Search

This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t – Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces.

The given text is a review of two music-related books. The first book, "William Byrd: Consort Music," is praised for its analysis and informational details on the music of William Byrd, filling a gap in Byrd scholarship. The second book, "Music, a Connected Art: Die Illusion der Absoluten Musik; A Festschrift for Jürgen Thym on His 80th Birthday," is a collection of essays and tributes in honor of Jürgen Thym, a German musicologist. The review highlights the diverse themes and perspectives covered in the book, including music and poetry, music theater, and individual composers. [Extracted from the article]

Objective: The objective of the present study was to compare the effectiveness of the selected tinnitus management protocols for the experimental groups, based on the scores obtained for psychosocial variables, quality of life and severity of tinnitus between the four experimental groups following the various treatment protocols. Method: Two-hundred adults ages ranged from 20 to 55 years (mean age 44.14, SD = 6.16) with mild-to-moderate sensorineural hearing loss without tinnitus were randomly selected for the control group, whereas the experimental group comprised 200 adults with mild-to-moderate sensorineural hearing loss with tinnitus without any other associated medical problems. Participants of both control and experimental groups underwent audiological tests and were administered the QoL questionnaire. The experimental group, in addition, was also administered the PSQ, TSI and THI questionnaire and psychoacoustic tests, i.e. measuring pitch, loudness and MML of tinnitus. Participants of experimental group were randomly assigned to 4 groups, each of 50 participants, and treatment was given as below: Group 1: only tinnitus masking sound was administered, Group 2: only counselling was given, Group 3: masking with counselling was given and Group 4: tinnitus masking combined with counselling and attention diversion task therapy was given. Result: The patients without tinnitus had significantly better quality of life in comparison to the patients with tinnitus. Pre-post comparisons of the treatment groups revealed that "masking + counselling + attention diversion task" group showed highly significant differences for psychosocial aspects, QoL and severity of tinnitus. Further, pairwise comparison based on differences in mean scores indicated significant impact of "masking + counselling + attention diversion task" as compared to both in combination like "masking + counselling" or independently, i.e. masking or counselling alone. Conclusion: It appears that an integrated package of intervention (masking + counselling + attention diversion task) might be preferable for providing immediate tinnitus relief by masking through reducing tinnitus loudness and pitch by altering neuroplasticity (tonotopicity); in the long term, it reduces tinnitus impact through positive thinking by counselling treatment and also diverts attention to daily activity through attention training. [ABSTRACT FROM AUTHOR]

With the rapid development of artificial intelligence (AI), music generation has gained widespread attention. Long short-term memory (LSTM) has advantages in handling time series data and has achieved success in the field of music generation. This neural network is capable of capturing the long-term dependencies in music, thus generating chord music that is coherent and innovative. Therefore, to develop a creative and artistic music generation model, this study initially establishes a hidden Markov model (HMM) for chord recognition in music. Subsequently, the algorithm, leveraging the multi-style chord music generation (MSCMG) network, is proposed and applied for chord music generation. Furthermore, an evaluation of the chord music generation algorithm is conducted, utilizing LSTM neural networks within the context of AI. The findings indicate that the HMM, devised in this study, attains an impressive 81.8% chord recognition rate for piano compositions. Additionally, the algorithm, based on the MSCMG network, achieves a notable similarity score of 82.1% for generating classical-style music, with corresponding scores of 3.45, 3.42, and 3.44 for folk-style, classical-style, and pop-style music, respectively. This investigation lays the groundwork for the fusion of AI technology and music composition, exploring novel avenues for music generation and providing novel tools and insights for creative and theoretical exploration within the realm of music. [ABSTRACT FROM AUTHOR]

In this research we have developed devices for hearing impaired people that can transmit the emotions evoked by music. In this way, we will all achieve the full inclusion of impairment people in all social activities. As this is an issue that goes beyond pure engineering research, it has been necessary to create a multidisciplinary group within the Spanish Centre for Captioning and Audio Description (CESyA), in direct collaboration with the Display and Photonic Applications Research Group (GDAF) and the Human Language and Accessibility Technologies Group (HULAT) of the Carlos III University (UC3M) and the Psychiatry and Applied Communication Departments of the Complutense University of Madrid. For this research, a pair of haptic gloves were developed, which transmit different characteristics extracted from music by means of vibrational sequences, intended to drive an emotional reinforcement. Another device, a "music box", a vibration box, was also developed from the idea of using vibration as an instrument. Overall, the acceptance of the glove was positive, with an 80% of users accepting the negative video, repeatedly stating in the surveys that they "felt more when the glove vibrated". The music box was also well received. Volunteers felt that the system gave them a pleasant sensation and that they could feel the music. However, some participants associated the vibration with the sensation of an alarm clock, which was expectedly negative. Considering the obtained EEG results, we can conclude that the integration of simple multimodal stimuli, visual and vibrotactile, helps to enhance the activation of emotional processes linked with musical stimulation. It can also be concluded that multimodal visual and vibrotactile stimulation enhances both attentional and emotional processes. These results pave the way for future developments that will allow a hearing-impaired person to fully enjoy an audiovisual event, which will have a great impact on this group. [ABSTRACT FROM AUTHOR]

Composing coherent and structured music is one of the main challenges in symbolic music generation. Our research aims to propose a user-centric framework design that promotes a collaborative environment between users and knowledge agents. The primary objective is to improve the music creation process by actively involving users who provide qualitative feedback and emotional assessments. The proposed framework design constructs an abstract format in which a musical piece is represented as a sequence of musical samples. It consists of multiple agents that embody the dynamics of musical creation, emphasizing user-driven creativity and control. This user-centric approach can benefit individuals with different musical backgrounds, encouraging creative exploration and autonomy in personalized, adaptive environments. To guide the design of this framework, we investigate several key research questions, including the optimal balance between system autonomy and user involvement, the extraction of rhythmic and melodic features through musical sampling, and the effectiveness of topological and hierarchical data representations. Our discussion will highlight the different aspects of the framework in relation to the research questions, expected outcomes, and its potential effectiveness in achieving objectives. Through establishing a theoretical foundation and addressing the research questions, this work has laid the groundwork for future empirical studies to validate the framework and its potential in symbolic music generation. [ABSTRACT FROM AUTHOR]

