Possible role of cochlear nonlinearity in the detection of mistuning of a harmonic component in a harmonic complex

2015 ◽  
Author(s):  
Christophe Stoelinga ◽  
Inseok Heo ◽  
Glenis Long ◽  
Jungmee Lee ◽  
Robert Lutfi ◽  
...  
Keyword(s):  
Harmonic Component ◽  
Harmonic Complex ◽  
Cochlear Nonlinearity

Rate-specific Entrainment of Harmonic Pitch

2012 ◽  
Vol 31 (4) ◽  
pp. 316-322 ◽  
Author(s):  
Aleksandar Aksentijevic ◽  
Anthony Smith ◽  
Mark A. Elliott
Keyword(s):  
Reaction Times ◽  
Brain Oscillations ◽  
Music Training ◽  
Harmonic Complex ◽  
Perceptual Integration ◽  
Gamma Range ◽  
Complex Tones

Recent evidence indicates that synchronized brain oscillations in the low gamma range (∼33 Hz) are involved in the perceptual integration of harmonic complex tones. At this rate, reaction times (RTs) are faster to targets that are not harmonically related to the prime. In the current study, we investigated the presence of this rate-specific inharmonic pop-out in groups of musicians and nonmusicians. We found that rather than increasing the salience of inharmonic targets, 33-pps priming reduced the salience of harmonic targets. This effect was observed in nonmusicians only, suggesting that music training reduces the role of oscillatory coding mechanisms in the perceptual integration of harmonic information.

scholarly journals Mode Harmonic Concept of Oleksandr Cherepnin’s Composer Creativity

2021 ◽  
pp. 121-127
Author(s):  
Hayun Chen
Keyword(s):  
Harmonic Component ◽  
Single Mode ◽  
Point Of View ◽  
Practical Significance ◽  
Musical Language ◽  
Musical Culture ◽  
Harmonic Language ◽  
Cultural World ◽  
Conceptual Foundations

The relevance of the topic is determined by the existing contradiction between the great importance of Olexandr Cherepnin’s compositional works, which are widely recognized in the modern cultural world and contain many innovative artistic and theoretical ideas, and the lack of proper coverage in the scientific literature. The analysis of the array of musicological literature devoted to the peculiarities of the musical culture of the XX century proves the fact that the artistic personality of O. Cherepnin and his life and creative path still generally remain beyond the attention of researchers. The purpose of the article is to reveal the meaningful and terminological features of the mode harmonic concept of O. Cherepnin’s compositional works. The methodology. The main methods applied in this study are systematic approach and methods of comparative and musicological (mainly mode harmonic) analysis. The results. O. Cherepnin’s musical language has overcome a long way before it was formed into a single mode harmonic concept. This mode harmonic concept of the artist’s works was first embodied in many of his works, and then was theoretically comprehended by him and given in the article “Basic Elements of My Musical Language” (1962). Therefore, from the beginning, the features of the composer’s mode harmonic language were formed under the influence of artistic necessity and were not subjected to theoretical conceptual principles. The mode harmonic concept of the artist, which became a generalization of his creative activity and artistic ideas, is based mainly on the theory of ambivalence of major and minor. At the same time, the composer does not use the major­minor as the mode basis for his works, basing (as the author himself and researchers of his work emphasize) primarily on the theory of modality. Cherepnin’s mode harmonic concept of musical language is based on a nine­stage scale, which is considered by the composer as universal and is found in most of his works. The most separate and independent components of the nine­stage scale are the three major­minor tetrachords and the two hexachords. The presence of different pitch positions of the scale allows to determine the tonal center at the level of separate fragments of the musical fabric of the work. The harmonic vertical (harmonic structure) of the majority of O. Cherepnin’s works is also formed on the basis of the vertical segments of the specified nine­stage scale. Such mode segments, which in separate works of the composer or their parts play the role of mode harmonic basis, are defined by us as “submodes” (my term — Ch. H.). The most common are tritone consonances, and each “submode” has its own chord that performs the function of the tonic one. The most important among them, according to the composer’s point of view, is a major­minor tetrachord, i.e. vertical four­tone chord. All these consonances are very diverse in their interval structure and intensity of sound. Five­ and six­tone chords are used by the artist much less due to their intense phonism and the need for at least an acoustic solution. Pentatone scales, which are constantly presented in an incomplete form (with the omission of one or two tones), and symmetrical modes are also widely used in O. Cherepnin’s works. Bright ethnic elements of the composer’s mode harmonic concept, which are widely used in his works, are the specific tritone consonances, called by O. Cherepnin as “Georgian trisounds”. The topicality of the study lies in the disclosure of one of the main conceptual foundations of the multifaceted musical language of O. Cherepnin — his mode harmonic component, which has not yet been sufficiently studied. The practical significance. The obtained results of the research allow to reveal the world importance of O. Cherepnin’s artistic figure and composer’s works, to highlight his innovative musical­theoretical ideas and to determine the special place of the artist in the constellation of contemporary composers who actively experimented with tonal­harmonic systems. The obtained conclusions generally expand the view on the nature and structure of mode harmonic thinking of composers of the XX century.

