The Use of Intelligent Sensing Algorithm for Internet of Things and Hash Spatial Information Location Technology

This exploration is aimed at quickly obtaining the spatial position information of microseismic focal points and increasing the accuracy of microseismic rapid positioning, to take timely corresponding measures. A microseismic focal point location system completely different from the traditional microseismic location method is proposed. The search engine technology is introduced into the system, which can locate the microseismic focal point quickly and accurately. First, the propagation characteristics of microseismic signals in coal and rock layers are analyzed, and the focal position information is obtained. However, the collected microseismic signal of the coal mine contains noise, so it is denoised at first. Then, a waveform database is established for the denoised waveform data and focal point position. The structure and mathematical model of the location-sensitive hash (LSH) based on P stable distribution are introduced and improved, and the optimized algorithm multiprobe LSH is obtained. The microseismic location model is established according to the characteristics of microseismic data. The values of three parameters, hash table number, hash function family dimension, and interval size, are determined. The experimental data of the parameters of the search engine algorithm are analyzed. The results show that when the number of hash tables is 6, the dimension k of the hash function family is 14, and the interval size W is 8000, the retrieval time reaches a relatively small value, the recall rate reaches a large value, and the proportion of retrieved candidates is large; the parameters of the search engine algorithm of the measured coal mine microseismic data are analyzed. It is obtained that when the number of hash tables is 4, the dimension k of the hash function family is 6, and the interval size W is 500, the retrieval time reaches a relatively small value, the recall rate obtains a large value, and the proportion of retrieved candidates is large. The contents studied are of great significance to the evaluation of destructive mine earthquakes and impact risk.

Feel the music : crossmodal integration in music perception

n addition to auditory information, music perception often involves visual and vibrotactile information, making it an ideal domain through which to study cross-modal integration. Recent research has demonstrated a strong influence of visual information on auditory judgments concerning music. However, we have very little empirical information regarding integration of vibrotactile information in music. In Experiment 1, participants made judgments of interval size for unimodal presentations of melodic intervals in auditory, visual, and vibrotactile conditions. In Experiment 2, participants made judgments of interval size for cross-modal presentations of intervals comprised of stimuli presented in the three unimodal conditions of Experiment 1. In Experiment 3, participants were trained with vibrotactile stimuli to assess if learning benefits audio-vibrotactile integration in music perception. The results are discussed in light of differences in the extent of visual and vibrotactile influence on auditory judgments and the role of learning in cross-modal integration in music.

Feel the music : crossmodal integration in music perception

n addition to auditory information, music perception often involves visual and vibrotactile information, making it an ideal domain through which to study cross-modal integration. Recent research has demonstrated a strong influence of visual information on auditory judgments concerning music. However, we have very little empirical information regarding integration of vibrotactile information in music. In Experiment 1, participants made judgments of interval size for unimodal presentations of melodic intervals in auditory, visual, and vibrotactile conditions. In Experiment 2, participants made judgments of interval size for cross-modal presentations of intervals comprised of stimuli presented in the three unimodal conditions of Experiment 1. In Experiment 3, participants were trained with vibrotactile stimuli to assess if learning benefits audio-vibrotactile integration in music perception. The results are discussed in light of differences in the extent of visual and vibrotactile influence on auditory judgments and the role of learning in cross-modal integration in music.

An interval-size illusion: The influence of timbre on the perceived size of melodic intervals

In four experiments, we investigated the influence of timbre on perceived interval size. In Experiment 1, musically untrained participants heard two successive tones and rated the pitch distance between them. Tones were separated by six or seven semitones and varied in timbre. Pitch changes were accompanied by a congruent timbre change (e.g., ascending interval involving a shift from a dull to a bright timbre), an incongruent timbre change (e.g., ascending interval involving a shift from a bright to a dull timbre), or no timbre change. Ratings of interval size were strongly influenced by timbre. The six-semitone interval with a congruent timbre change was perceived to be larger than the seven-semitone interval with an incongruent timbre change (interval illusion). Experiment 2 revealed similar effects for musically trained participants. In Experiment 3, participants compared the size of two intervals presented one after the other. Effects of timbre were again observed, including evidence of an interval illusion. Experiment 4 confirmed that timbre manipulations did not distort the perceived pitch of tones. Changes in timbre can expand or contract the perceived size of intervals without distorting individual pitches. We discuss processes underlying interval size perception and their relation to pitch perception mechanisms.

An interval-size illusion: The influence of timbre on the perceived size of melodic intervals

In four experiments, we investigated the influence of timbre on perceived interval size. In Experiment 1, musically untrained participants heard two successive tones and rated the pitch distance between them. Tones were separated by six or seven semitones and varied in timbre. Pitch changes were accompanied by a congruent timbre change (e.g., ascending interval involving a shift from a dull to a bright timbre), an incongruent timbre change (e.g., ascending interval involving a shift from a bright to a dull timbre), or no timbre change. Ratings of interval size were strongly influenced by timbre. The six-semitone interval with a congruent timbre change was perceived to be larger than the seven-semitone interval with an incongruent timbre change (interval illusion). Experiment 2 revealed similar effects for musically trained participants. In Experiment 3, participants compared the size of two intervals presented one after the other. Effects of timbre were again observed, including evidence of an interval illusion. Experiment 4 confirmed that timbre manipulations did not distort the perceived pitch of tones. Changes in timbre can expand or contract the perceived size of intervals without distorting individual pitches. We discuss processes underlying interval size perception and their relation to pitch perception mechanisms.