Introduction: Previous work on audio quality evaluation has demonstrated a developing convergence of the key perceptual attributes underlying judgments of quality, such as timbral, spatial and technical attributes. However, across existing research there remains a limited understanding of the crucial perceptual attributes that inform audio quality evaluation for people with hearing loss, and those who use hearing aids. This is especially the case with music, given the unique problems it presents in contrast to human speech. Method: This paper presents a sensory evaluation study utilising descriptive analysis methods, in which a panel of hearing aid users collaborated, through consensus, to identify the most important perceptual attributes of music audio quality and developed a series of rating scales for future listening tests. Participants (N = 12), with a hearing loss ranging from mild to severe, first completed an online elicitation task, providing single-word terms to describe the audio quality of original and processed music samples; this was completed twice by each participant, once with hearing aids, and once without. Participants were then guided in discussing these raw terms across three focus groups, in which they reduced the term space, identified important perceptual groupings of terms, and developed perceptual attributes from these groups (including rating scales and definitions for each). Results: Findings show that there were seven key perceptual dimensions underlying music audio quality (clarity, harshness, distortion, spaciousness, treble strength, middle strength, and bass strength), alongside a music audio quality attribute and possible alternative frequency balance attributes. Discussion: We outline how these perceptual attributes align with extant literature, how attribute rating instruments might be used in future work, and the importance of better understanding the music listening difficulties of people with varied profiles of hearing loss. [ABSTRACT FROM AUTHOR]

In recent years, the integration of brain–computer interface technology and neural networks in the field of music generation has garnered widespread attention. These studies aimed to extract individual-specific emotional and state information from electroencephalogram (EEG) signals to generate unique musical compositions. While existing research has focused primarily on brain regions associated with emotions, this study extends this research to brain regions related to musical composition. To this end, a novel neural network model incorporating attention mechanisms and steady-state activation mapping (SSAM) was proposed. In this model, the self-attention module enhances task-related information in the current state matrix, while the extended attention module captures the importance of state matrices over different time frames. Additionally, a convolutional neural network layer is used to capture spatial information. Finally, the ECA module integrates the frequency information learned by the model in each of the four frequency bands, mapping these by learning their complementary frequency information into the final attention representation. Evaluations conducted on a dataset specifically constructed for this study revealed that the model surpassed representative models in the emotion recognition field, with recognition rate improvements of 1.47% and 3.83% for two different music states. Analysis of the attention matrix indicates that the left frontal lobe and occipital lobe are the most critical brain regions in distinguishing between 'recall and creation' states, while FP1, FPZ, O1, OZ, and O2 are the electrodes most related to this state. In our study of the correlations and significances between these areas and other electrodes, we found that individuals with musical training exhibit more extensive functional connectivity across multiple brain regions. This discovery not only deepens our understanding of how musical training can enhance the brain's ability to work in coordination but also provides crucial guidance for the advancement of brain–computer music generation technologies, particularly in the selection of key brain areas and electrode configurations. We hope our research can guide the work of EEG-based music generation to create better and more personalized music. [ABSTRACT FROM AUTHOR]

The extensive exploration of the correlation between electroencephalogram (EEG) and heart rate variability (HRV) has yielded inconsistent outcomes, largely attributable to variations in the tasks employed in the studies. The direct relationship between EEG and HRV is further complicated by alpha power, which is susceptible to influences such as mental fatigue and sleepiness. This research endeavors to examine the brain-heart interplay typically observed during periods of music listening and rest. In an effort to mitigate the indirect effects of mental states on alpha power, subjective fatigue and sleepiness were measured during rest, while emotional valence and arousal were evaluated during music listening. Partial correlation analyses unveiled positive associations between occipital alpha2 power (10–12 Hz) and nHF, an indicator of parasympathetic activity, under both music and rest conditions. These findings underscore brain-heart interactions that persist even after the effects of other variables have been accounted for. [ABSTRACT FROM AUTHOR]

This paper examines the perceptual threshold in patterns of tonal timing (alignment) of Falling versus Low tones. The results indicate a remarkable sensitivity among the listeners. In a perception experiment with 30 participants, we tested how native speakers of the West Nilotic language Nuer responded to stimuli in which the timing of the F0 fall that distinguishes Low versus Fall following a High target is manipulated. We measured the threshold for the responses to shift tone perception from 25% to 75%. The results show that listeners only needed an average of 19 ms to differentiate between the melodic shapes and as little as 13 ms for one item. Perceptual sensitivity this fine-grained is not expected based on what is known about the Just Noticeable Difference (JND) from previous studies. Results from non-tonal languages report a sensitivity threshold for tonal timing of at least 50 ms at category boundaries. This difference suggests that whether or not subjects speak a tone language may be a determining factor in their JND. [ABSTRACT FROM AUTHOR]

Purpose: This study set out to investigate whether individuals with dysphonia, as determined by either self-assessment or clinician-based auditory-perceptual judgment, exhibited differences in perilaryngeal muscle activities using surface electromyography (sEMG) during various phonatory tasks. Additionally, the study aimed to assess the effectiveness of sEMG in identifying dysphonic cases. Method: A total of 77 adults (44 women, 33 men, Mage = 30.4 years) participated in this study, with dysphonic cases identified separately using either a 10-item Voice Handicap Index (VHI-10) or clinician-based auditory-perceptual voice quality (APVQ) evaluation. sEMG activities were measured from the areas of suprahyoid and sternocleidomastoid muscles during prolonged vowel /i/ phonations at different pitch and loudness levels. Normalized root-mean-square value against the maximal voluntary contraction (RMS %MVC) of the sEMG signals was obtained for each phonation and compared between subject groups and across phonatory tasks. Additionally, binary logistic regression analysis was performed to determine how the sEMG measures could predict the VHI-10-based or APVQ-based dysphonic cases. Results: Participants who scored above the criteria on either the VHI-10 (n = 29) or APVQ judgment (n = 17) exhibited significantly higher RMS %MVC in the right suprahyoid muscles compared to the corresponding control groups. Although the RMS %MVC value from the right suprahyoid muscles alone was not a significant predictor of self-evaluated dysphonic cases, a combination of the RMS %MVC values from both the right and left suprahyoid muscles significantly predicted APVQ-based dysphonic cases with a 69.66% fair level. Conclusions: This study found that individuals with dysphonia, as determined by either self-assessment or APVQ judgment, displayed more imbalanced suprahyoid muscle activities in voice production compared to nondysphonic groups. The combination of the sEMG measures from both left and right suprahyoid muscles showed potential as a predictor of dysphonia with a fair level of confidence. Supplemental Material: https://doi.org/10.23641/asha.25112804 [ABSTRACT FROM AUTHOR]

