ◽  
The Difference ◽  
Powder Compression

The ultrasonic mold was designed for the ceramic powder compression. CAD and CAE were used in the design to analyze the mold strength and its natural frequency. The study of stress distribution and compression in upper and lower punch, mold body and waveguide comparison of stresses was analyzed by FEA experiments under maximum compression at 50,000 N to validate the results of both methods and the mold natural frequency. The difference between FEA and experimental analysis was 3-7%, acceptable. The redesign results in a cylindrical mold body with the outer diameter of 80 mm, the height of 100 mm, and the upper punch of 125 mm in length. The six sides are 26 mm of the high waveguide with 100 mm height. The internal and external diameters are 80 and 110 mm, respectively. The mold has been redesigned and can support the maximum compression force of 1,500 kN. with the bearing steel, AISI 52100, obtainable hardness 65 HRC, the stress concentration occurs at the neck of the upper punch using the ultrasonic at 12.00 to 12.45 kHz.

Responding to performers

2017 ◽  
Author(s):  
Sinéad O’Neill ◽  
John Sloboda
Keyword(s):  
Music Performance ◽  
Musical Performance ◽  
Multiple Relationships ◽  
Social Phenomenon ◽  
Structural Elements ◽  
Creative Performance ◽  
Peak Experiences ◽  
Creative Practice ◽  
Performance Space ◽  
Different Levels

Musical performance is an irreducibly social phenomenon, manifested through the multiple relationships between performers and audience. In live contexts, the nature and meaning of performance encompass the two-way interplay between performers and audience. This chapter surveys a range of research, from the philosophical to the empirical, into the parameters of this interplay, both during and after performances, focusing most specifically on those aspects that have implications for the creative practice of the musician. These aspects go beyond sound parameters to features of the performance often seen as ‘extra-musical’, such as the visual and gestural aspects of performance, the architecture of the performance space and perceived norms of behaviour within the concert context. Consideration is given to how these elements contribute to different levels of experience, from the ‘basic’ appreciation of structural elements through to the ‘peak’ experiences which music performance sometimes engenders. Also considered is audience feedback, both formal and informal, and how it may have an impact on creative performance.

Comparison of evolutionary techniques for the optimization of machining fixture layout under dynamic conditions

2017 ◽  
Vol 232 (12) ◽  
pp. 2145-2158 ◽  
Author(s):  
M Sabareeswaran ◽  
KP Padmanaban ◽  
KA Sundararaman
Keyword(s):  
Genetic Algorithm ◽  
Particle Swarm Optimization ◽  
Natural Frequency ◽  
End Milling ◽  
Excitation Frequency ◽  
Particle Swarm ◽  
Machining Accuracy ◽  
Swarm Optimization ◽  
Fixture Layout ◽  
The Difference

Modern manufacturing industries are striving to improve the machining accuracy and productivity to reduce the rejection rate and unit cost of the machined parts. The properly designed fixture layout enables the designer to minimize the vibration so that the requisite machining accuracy can be achieved. During machining, especially in end milling, the intermittent engagement of multitooth cutter induces vibration on the workpiece. When the excitation frequency of multitooth cutter coincides with any one of the natural frequencies of the fixtured workpiece, it leads to the condition of resonance. The vibration increases under these circumstances, which degrades the machining accuracy and surface finish of the machined workpiece. Hence, the issues related to the design of fixture layout are to be addressed by recognizing the dynamic behavior of the fixture–workpiece system. In this research paper, finite element method is utilized to simulate the end milling operation and to determine the natural frequency of the workpiece. The main focus is to maximize the difference between natural frequency of the fixtured workpiece and excitation frequency of the cutter to minimize the vibration on the workpiece. Two different evolutionary techniques genetic algorithm and particle swarm optimization are employed to maximize the difference between these frequencies by optimizing the machining fixture layout. The performance of genetic algorithm and particle swarm optimization on the fixture layout optimization is compared. The comparison of results concludes that particle swarm optimization is the most appropriate approach than the genetic algorithm in achieving the better results.

scholarly journals Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
Emotional Memory ◽  
Musical Performance ◽  
Music Pedagogy ◽  
Target Level ◽  
Structural Components ◽  
Effective Work

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level. 

scholarly journals Fast muscle in squid (Loligo pealei): contractile properties of a specialized muscle fibre type