Musical Intervals in Infants’ Spontaneous Crying over the First 4 Months of Life

<b><i>Introduction:</i></b> Perception and memorizing of melody and rhythm start about the third trimester of gestation. Infants have astonishing musical predispositions, and melody contour is most salient for them. <b><i>Objective:</i></b> To longitudinally analyse melody contour of spontaneous crying of healthy infants and to identify melodic intervals. The aim was 3-fold: (1) to answer the question whether spontaneous crying of healthy infants regularly exhibits melodic intervals across the observation period, (2) to investigate whether interval events become more complex with age and (3) to analyse interval size distribution. <b><i>Methods:</i></b> Weekly cry recordings of 12 healthy infants (6 females) over the first 4 months of life were analysed (6,130 cry utterances) using frequency spectrograms and pitch analyses (PRAAT). A preselection of utterances containing a well-identifiable, noise-free and undisturbed melodic contour was applied to identify and measure melodic intervals in the final subset of 3,114 utterances. Age-dependent frequency of occurrence of melodic intervals was statistically analysed using generalized estimating equations. <b><i>Results:</i></b> 85.3% of all preselected melody contours (<i>n</i> = 3,114) either contained single rising or falling melodic intervals or complex events as combinations of both. In total 6,814 melodic intervals were measured. A significant increase in interval occurrence was found characterized by a non-linear age effect (3 developmental phases). Complex events were found to significantly increase linearly with age. In both calculations, no sex effect was found. Interval size distribution showed a maximum of the minor second as the prevailing musical interval in infants’ crying over the first 4 months of life. <b><i>Conclusion:</i></b> Melodic intervals seem to be a regular phenomenon of spontaneous crying of healthy infants. They are suggested to be a further candidate for developing an early risk marker of vocal control in infants. Subsequent studies are needed to compare healthy infants and infants at risk for respiratory-laryngeal dysfunction to investigate the diagnostic value of the occurrence of melodic intervals and their age-depending complexification.

Vowel Content Influences Relative Pitch Perception in Vocal Melodies

Note-to-note changes in brightness are able to influence the perception of interval size. Changes that are congruent with pitch tend to expand interval size, whereas changes that are incongruent tend to contract. In the case of singing, brightness of notes can vary as a function of vowel content. In the present study, we investigated whether note-to-note changes in brightness arising from vowel content influence perception of relative pitch. In Experiment 1, three-note sequences were synthesized so that they varied with regard to the brightness of vowels from note to note. As expected, brightness influenced judgments of interval size. Changes in brightness that were congruent with changes in pitch led to an expansion of perceived interval size. A follow-up experiment confirmed that the results of Experiment 1 were not due to pitch distortions. In Experiment 2, the final note of three-note sequences was removed, and participants were asked to make speeded judgments of the pitch contour. An analysis of response times revealed that brightness of vowels influenced contour judgments. Changes in brightness that were congruent with changes in pitch led to faster response times than did incongruent changes. These findings show that the brightness of vowels yields an extra-pitch influence on the perception of relative pitch in song.

Forensic Speaker Comparison Using Evidence Interval in Full Bayesian Significance Test

This paper describes the application of a full Bayesian significance test (FBST) to compute evidence intervals in forensic speaker comparison (FSC). In the FBST approach, the challenge is to apply the test to a large number of observations and to formulate an equation to solve the test quickly. The contribution of the present work is that it proposes an application of the FBST to FSC and develops a method to calculate the FBST for the distribution of expected values (mean) with unknown variance without using Monte Carlo Markov chains (MCMC). Comparisons with other interval inference methodologies indicate that the evidence interval size is 49% greater than that computed with the Gosset approach. The evidence interval presented 71% fewer classification errors than the punctual inference did for the signal-to-noise ratio (SNR) of 17 dB.

“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity

Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

Vowel Content Influences Relative Pitch Perception in Vocal Melodies

Note-to-note changes in brightness are able to influence the perception of interval size. Changes that are congruent with pitch tend to expand interval size, whereas changes that are incongruent tend to contract. In the case of singing, brightness of notes can vary as a function of vowel content. In the present study, we investigated whether note-to-note changes in brightness arising from vowel content influence perception of relative pitch. In Experiment 1, three-note sequences were synthesized so that they varied with regard to the brightness of vowels from note to note. As expected, brightness influenced judgments of interval size. Changes in brightness that were congruent with changes in pitch led to an expansion of perceived interval size. A follow-up experiment confirmed that the results of Experiment 1 were not due to pitch distortions. In Experiment 2, the final note of three-note sequences was removed, and participants were asked to make speeded judgments of the pitch contour. An analysis of response times revealed that brightness of vowels influenced contour judgments. Changes in brightness that were congruent with changes in pitch led to faster response times than did incongruent changes. These findings show that the brightness of vowels yields an extra-pitch influence on the perception of relative pitch in song.