"Of Sound Mind" by Nina Kraus is a book that explores the neurological aspects of sound and the ways in which it affects our perception and processing of information. The author emphasizes the active nature of listening and highlights the multidimensional aspects of sound, including its impact on sensations, movement, thought, and emotion. Kraus discusses the concept of the "sound mind," which refers to the brain's ability to process external sound waves and create meaning from them. The book also delves into the various ingredients of sound processing and their role in our neurological responses. Additionally, Kraus examines the connection between sound and health, including the potential benefits of music therapy for individuals with speech and language impediments. However, some critics argue that the book overlooks the cultural and socio-political dimensions of sound and fails to fully explore the concept of deep listening. Overall, "Of Sound Mind" offers groundbreaking research on the biology of sound and its relevance to our understanding of listening beyond the cochlear. [Extracted from the article]

Human musicality (the capacity to make and appreciate music) is difficult to explain in evolutionary terms, though many theories attempt to do so. This paper focuses on musicality's potential adaptive precursors, particularly as related to rhythm. It suggests that pace setting for walking and running long distances over extended time periods (endurance locomotion, EL) is a good candidate for an adaptive building block of rhythmic musicality. The argument is as follows: (1) over time, our hominin lineage developed a host of adaptations for efficient EL; (2) the ability to set and maintain a regular pace was a crucial adaptation in the service of EL, providing proximate rewards for successful execution; (3) maintaining a pace in EL occasioned hearing, feeling, and attending to regular rhythmic patterns; (4) these rhythmic patterns, as well as proximate rewards for maintaining them, became disassociated from locomotion and entrained in new proto‐musical contexts. Support for the model and possibilities for generating predictions to test it are discussed. [ABSTRACT FROM AUTHOR]

We describe the development and validation of a test battery to assess musical ability that taps into a broad range of music perception skills and can be administered in 10 minutes or less. In Study 1, we derived four very brief versions from the Profile of Music Perception Skills (PROMS) and examined their properties in a sample of 280 participants. In Study 2 (N = 109), we administered the version retained from Study 1—termed Micro-PROMS—with the full-length PROMS, finding a short-to-long-form correlation of r =.72. In Study 3 (N = 198), we removed redundant trials and examined test–retest reliability as well as convergent, discriminant, and criterion validity. Results showed adequate internal consistency ( ω ¯ =.73) and test–retest reliability (ICC =.83). Findings supported convergent validity of the Micro-PROMS (r =.59 with the MET, p <.01) as well as discriminant validity with short-term and working memory (r ≲.20). Criterion-related validity was evidenced by significant correlations of the Micro-PROMS with external indicators of musical proficiency ( r ¯ =.37, ps <.01), and with Gold-MSI General Musical Sophistication (r =.51, p<.01). In virtue of its brevity, psychometric qualities, and suitability for online administration, the battery fills a gap in the tools available to objectively assess musical ability. [ABSTRACT FROM AUTHOR]

In this study, we explore to address challenges related to incorrect scores, inconsistent rhythm and labeling in the generation of symbolic music scores, with a focus on the utilization of self-supervised models. We present the SymforNet model for symbolic music generation, which is based on self-supervision and deep learning. The model incorporates an attention mechanism and demonstrates exceptional proficiency in recognizing contextual elements of various categories. Experimental results indicate that: (1) The SymforNet model achieve an impressive 88% accuracy in generating music score; (2) In both the training and test sets, the SymforNet model exhibits significantly superior loss values, surpassing the all baseline models; (3) An examination of the multi-track Used Pitch Class data reveals that the SymforNet model, particularly in the context of sequences comprising three to four tracks, displays a strong correlation; (4) By comparing about the quality of music scores, SymforNet has a 87% rate of generating correct scores. [ABSTRACT FROM AUTHOR]

Music is closely related to soundscape. The present study employs methods and tools for assessing soundscape perception to compare the evaluation of soundscape perception between students who had not been taught general music courses (n = 80, equal into N1, N2) with that of students who had been taught general music courses (n = 40, MU) in four distinct audio-visual environments. According to the results of the questionnaire in four scenes and eight perceptual dimensions, there are significant differences between MU and N1 N2 (4-5 items), whereas there is only a slight difference between N1 and N2 (1 item). The difference in soundscape perception is reflected in those students who had been taught general music courses having a higher evaluation of the diversity of soundscape elements (as eventful), and different emotional judgments of the sound environment (as calm). These differences are visualized using the soundscape analysis tool, Soundscapy. Overall, the findings suggest that taking a general music course promotes richer sound perceptions and clearer affective associations with sound and that these enhancements could be presented using the soundscape perception measurement method. The findings also presented could inform the effectiveness of teaching in a general music course. [ABSTRACT FROM AUTHOR]

Cross-linguistic perception is known to be molded by native and second language (L2) experiences. Yet, the role of prosodic patterns and individual characteristics on how speakers of tonal languages perceive L2 Spanish sentence modalities remains relatively underexplored. This study addresses the gap by analyzing the auditory performance of 75 Mandarin speakers with varying levels of Spanish proficiency. The experiment consisted of four parts: the first three collected sociolinguistic profiles and assessed participants' pragmatic competence and musical abilities. The last part involved an auditory gating task, where participants were asked to identify Spanish broad focus statements and information-seeking yes/no questions with different stress patterns. Results indicated that the shape of intonation contours and the position of the final stressed syllable significantly impact learners' perceptual accuracy, with effects modulated by utterance length and L2 proficiency. Moreover, individual differences in pragmatic and musical competence were found to refine auditory and cognitive processing in Mandarin learners, thereby influencing their ability to discriminate question-statement contrasts. These findings reveal the complex interplay between prosodic and individual variations in L2 speech perception, providing novel insights into how speakers of tonal languages process intonation in a non-native Romance language like Spanish. [ABSTRACT FROM AUTHOR]

