Letteratura scientifica selezionata sul tema "Tonus (Musical group)"
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Articoli di riviste sul tema "Tonus (Musical group)"
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Marquetti, Beatriz Quirino, Éder Costa Muchiutti e Felipe Viegas Rodrigues. "Pitch perception preference in children with or without formal musical education". Percepta - Revista de Cognição Musical 10, n. 1 (30 dicembre 2022): 83–95. http://dx.doi.org/10.34018/2318-891x.10(1)83-95.
Testo completoAbstract (sommario):
Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and nonmusicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
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Marquetti, Beatriz Quirino, Éder Costa Muchiutti e Felipe Viegas Rodrigues. "Preferência de percepção tonal em crianças com ou sem educação musical formal". Percepta - Revista de Cognição Musical 9, n. 2 (30 luglio 2022): 95–108. http://dx.doi.org/10.34018/2318-891x.9(2)95-108.
Testo completoAbstract (sommario):
Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and non-musicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
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Benassi-Werke, Mariana E., Marcelo Queiroz, Rúben S. Araújo, Orlando F. A. Bueno e Maria Gabriela M. Oliveira. "Musicians' Working Memory for Tones, Words, and Pseudowords". Quarterly Journal of Experimental Psychology 65, n. 6 (giugno 2012): 1161–71. http://dx.doi.org/10.1080/17470218.2011.644799.
Testo completoAbstract (sommario):
Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material—that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.
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Inabinet, Devin, Jan De La Cruz, Justin Cha, Kevin Ng e Gabriella Musacchia. "Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians". Brain Sciences 11, n. 12 (30 novembre 2021): 1592. http://dx.doi.org/10.3390/brainsci11121592.
Testo completoAbstract (sommario):
The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the “Huggins” or “dichotic” pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception.
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Östersjö, Stefan. "Musical and Musicianly Listening in Intercultural Practice". Circuit 28, n. 1 (6 aprile 2018): 35–44. http://dx.doi.org/10.7202/1044374ar.
Testo completoAbstract (sommario):
This paper discusses the function of listening in intercultural musical collaboration, with reference to a number of examples taken from the author’s practice, within the Vietnamese/Swedish group The Six Tones. Through the lens of Pierre Schaeffer’s concepts of musical and musicianly listening, the paper suggests that intercultural exchange takes place in a liminal field between traditions. This demands a particular openness which can be developed by operating musicianly listening, a form of listening which actively seeks to “innovate in the facture of sound objects.”
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Deutsch, Diana. "The Tritone Paradox: An Influence of Language on Music Perception". Music Perception 8, n. 4 (1991): 335–47. http://dx.doi.org/10.2307/40285517.
Testo completoAbstract (sommario):
The tritone paradox is produced when two tones that are related by a half- octave (or tritone) are presented in succession. Each tone is composed of a set of octave- related harmonics, whose amplitudes are determined by a bell-shaped spectral envelope; thus the tones are clearly defined in terms of pitch class, but poorly defined in terms of height. When listeners judge whether such tone pairs form ascending or descending patterns, their judgments generally show systematic relationships to the positions of the tones along the pitch-class circle: Tones in one region of the circle are heard as higher and those in the opposite region are heard as lower. However, listeners disagree substantially as to whether a given tone pair forms an ascending or a descending pattern, and therefore as to which tones are heard as higher and which as lower. This paper demonstrates that the basis for the individual differences in perception of this musical pattern lies in the language spoken by the listener. Two groups of subjects made judgments of the tritone paradox. One group had grown up in California, and the other group had grown up in southern England. It was found that when the Californian group tended to hear the pattern as ascending the English group tended to hear it as descending, and when the Californian group tended to hear the pattern as descending the English group tended to hear it as ascending. This finding, coupled with the earlier results of Deutsch, North, and Ray (1990) that showed a correlate between perception of the tritone paradox and the pitch range of the listener's spontaneous speaking voice, indicates strongly that the same, culturally acquired representation of pitch classes influences both speech production and perception of this musical pattern.
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Brown, Helen, David Butler e Mari Riess Jones. "Musical and Temporal Influences on Key Discovery". Music Perception 11, n. 4 (1994): 371–407. http://dx.doi.org/10.2307/40285632.
Testo completoAbstract (sommario):
The intervallic rivalry model of key identification is outlined and evaluated in two experiments that use a completion judgment task. Experiment 1 replicates an earlier experiment by Cuddy and Badertscher (1987), in which the rare-interval hypothesis of the intervallic rivalry model was considered. In the present study, listeners with different levels of musical training rated probe tones in the context of three different melodic patterns: arpeggiated major triads, ascending major scales, and arpeggiated diminished triads. Results of Experiment 1 indicated that in both the C major triadic and the C major scalar contexts, listeners gave higher completion ratings to all three probes that were members of the presented C major triad than to the other probes, with the exception of F, thereby producing a jagged (multipeaked) profile. For the diminished triadic context, listeners rated the single probe C, that which corresponds to the tonal center in major mode for that group of three tones, as the best completion. Experiment 2 tested the temporal-order hypothesis of the intervallic rivalry model by reordering tones in all three contexts. Again jagged tone profiles appeared with major triadic and major scalar contexts, although in the former the tone F, a perfect fifth below the root of the presented C major triad, received the best completion rating. A single-peaked function appeared with probes in the diminished triadic context, where the major-mode tonic garnered the highest rating found in all conditions of both experiments. Data are interpreted as support for both the rare-interval hypothesis and the temporal-order hypothesis derived from the intervallic rivalry model of key discovery. Complementary findings consistent with the tonal hierarchy model are also discussed.