2002 ◽  
Vol 205 (13) ◽  
pp. 1907-1916 ◽  
Author(s):  
William M. Kier ◽  
Nancy A. Curtin
Keyword(s):  
Muscle Fibre ◽  
Stimulus Frequency ◽  
Thick Filament ◽  
Filament Length ◽  
Shortening Velocity ◽  
Muscle Types ◽  
The Mean ◽  
The Difference ◽  
Loligo Pealei ◽  
Tetanic Tension

SUMMARYThe contractile properties of the transverse muscle of the tentacles and the transverse muscle of the arms of the squid Loligo pealei were investigated using small muscle fibre bundle preparations. In addition,transmission electron microscopy was used to measure the length of the thick myofilaments of the two muscle fibre types. The thick filament length of the cross-striated tentacle fibres was 0.81±0.08 μm (mean ± S.D, N=51) while that of the obliquely striated arm muscle fibres was 7.41±0.44 μm (N=58). The difference in thick filament length of the two muscle types was predicted to result in a much higher shortening velocity of the tentacle muscle compared with the arm muscle. This was tested by investigating the force/velocity relationship for isotonic shortening of the two muscle types. Fitting Hill's equation to the results gave a maximum shortening velocity (Vmax, the intercept on the velocity axis) of 15.4±1.0 L0 s-1(mean ± S.D., N=9) for the tentacle fibres and of 1.5±0.2 L0 s-1 (N=8) for the arm fibres, where L0 is the length at which peak isometric force was recorded. The difference in thick filament length was also predicted to result in lower peak tension in the tentacle versus the arm muscle. For the tentacle, the mean peak tetanic tension during a brief isometric tetanus (0.2s) of 131±56 mN mm-2 cross-sectional area (mean ± S.D., N=12) was observed at a stimulus frequency of 80 Hz, whereas the mean peak tetanic tension of the arm fibres during a brief isometric tetanus (0.2s) was 468±91 mN mm-2(N=5) and was observed at a stimulus frequency of 160 Hz. The length/force relationships (expressed relative to L0) of the two muscle types were similar. The ratio of twitch force to peak tetanic force was 0.66 in the tentacle fibres, but only 0.03 in the arm fibres.

‘He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost

Popular Music ◽  
2018 ◽  
Vol 37 (2) ◽  
pp. 175-192
Author(s):  
Catherine Hoad
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Music Performance ◽  
Musical Performance ◽  
Primary Case

AbstractUsing Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members’ ‘real’ identities from their musical performance complicates traditional modes of ‘knowing’ the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies. Such projections are integral to the ways in which masking allows performers to mobilise and sustain their connections to audiences, who themselves become complicit in the maintenance of anonymity. This article thus considers how masks might challenge established notions of popular music performance, celebrity and authenticity, particularly within heavy metal contexts, and investigates how masks, rather than de-identifying a performer, can invite intimate connections among musicians and audiences.

scholarly journals Gaya Bernyanyi dengan Teknik Bel Canto: (Re)Konstruksi Subjektivitas Penyanyi Perempuan dalam Pertunjukan Musik

2013 ◽  
Vol 11 (2) ◽  
Author(s):  
Susi Gustina ◽  
Timbul Haryono ◽  
G.R. Lono L. Simatupang ◽  
Triyono Bramantyo
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Feminist Perspective ◽  
Bel Canto ◽  
Subjective Experiences ◽  
Cultural Perception ◽  
Research Questions ◽  
Music Genre ◽  
The Difference ◽  
Western Classical Music

Bel Canto Singing Technique. This article attempting to understand the subjectivity of a woman singer in musicperformance. The poststructuralist feminist perspective is used to focus on the historical and cultural backgroundof the woman’s experiences. Based on the perspective, the research questions refer to: 1) the application of womansinger’s knowledge and cultural perception in songs reproduction so that she can (re)construct her subjectivity; and2) the intention of woman singer to use Western classical music or seriosa in music performance. The life historymethod is used to understand all the subjective experiences of woman singer based on her perspective. The fi ndingsof this research are: 1) subjectivity (re)construction of a woman singer is depend on her knowledge and culturalperception so that her subjectivity is differ from others; and 2) the difference that a woman singer do in musicperformance is related to her intention, i.e. to struggle a music genre that she loves since in the early of her life.

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