This study investigated the relationship between the emotional use of music and subjective well-being in older Chinese adults. Specifically, it examined how the emotionally adaptive functions of music mediate the relationship between the emotional use of music and subjective well-being moderated by perceived stress. The participants were 347 Chinese men and women aged 60 years or older. The moderated mediating effect was analyzed using PROCESS Macro 3.5 Model 15. Results revealed that the use of music was positively correlated with the emotionally adaptive functions of music and the subjective well-being of older adults. Perceived stress was negatively correlated with subjective well-being, but it was not significantly correlated with the emotional use of music and emotionally adaptive functions of music in senescence. The emotionally adaptive functions of music were positively correlated with subjective well-being. In a moderated mediating model, there was a significant interaction effect between the use of music and perceived stress on life satisfaction. However, the emotionally adaptive functions of music could not mediate the relationship between the use of music and the life satisfaction of older adults, regardless of the level of perceived stress. These findings suggest that, although its effects may differ depending on the level of perceived stress, the use of music can promote emotionally adaptive functions of music and lead to life satisfaction among older adults who were experiencing stress. [ABSTRACT FROM AUTHOR]

The field of multimodal robotic musical performing arts has garnered significant interest due to its innovative potential. Conventional robots face limitations in understanding emotions and artistic expression in musical performances. Therefore, this paper explores the application of multimodal robots that integrate visual and auditory perception to enhance the quality and artistic expression in music performance. Our approach involves integrating GRU (Gated Recurrent Unit) and GoogLeNet models for sentiment analysis. The GRU model processes audio data and captures the temporal dynamics of musical elements, including long-term dependencies, to extract emotional information. The GoogLeNet model excels in image processing, extracting complex visual details and aesthetic features. This synergy deepens the understanding of musical and visual elements, aiming to produce more emotionally resonant and interactive robot performances. Experimental results demonstrate the effectiveness of our approach, showing significant improvements in music performance by multimodal robots. These robots, equipped with our method, deliver high-quality, artistic performances that effectively evoke emotional engagement from the audience. Multimodal robots that merge audio-visual perception in music performance enrich the art form and offer diverse human-machine interactions. This research demonstrates the potential of multimodal robots in music performance, promoting the integration of technology and art. It opens new realms in performing arts and human-robot interactions, offering a unique and innovative experience. Our findings provide valuable insights for the development of multimodal robots in the performing arts sector. [ABSTRACT FROM AUTHOR]

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons. [ABSTRACT FROM AUTHOR]

Objectives: On phenotypic and neuroanatomical grounds, music exposure might potentially affect the clinical expression of behavioural variant frontotemporal dementia (bvFTD). However, this has not been clarified. Methods: 14 consecutive patients with bvFTD fulfilling consensus diagnostic criteria were recruited via a specialist cognitive clinic. Earlier life musical experience, current musical listening habits and general socio-emotional behaviours were scored using a bespoke semi-quantitative musical survey and standardised functional scales, completed with the assistance of patients' primary caregivers. Associations of musical scores with behavioural scales were assessed using a linear regression model adjusted for age, sex, educational attainment and level of executive and general cognitive impairment. Results: Greater earlier life musical experience was associated with significantly lower Cambridge Behavioural Inventory (Revised) scores (ß ± SE = -17.2 ± 5.2; p = 0.01) and higher Modified Interpersonal Reactivity Index (MIRI) perspectivetaking scores (ß ± SE = 2.8 ± 1.1; p = 0.03), after adjusting for general cognitive ability. Number of hours each week currently spent listening to music was associated with higher MIRI empathic concern (ß ± SE = 0.7 ± 0.21; p = 0.015) and MIRI total scores (ß ± SE = 1.1 ± 0.34; p = 0.014). Discussion: Musical experience in earlier life and potentially ongoing regular music listening may ameliorate socio-emotional functioning in bvFTD. Future work in larger cohorts is required to substantiate the robustness of this association, establish its mechanism and evaluate its clinical potential. [ABSTRACT FROM AUTHOR]

For many individuals, music has a significant impact on the quality and enjoyability of life. Cochlear implant (CI) users must cope with the constraints that the CI imposes on music perception. Here, we assessed the musical experiences of young CI users and age-matched controls with normal hearing (NH). CI users and NH peers were divided into subgroups according to age: children and adolescents. Participants were tested on their ability to recognize vocal and instrumental music and instruments. A music questionnaire for pediatric populations (MuQPP) was also used. CI users and NH peers identified a similar percentage of vocal music. CI users were significantly worse at recognizing instruments (p < 0.05) and instrumental music (p < 0.05). CI users scored similarly to NH peers on the MuQPP, except for the musical frequency domain, where CI users in the children subgroup scored higher than their NH peers (p = 0.009). For CI users in the children subgroup, the identification of instrumental music was positively correlated with music importance (p = 0.029). Young CI users have significant deficits in some aspects of music perception (instrumental music and instrument identification) but have similar scores to NH peers in terms of interest in music, frequency of music exposure, and importance of music. [ABSTRACT FROM AUTHOR]

A central question in behavioural neuroscience is how different rewards modulate learning. While the role of monetary rewards is well-studied in decision-making research, the influence of abstract rewards like music remains poorly understood. This study investigated the dissociable effects of these two reward types on decision making. Forty participants completed two decision-making tasks, each characterised by probabilistic associations between stimuli and rewards, with probabilities changing over time to reflect environmental volatility. In each task, choices were reinforced either by monetary outcomes (win/lose) or by the endings of musical melodies (consonant/dissonant). We applied the Hierarchical Gaussian Filter, a validated hierarchical Bayesian framework, to model learning under these two conditions. Bayesian statistics provided evidence for similar learning patterns across both reward types, suggesting individuals' similar adaptability. However, within the musical task, individual preferences for consonance over dissonance explained some aspects of learning. Specifically, correlation analyses indicated that participants more tolerant of dissonance behaved more stochastically in their belief-to-response mappings and were less likely to choose the response associated with the current prediction for a consonant ending, driven by higher volatility estimates. By contrast, participants averse to dissonance showed increased tonic volatility, leading to larger updates in reward tendency beliefs. [ABSTRACT FROM AUTHOR]