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Zhang, Caicai, Oi-Yee Ho, Jing Shao, Jinghua Ou e Sam-Po Law. "Dissociation of tone merger and congenital amusia in Hong Kong Cantonese". PLOS ONE 16, n. 7 (1 luglio 2021): e0253982. http://dx.doi.org/10.1371/journal.pone.0253982.
Testo completoAbstract (sommario):
While the issue of individual variation has been widely studied in second language learning or processing, it is less well understood how perceptual and musical aptitude differences can explain individual variation in native speech processing. In the current study, we make use of tone merger in Hong Kong Cantonese, an ongoing sound change that concerns the merging of tones in perception, production or both in a portion of native speakers, to examine the possible relationship between tone merger and musical and pitch abilities. Although a previous study has reported the occurrence of tone merger independently of musical training, it has not been investigated before whether tone-merging individuals, especially those merging tones in perception, would have inferior musical perception and fine-grained pitch sensitivities, given the close relationship of speech and music. To this end, we tested three groups of tone-merging individuals with various tone perception and production profiles on musical perception and pitch threshold tasks, in comparison to a group of Cantonese speakers with congenital amusia, and another group of controls without tone merger or amusia. Additionally, the amusics were compared with tone-merging individuals on the details of their tone discrimination and production profiles. The results showed a clear dissociation of tone merger and amusia, with the tone-merging individuals exhibiting intact musical and pitch abilities; on the other hand, the amusics demonstrated widespread difficulties in tone discrimination yet intact tone production, in contrast to the highly selective confusion of a specific tone pair in production or discrimination in tone-merging individuals. These findings provide the first evidence that tone merger and amusia are distinct from each other, and further suggest that the cause of tone merger may lie elsewhere rather than being driven by musical or pitch deficits. We also discussed issues arising from the current findings regarding the neural mechanisms of tone merger and amusia.
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Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti e Purwadi Purwadi. "ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B". Wawasan Pendidikan 1, n. 2 (30 agosto 2021): 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.
Testo completoAbstract (sommario):
Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.
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Caselli, Gabriele, Giovanni Cecchi e Giulio Masetti. "Characteristics, mechanisms, and perceivability of combination tones in violins". Journal of the Acoustical Society of America 152, n. 5 (novembre 2022): 2513–23. http://dx.doi.org/10.1121/10.0014600.
Testo completoAbstract (sommario):
Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian violins and decreased down to a minimum in a factory-made violin. All of these findings are well explained by the boosting action of A0, the main air resonance of the violin that correlates well with the strongest CT. A listening test, performed using selected dyads and violins, showed that the differences between dyads with and without CTs were correctly recognized by a group of professional and amateur musicians, suggesting a possible musical significance of the main CT. The results investigating the possible source of violin nonlinearity are also described.
Tesi sul tema "Tonus (Musical group)"
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du, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure". Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.
Testo completoAbstract (sommario):
One goal of music theory is to describe the resources of a pitch system. Traditionally, the study of pitch intervals was done using frequency ratios of the powers of small integers. Modern mathematical music theory offers an independent way of understanding the pitch system by considering intervals as transformations. This thesis takes advantage of the historical emergence of algebraic structures in musicology and, in the spirit of transformational theory, treats operations that form mathematical groups. Aspects of Neo-Riemannian theory are explored and developed, in particular the T/I and PLR groups as dual. Pitch class spaces, such as 12, can also be defined as torsors. In addition to surveying the group theoretical tools for music analysis, this thesis provides detailed proofs of many claims that are proposed but seldom supported.
Libri sul tema "Tonus (Musical group)"
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Alfred, Timothy. Tribute to the Tru Tones: Ronald (Boo) Hinkson, our own musical genius. [St. Lucia?: s.n., 2004.
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contributor, Deconinck Vincent, a cura di. Indochine, l'intégrale: L'histoire de tous leurs disques. Vanves: EPA, 2021.
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McParland, Stephen J. Surf beat: From Deltone to hightone and beyond : the Dick Dale story. 2a ed. North Strathfield, New South Wales, Australia: CMusic, 2001.
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McParland, Stephen J. Surf beat: From Deltone to hightone and beyond : the Dick Dale story. 2a ed. North Strathfield, New South Wales, Australia: CMusic, 2001.
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Lott, Marie Sumner. Creating “Progressive” Communities through Programmatic Chamber Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0005.