scholarly journals Instability modes and transition of pulsatile stenotic flow: pulse-period dependence

2007 ◽  
Vol 573 ◽  
pp. 57-88 ◽  
Author(s):  
H. M. BLACKBURN ◽  
S. J. SHERWIN
Keyword(s):  
Harmonic Component ◽  
Period Doubling ◽  
Vortex Rings ◽  
Mean Flow ◽  
Instability Modes ◽  
Pulsatile Flows ◽  
Long Pulse ◽  
Low Amplitude ◽  
Primary Instability

The instability modes arising within simple non-reversing pulsatile flows in a circular tube with a smooth axisymmetric constriction are examined using global Floquet stability analysis and direct numerical simulation. The sectionally averaged pulsatile flow is represented with one harmonic component superimposed on a time-mean flow. We have previously identified a period-doubling global instability mechanism associated with alternating tilting of the vortex rings that are ejected out of the stenosis throat with each pulse. Here we show that while alternating tilting of vortex rings is the primary instability mode for comparatively larger reduced velocities associated with long pulse periods (or low Womersley numbers), for lower reduced velocities that are associated with shorter pulse periods the primary instability typically manifests as azimuthal waves (Widnall instability modes) of low wavenumber that grow on each vortex ring. Convective shear-layer instabilities are also supported by the types of flow considered. To provide an insight into the comparative role of these types of instability, which have still shorter temporal periods, we also introduce high-frequency low-amplitude perturbations to the base flows of the above global instabilities. For the range of parameters considered, we observe that the dominant features of the primary Floquet instability persist, but that the additional presence of the convective instability can have a destabilizing effect, especially for long pulse periods.

Role of dactinomycin in the improved survival of children with Wilms' tumor

JAMA ◽  
1966 ◽  
Vol 195 (12) ◽  
pp. 1005-1009 ◽  
Author(s):  
D. J. Fernbach
Keyword(s):  
Wilms Tumor

Role of the allergist in diagnosis and management of patients with uveitis

JAMA ◽  
1966 ◽  
Vol 195 (3) ◽  
pp. 167-172 ◽  
Author(s):  
T. E. Van Metre
Keyword(s):  
Diagnosis And Management

The power of norms to sway fused group members

2018 ◽  
Vol 41 ◽  
Author(s):  
Winnifred R. Louis ◽  
Craig McGarty ◽  
Emma F. Thomas ◽  
Catherine E. Amiot ◽  
Fathali M. Moghaddam
Keyword(s):  
Evolutionary Anthropology ◽  
Normative Systems ◽  
Violent Extremism ◽  
Identity Fusion ◽  
Group Members

AbstractWhitehouse adapts insights from evolutionary anthropology to interpret extreme self-sacrifice through the concept of identity fusion. The model neglects the role of normative systems in shaping behaviors, especially in relation to violent extremism. In peaceful groups, increasing fusion will actually decrease extremism. Groups collectively appraise threats and opportunities, actively debate action options, and rarely choose violence toward self or others.

Elaborating the role of reflection and individual differences in the study of folk-economic beliefs

2018 ◽  
Vol 41 ◽  
Author(s):  
Kevin Arceneaux
Keyword(s):  
Decision Making ◽  
Individual Differences ◽  
Cognitive Processes ◽  
Evolutionary History ◽  
Behavioral Responses ◽  
History Of ◽  
Economic Beliefs

AbstractIntuitions guide decision-making, and looking to the evolutionary history of humans illuminates why some behavioral responses are more intuitive than others. Yet a place remains for cognitive processes to second-guess intuitive responses – that is, to be reflective – and individual differences abound in automatic, intuitive processing as well.

The role of affect in feelings of obligation

2020 ◽  
Vol 43 ◽  
Author(s):  
Stefen Beeler-Duden ◽  
Meltem Yucel ◽  
Amrisha Vaish
Keyword(s):  
Positive Emotions ◽  
The Creation ◽  
Sense Of Obligation

Abstract Tomasello offers a compelling account of the emergence of humans’ sense of obligation. We suggest that more needs to be said about the role of affect in the creation of obligations. We also argue that positive emotions such as gratitude evolved to encourage individuals to fulfill cooperative obligations without the negative quality that Tomasello proposes is inherent in obligations.

Refining our understanding of the “elephant in the room”

2020 ◽  
Vol 43 ◽  
Author(s):  
Andrew Whiten
Keyword(s):  
Social Cognition ◽  
Cultural Evolution ◽  
Cognitive Abilities ◽  
Critical Factors ◽  
Technological Culture

Abstract The authors do the field of cultural evolution a service by exploring the role of non-social cognition in human cumulative technological culture, truly neglected in comparison with socio-cognitive abilities frequently assumed to be the primary drivers. Some specifics of their delineation of the critical factors are problematic, however. I highlight recent chimpanzee–human comparative findings that should help refine such analyses.

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