While Mismatch Negativity (MMN) and P300 have been found to correlate with the processing of acoustic and phonological information involved in speech perception, there is controversy surrounding how these two components index acoustic and/or phonological processing at pre-attentive and attentive stages. The current study employed both passive and active oddball paradigms to examine neural responses to lexical tones at the two stages in Cantonese speakers, using the paradigm of categorical perception (CP) where the between- and within-category deviants share the same acoustic distance from the standard but differ in the involvement of phonological information. We failed to observe a CP effect in P300, which might indicate that this component doesn't necessarily index phonological processing, while MMN does, as reflected by the finding of a greater MMN amplitude elicited from the between-category than within-category deviant. Nevertheless, phonological processing might be overridden by acoustic processing among participants who were sensitive to pitch. [ABSTRACT FROM AUTHOR]

Chronic exposure to loud sound leads to noise-induced hearing loss. This is especially common in collegiate-level musicians. Existing methods for estimating exposure typically do not consider genre- or instrument-specific variability in soundscape/spectral characteristics. We measured sound exposure levels (SELs) across instruments, bands, and genres at a university music school. We found (1) considerable variability in SELs across instruments and bands, (2) that Jazz musicians are consistently exposed to the highest sound levels, and (3) that spectral features of music differ between instrument type and genre, and based on room size. These findings highlight the need for tailored guidelines that moderate the implementation of hearing conservation initiatives for collegiate musicians. [ABSTRACT FROM AUTHOR]

Purpose: This study examined how speakers adapt to fundamental frequency (fo) errors that affect the use of prosody to convey linguistic meaning, whether fo adaptation in that context relates to adaptation in linguistically neutral sustained vowels, and whether cue trading is reflected in responses in the prosodic cues of fo and amplitude. Method: Twenty-four speakers said vowels and sentences while fo was digitally altered to induce predictable errors. Shifts in fo (±200 cents) were applied to the entire sustained vowel and one word (emphasized or unemphasized) in sentences. Two prosodic cues-o and amplitude-were extracted. The effects of fo shifts, shift direction, and emphasis on fo response magnitude were evaluated with repeated-measures analyses of variance. Relationships between adaptive fo responses in sentences and vowels and between adaptive fo and amplitude responses were evaluated with Spearman correlations. Results: Speakers adapted to fo errors in both linguistically meaningful sentences and linguistically neutral vowels. Adaptive fo responses of unemphasized words were smaller than those of emphasized words when fo was shifted upward. There was no relationship between adaptive fo responses in vowels and emphasized words, but adaptive fo and amplitude responses were strongly, positively correlated. Conclusions: Sensorimotor adaptation occurs in response to fo errors regardless of how disruptive the error is to linguistic meaning. Adaptation to fo errors during sustained vowels may not involve the exact same mechanisms as sensorimotor adaptation as it occurs in meaningful speech. The relationship between adaptive responses in fo and amplitude supports an integrated model of prosody. [ABSTRACT FROM AUTHOR]

The average attention span of humans is decreasing. To adapt to the change, researchers investigate visual and auditory techniques that alter the perception of time passing. However, the auditory technique is underexplored in comparison to visual techniques, which are becoming increasingly important as voice assistants, speech interfaces or time-aware computational/robotic systems proliferate. This paper investigated the effect of pitch and interval variables on time perception. Three pitch levels (static, falling, rising) and two interval patterns (static, narrowing) for a total of six auditory stimuli were compared. Principal findings indicated that rising/falling pitch and interval narrowing, as well as their combinations, can be used to shorten the perception of time. This research contributes to a better understanding of end-users' subjective temporal estimation of auditory stimuli, which can be used to further develop audio-based interactive devices/agents. [ABSTRACT FROM AUTHOR]

In the dynamic landscape of digital music services, recommendation systems play a pivotal role, evolving in tandem with advances in artificial intelligence and machine learning. This research undertakes a comparative exploration of two distinct approaches to song recommendations: content-based filtering and K-means clustering. Drawing upon an extensive Spotify dataset encompassing diverse song attributes like genre, tempo, and key, the study meticulously evaluates the efficacy of personalized track recommendations. Content-based filtering tailors recommendations to users' established preferences by scrutinizing audio features such as Danceability, Energy, and Loudness. Conversely, the Kmeans clustering algorithm groups' similar songs into clusters based on shared characteristics. The primary goal is to devise a music recommendation system that impeccably aligns with user preferences. The research evaluates the performance of the Kmeans clustering approach using the Silhouette index as a metric, revealing a recommendation accuracy exceeding 99%. Notably, data analysis underscores the superior performance of the content-based filtering technique. These findings hold substantial importance for refining personalized music recommendation systems, offering valuable insights into the effectiveness of different methodologies in catering to user-specific musical tastes. This study contributes to the ongoing evolution of digital music services, providing a foundation for future advancements in enhancing user experience through precise and tailored music recommendations. [ABSTRACT FROM AUTHOR]

The purpose of this study was to gain a deeper understanding of preservice music educators' perceptions of elementary general music (EGM), pedagogical competencies, and specialization preference. Preservice music teachers responded to a survey about perceptions of personal experiences with EGM, preparation and comfort related to EGM, and confidence in the ability to teach content and skills common in EGM curricula. Participants (n = 203) also answered questions about their preferred specialization and about factors that would influence their choice of job in the future. Most participants remembered having positive personal experiences with general music in elementary school and believe it is important for future musical success. Confidence in content and skills common in teaching EGM increases as they progress through their degree program. Most identify ensemble teaching and middle and high school grades as their future aspirations. Significant predictors of future career choice included undergraduate major and comfort teaching. [ABSTRACT FROM AUTHOR]

The purpose of this Self-Study of Teacher Education Practice (S-STEP) was to examine faculty and student perceptions of co-curricular experiences between an undergraduate instrumental conducting and a junior-level music education course. To help students develop their conducting and pedagogical skills simultaneously, music education and conducting faculty co-taught their courses and developed and implemented co-curricular assignments for 14 co-enrolled participants. Data were collected from faculty journals, meeting transcriptions, participant surveys, and interviews. Findings indicate that the collaboration and co-curricular experiences promoted student and faculty growth. Increased podium time and peer teaching opportunities during which students are given feedback greatly improved students' perceived level of comfort and confidence in front of an ensemble. In addition, the co-teaching and co-curricular assignments between conducting and music education courses promoted substantial growth in students' conducting and pedagogical skills and their ability to connect the two. Implications for music teacher education, future research, and further revision of these collaborative practices are discussed. [ABSTRACT FROM AUTHOR]

The current paper offers a model of time-varying music engagement, defined as changes in curiosity, attention and positive valence, as music unfolds over time. First, we present research (including new data) showing that listeners tend to allocate attention to music in a manner that is guided by both features of the music and listeners' individual differences. Next, we review relevant predictive processing literature before using this body of work to inform our model. In brief, we propose that music engagement, over the course of an extended listening episode, may constitute several cycles of curiosity, attention and positive valence that are interspersed with moments of mind-wandering. Further, we suggest that refocusing on music after an episode of mind-wandering can be due to triggers in the music or, conversely, mental action that occurs when the listener realizes they are mind-wandering. Finally, we argue that factors that modulate both overall levels of music engagement and how it changes over time include music complexity, listener background and the listening context. Our paper highlights how music can be used to provide insights into the temporal dynamics of attention and into how curiosity might emerge in everyday contexts. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'. [ABSTRACT FROM AUTHOR]

In recent years, the rapid advancement of artificial intelligence (AI) technology has made remarkable strides in the music industry, profoundly impacting various aspects of our lives. This progress has extended to revolutionizing industries, streamlining processes, and enhancing personalization in music. AI's expanding capabilities have driven computer vision, natural language processing, and machine learning breakthroughs. As music enthusiasts increasingly turn to online platforms, the need for effective recommendation systems has become more pressing. The exponential growth of musical content poses a challenge in discovering music tailored to individual tastes. This paper proposed a personalized music recommendation system powered by deep learning, explicitly utilizing convolutional neural networks (CNNs) to address the challenges posed by expanding music libraries and diverse song resources. In today's era of ever-growing music databases and increasing content diversity, more than traditional retrieval methods are needed to efficiently connect users with their preferred track. Traditional music platforms rely solely on retrieval mechanisms, necessitating manual inputs such as artist names and titles to locate specific songs. However, this approach needs in-depth music data analysis and delivers personalized recommendations generated by various deep learning-based algorithms. This paper bridges this gap by harnessing deep learning algorithms for comprehensive music data analysis and personalized song suggestions. The proposed CNN-based recommendation system explores the domains of deep learning and content-based approaches, empowering users to discover their favorite tunes swiftly. This innovative mechanism leverages CNNs and deep learning algorithms to offer efficient, personalized, and data-driven music recommendations, transforming the user experience with their music collections. In experimental results, the proposed CNN model is compared with various deep learning algorithms, including DNN, RNN, and LSTM, as well as traditional algorithms like SVM, KNN, RF, and DT. Impressively, the CNN model achieved the highest accuracy at 95%, surpassing all other algorithms. [ABSTRACT FROM AUTHOR]

Since existing music-driven dance generation methods have abnormal motion when generating dance sequences which leads to unnatural overall dance movements, a music-driven dance generation method based on a spatial-temporal refinement model is proposed to optimize the abnormal frames. Firstly, the cross-modal alignment model is used to learn the correspondence between the two modalities of audio and dance video and based on the learned correspondence, the corresponding dance segments are matched with the input music segments. Secondly, an abnormal frame optimization algorithm is proposed to carry out the optimization of the abnormal frames in the dance sequence. Finally, a temporal refinement model is used to constrain the music beats and dance rhythms in the temporal perspective to further strengthen the consistency between the music and the dance movements. The experimental results show that the proposed method can generate realistic and natural dance video sequences, with the FID index reduced by 1.2 and the diversity index improved by 1.7. [ABSTRACT FROM AUTHOR]

Musical large-scale form is investigated using an electronic dance music piece fed into a Finite-Difference Time-Domain physical model of the cochlea, which again is input into an Impulse Pattern Formulation (IPF) Brain model. In previous studies, experimental EEG data showed an enhanced correlation between brain synchronization and the musical piece's amplitude and fractal correlation dimension, representing musical tension and expectancy time points within the large-scale form of musical pieces. This is also in good agreement with a FitzHugh–Nagumo oscillator model.However, this model cannot display temporal developments in large-scale forms. The IPF Brain model shows a high correlation between cochlea input and brain synchronization at the gamma band range around 50 Hz, and also a strong negative correlation with low frequencies, associated with musical rhythm, during time frames with low cochlea input amplitudes. Such a high synchronization corresponds to temporal lobe epilepsy, often associated with creativity or spirituality. Therefore, the IPF Brain model results suggest that these conscious states occur at times of low external input at low frequencies, where isochronous musical rhythms are present. [ABSTRACT FROM AUTHOR]

This article elucidates the principles and methods of developing melodic intonation for teaching piano students in the music school setting. The training of the student-pianist in the music school will be focused not only on the formation and development of technical musical-interpretive skills, but also on the perception and penetration of the intonation and semantic content of the performed music. [ABSTRACT FROM AUTHOR]

Divergent thinking (DT) is widely considered an essential cognitive dimension of creativity, which involves goal-oriented processes, including working memory (WM), which allows for retrieving and loading of information into the attentional stream and, consequently, enhancing divergence of thinking. Despite the critical role of WM in DT, little work has been done on the mechanism affecting this interplay. The current study addressed the involvement of a formal musical background in the relationship between WM and DT and was conducted with 83 healthy young adults (M = 19.64 years; SD = 0.52 years; 33 females). The participants were requested to indicate if they had a formal background in music in the conservatory (M = 4.78 years; SD = 5.50 years) as well as perform the digit span forward test (DSFT) and the alternative uses task—AUT from the Torrance test of creative thinking (TTCT). The results indicated that years of formal musical background moderated the association between WM and DT. These findings suggest that music enhances the positive effect of high-order cognitive processes, such as WM, on the ability to think divergently. Theoretical and practical implications as well as limitations were discussed. [ABSTRACT FROM AUTHOR]

Musical abilities, both in the pitch and temporal dimension, have been shown to be positively associated with phonological awareness and reading abilities in both children and adults. There is increasing evidence that the relationship between music and language relies primarily on the temporal dimension, including both meter and rhythm. It remains unclear to what extent skill level in these temporal aspects of music may uniquely contribute to the prediction of reading outcomes. A longitudinal design was used to test a group-administered musical sequence transcription task (MSTT). This task was designed to preferentially engage sequence processing skills while controlling for fine-grained pitch discrimination and rhythm in terms of temporal grouping. Forty-five children, native speakers of Portuguese (Mage = 7.4 years), completed the MSTT and a cognitive-linguistic protocol that included visual and auditory working memory tasks, as well as phonological awareness and reading tasks in second grade. Participants then completed reading assessments in third and fifth grades. Longitudinal regression models showed that MSTT and phonological awareness had comparable power to predict reading. The MSTT showed an overall classification accuracy for identifying low-achievement readers in Grades 2, 3, and 5 that was analogous to a comprehensive model including core predictors of reading disability. In addition, MSTT was the variable with the highest loading and the most discriminatory indicator of a phonological factor. These findings carry implications for the role of temporal sequence processing in contributing to the relationship between music and language and the potential use of MSTT as a language-independent, time- and cost-effective tool for the early identification of children at risk of reading disability. [ABSTRACT FROM AUTHOR]

In this research, it is aimed to determine the music listening habits of the students studying at Bursa Uludag University Music Education Department, to evaluate the effects of listening to music on theoretical and instrument lessons, and to offer suggestions that will improve these habits and make them more conscious and effective. The case study method, which is one of the qualitative research methods, was used in the study. In order to obtain the data, a semi-structured interview form with 20 questions was developed by the researchers. The study group of the research consists of twenty students, ten women and ten men, studying at Bursa Uludağ University Music Teaching Department. The results obtained from the study were analyzed using the descriptive analysis method and 5 themes, 15 sub-themes and 67 codes were reached. As a result of the findings to be obtained from this study, it is aimed to determine whether the music listening habits of music teacher candidates are sufficient and conscious, to offer activities and methods that will gain these habits, and thus to shed light on the training of more cultured and well-equipped music teachers. [ABSTRACT FROM AUTHOR]

The present research investigated the effects of short-term musical training on speech recognition in adverse listening conditions in older adults. A total of 30 Kannada-speaking participants with no history of gross otologic, neurologic, or cognitive problems were divided equally into experimental (M = 63 years) and control groups (M = 65 years). Baseline and follow-up assessments for speech in noise (SNR50) and reverberation was carried out for both groups. The participants in the experimental group were subjected to Carnatic classical music training, which lasted for seven days. The Bayesian likelihood estimates revealed no difference in SNR50 and speech recognition scores in reverberation between baseline and followed-up assessment for the control group. Whereas, in the experimental group, the SNR50 reduced, and speech recognition scores improved following musical training, suggesting the positive impact of music training. The improved performance on speech recognition suggests that short-term musical training using Carnatic music can be used as a potential tool to improve speech recognition abilities in adverse listening conditions in older adults. [ABSTRACT FROM AUTHOR]

One of the foundational principles of recent developments in evolutionary biology has been the acknowledgement of homeostasis as an organising principle of cellular development from unicellular origins. Fundamentally, this concerns the balance between the inside of a biological entity and its environment. Given that the organ of balance is the ear, and that the evolutionary provenance of the vestibular system can be traced back to fish, music provides a rich foundation for evolutionary biological inquiry. This paper considers a specific dimensional relationship in sonic experience between noise, signal, redundancy and anticipation. Drawing on the physics of Bohm and more recent developments in Rowlands's nilpotent quantum mechanics, I argue that the relationship between these four parameters is not only that they represent aspects of sonic experience, but that they are dimensionally distinct, where noise can be considered to be scalar, a signal (or a note) is a vector (having magnitude and direction), redundancy is bi-vectorial (involving degrees of repetition of signals over time), and anticipation is tri-vectorial (involving reflexive consideration of different orders of redundancy). In outlining the dimensional distinction between these variables, an analysis is presented which considers the relationship between the Shannon entropy of different dimensions in music. This shows that the entropy of noise has a particular bearing on the entropy of the other dimensions. This dimensional relation is also reflected in biological evidence, where Torday has shown there to be a direct correlation between the effect of gravitational "noise" on cellular communication, and by extension the evolution of consciousness. [ABSTRACT FROM AUTHOR]

Purpose: Dynamic pitch, which is defined as the variation in fundamental frequency in speech, is one of the acoustic cues that affect speech recognition in noise. Built on the evidence that a symmetrical manipulation of dynamic pitch led to poorer speech recognition, the present study examined the effect of an asymmetrical manipulation method on speech recognition in noise by younger and older adults. Method: Speech recognition accuracy in noise was measured from younger adults with normal hearing in Experiment 1, and speech reception threshold (in dB SNR) from older adults with normal hearing to mild–moderate hearing loss in Experiment 2. The dynamic pitch contours of the speech stimuli were manipulated using both symmetrical and asymmetrical methods. Results: Younger adults recognized speech better in noise with asymmetrical than symmetrical manipulation, and with weakened than strengthened dynamic pitch. A substantial amount of variability was observed in a group of older listeners. This variability was predominately predicted by the listeners’ age but not hearing thresholds or their ability to perceive dynamic pitch in fluctuating noise. Conclusions: The asymmetrical manipulation of dynamic pitch had a less negative effect than the symmetrical manipulation. This effect also interacted with pitch-change direction. These findings suggest the influence of perceptual naturalness on speech recognition with signal modification. Directions for future research are also discussed. [ABSTRACT FROM AUTHOR]

Purpose: Literature on apraxia of speech (AOS) in Chinese speakers is sparse compared to the English literature. This study aims to examine the pitch variation skills of Cantonese adults with AOS poststroke in terms of perceptual tone accuracy, acoustic fundamental frequency (fo) changes, and repetition durations on items with different syllable structures, lexical status, and tone syllables in various positions in a sequencing context. Method: Six Cantonese adults with AOS poststroke (AOS group), six adults without AOS poststroke (nAOS group), and six healthy controls (HC group) performed the tone sequencing task (TST), which was adapted from oral diadochokinetic tasks, with three different tone syllables. Tone accuracy, fo values across 10 time points, and acoustic repetition durations were compared within and between the groups. Results: The AOS group produced significantly lower tone accuracy and different fo changes on the three Cantonese tone syllables compared with the control groups and significantly longer repetition durations than the HC group. The AOS group showed more difficulty with the tone syllables with the consonant– vowel structure, while a priming effect was observed on the T2 (high-rising) syllables with lexical meanings. A unique lowering of fo in the final syllable of the trisyllabic items was observed only in the AOS group. Conclusions: The AOS group showed degraded pitch variation skills. The effects of the three linguistic elements were discussed. Future investigations are called for to adapt the TST in other tonal languages to determine if degraded pitch variation skills are present in other tonal language speakers with AOS. [ABSTRACT FROM AUTHOR]

Emotional intelligence is a psychological variable that affects personal well-being and transcends the educational field. It is known that learning music provides emotional benefits for people and that emotional intelligence varies by age and gender. Based on these principles, we propose this research with the following objectives: to measure the perceived emotional intelligence of adolescent students of obligatory secondary education from Valencia, to compare by the variables of musician-non-musician and gender; and to explore the effect of music on the perceived emotional intelligence of young musicians considering gender as a variable. The final sample comprised a total of 409 adolescents of between 11 and 16 years of age. The data collection tools were an ad hoc sociodemographic questionnaire and the Trait Meta-Mood Scale (TMMS-24). The results of the statistical analyses displayed significant differences by gender in emotional attention; a positive correlation between age and attention, which increases with progress through adolescence; and a significant effect that reveals greater emotional clarity in musicians. This effect occurs independently of the gender of the subject, and so it benefits boys and girls equally. [ABSTRACT FROM AUTHOR]

Background: The use of mobile devices to continuously monitor objectively extracted parameters of depressive symptomatology is seen as an important step in the understanding and prevention of upcoming depressive episodes. Speech features such as pitch variability, speech pauses, and speech rate are promising indicators, but empirical evidence is limited, given the variability of study designs. Objective: Previous research studies have found different speech patterns when comparing single speech recordings between patients and healthy controls, but only a few studies have used repeated assessments to compare depressive and nondepressive episodes within the same patient. To our knowledge, no study has used a series of measurements within patients with depression (eg, intensive longitudinal data) to model the dynamic ebb and flow of subjectively reported depression and concomitant speech samples. However, such data are indispensable for detecting and ultimately preventing upcoming episodes. Methods: In this study, we captured voice samples and momentary affect ratings over the course of 3 weeks in a sample of patients (N=30) with an acute depressive episode receiving stationary care. Patients underwent sleep deprivation therapy, a chronotherapeutic intervention that can rapidly improve depression symptomatology. We hypothesized that within-person variability in depressive and affective momentary states would be reflected in the following 3 speech features: pitch variability, speech pauses, and speech rate. We parametrized them using the extended Geneva Minimalistic Acoustic Parameter Set (eGeMAPS) from open-source Speech and Music Interpretation by Large-Space Extraction (openSMILE; audEERING GmbH) and extracted them from a transcript. We analyzed the speech features along with self-reported momentary affect ratings, using multilevel linear regression analysis. We analyzed an average of 32 (SD 19.83) assessments per patient. Results: Analyses revealed that pitch variability, speech pauses, and speech rate were associated with depression severity, positive affect, valence, and energetic arousal; furthermore, speech pauses and speech rate were associated with negative affect, and speech pauses were additionally associated with calmness. Specifically, pitch variability was negatively associated with improved momentary states (ie, lower pitch variability was linked to lower depression severity as well as higher positive affect, valence, and energetic arousal). Speech pauses were negatively associated with improved momentary states, whereas speech rate was positively associated with improved momentary states. Conclusions: Pitch variability, speech pauses, and speech rate are promising features for the development of clinical prediction technologies to improve patient care as well as timely diagnosis and monitoring of treatment response. Our research is a step forward on the path to developing an automated depression monitoring system, facilitating individually tailored treatments and increased patient empowerment. [ABSTRACT FROM AUTHOR]

There is a long-standing debate in the literature about the benefits that acoustic components of Infant Directed Speech (IDS) might have for infants' language acquisition. One of the highly contested features is vowel space expansion, which refers to the enlargement of the acoustic space between the corner vowels /i, u, a/ in IDS compared to Adult Directed Speech (ADS). Some evidence indicates that vowel space expansion in IDS facilitates infants' speech perception, thus promoting language development, whereas other studies have questioned these benefits and have proposed that any processing benefits of IDS are due to its other prosodic features such as exaggerated and variable pitch. This study aimed to tease apart the effects of vowel space expansion and prosodic exaggeration in IDS on 18-month-old infants' speech processing. Using a looking-while-listening paradigm, two between-subjects conditions were compared: Exaggerated Pitch (with exaggerated pitch height and range, but without vowel space expansion) and Expanded Vowel Space (with vowel space expansion, but no exaggeration in pitch height and range). Our results showed that infants recognized the meanings of the words more accurately in the Expanded Vowel Space compared to the Exaggerated Pitch condition. This suggests that vowel space expansion in IDS facilitates infants' lexical processing even when it does not cooccur with the prosodic exaggeration typical of IDS. [ABSTRACT FROM AUTHOR]

The article is an editorial reflection on the past seven years of the journal Music Perception, as well as an announcement of a new editor. The author discusses the power of music to engage and stimulate individuals in various ways, and highlights the diverse range of research topics covered in the journal. The article also emphasizes the importance of open science practices and promoting access, inclusion, and diversity in music perception and cognition research. The author expresses gratitude to the contributors, reviewers, and editorial team, and looks forward to the leadership of the new editor. [Extracted from the article]