Testo completoAbstract (sommario):
This chapter examines three programmatic works for strings, each with a different relationship to the cultural and political scene of its day: George Onslow's string quintet “The Bullet” deals with a hunting accident; Niels Gade's string quartet “Willkommen und Abschied” (Welcome and departure) interprets a Goethe poem; and Bedřich Smetana's string quartet “From My Life” provides a politically charged autobiography in tones. In all three cases, the composer has addressed a particular group of performers or listeners by using musical style and the written word to create a narrative that would resonate with a shared experience or identity. As such, these three works demonstrate the range of possibilities for programmaticism throughout the nineteenth century, as well as different points along the spectrum of depiction, from “characteristic” works that narrate a series of events with mimetic devices to more abstract works that attempt to translate a poetic ideal into musical sounds.
Capitoli di libri sul tema "Tonus (Musical group)"
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Deutsch, Diana. "The Tritone Paradox". In Musical Illusions and Phantom Words, 71–81. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0006.
Testo completoAbstract (sommario):
Chapter 5 explores the tritone paradox—a musical illusion that was discovered by the author. Its basic pattern consists of two computer-generated tones that are related by a half-octave (i.e., a tritone). These tones are well defined in pitch class (note name) but ambiguous in pitch height. When one of these tone pairs is played in succession, some people hear an ascending pattern, yet other people hear a descending one. Indeed, a group of people will disagree completely among themselves as to whether such a pair of tones is moving up or down in pitch. Furthermore, any one person hears one of these tone pairs as ascending or descending depending on their note names (such as C–F♯, or G♯–D). How people hear the tritone paradox varies with the geographic location in which they grew up—and so with their native language or dialect. Native English-speaking Californians hear this pattern differently from natives of the south of England. People who are natives of Vietnam hear the pattern quite differently from native English-speaking Californians. The tritone paradox shows, therefore, that the way we perceive music is related to our language, and generally reveals strong effects of our memories and expectations on how we hear music. It also has important implications for absolute pitch (or “perfect pitch”)—the rare ability to name a musical note that is presented in isolation. People make orderly judgments of the tritone paradox, even though they cannot name the notes that they are judging, so they must have an implicit form of absolute pitch.
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Niebur, Louis. "The San Francisco Sound Thrives". In Menergy, 116–38. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511077.003.0008.
Testo completoAbstract (sommario):
Dance music’s continued popularity after the “death of disco” spurred a second wave of records in San Francisco, encouraged by the arrival of a new group of gay Los Angeles DJs. Bill Motley led the way with his high-energy medleys of Motown hits, initially just remixes of the originals, but soon with fully arranged remakes in the form of his creation, Boys Town Gang. With the success of Sylvester’s backup singers Two Tons o’ Fun’s first solo outing, Loverde and Patrick Cowley also decided to produce their own music. By the end of 1980, Fusion and Moby Dick Records had become San Francisco’s first gay-owned, gay-run dance music labels, producing worldwide hits rivaling anything corporate record labels could offer.
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Yeang, Chen-Pang. "Discordance and Nuisance". In Transforming Noise, 15–28. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198887768.003.0002.
Testo completoAbstract (sommario):
Abstract Chapter 2 reviews the two longstanding notions of noise—as irregular and inharmonious sounds that went against the human senses, and as annoying sounds of the surroundings that invaded into public and private spaces and disrupted tranquility. The concept of discordance tied to the theories of music since Antiquity, especially their preoccupation with harmonious tones and attempts to make sense of such tones with cosmic-numerological or psycho-physiological reasons. Along this tradition, Hermann Helmholtz in the 1860s defined noise as “a rapid alternation of different kinds of sensations of sound.” The concept of nuisance had a close relationship with the efforts by governments, local communities, and civic groups to control and “abate” din in urban or industrial settings. These two concepts became the dominant subjects of discussions on noise in technical literature and public discourse by the nineteenth century.
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Nedecky, Jason. "Special Pronunciation Considerations". In French Lyric Diction, 107–24. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197573839.003.0008.
Testo completoAbstract (sommario):
Abstract Idiosyncracies are to be encountered in every language; French is no exception. When it comes to singing in French, several features constitute topics particularly worthy of exploration. This chapter provides instruction on the most important of these topics. Emphatic stress (l’acccent d’insistance) involves shifting stress to a new syllable in the phonetic group in order to create a sense of urgency. This practice is widespread both in speech and in fine French singing. Another special topic is vocalic harmonization (l’harmonisation vocalique). Here, a relatively open vowel in an unstressed syllable closes to match the more closed vowel of the following, stressed syllable. This occurs in everyday French speech, but is applied much more cautiously in French vocal music. Unlike the other main singing languages, French rarely features consonant doubling (gémination consonantique). It is however possible in a few important scenarios, namely: in certain prefixes, with doubled (rolled) r in passages of heightened expressivity and in particular verb tenses, and as phrasal doubling of the same consonant in two words. An account is given for all of these cases. Several words with variable pronunciation are treated, including toujours, tous, and the infamously tricky word donc. The pronunciation of French numbers ends the chapter. Explanations and musical examples provide context.
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Musib, Ahmad Faudzi. "The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments". In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 91–112. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.07.
Testo completoAbstract (sommario):
The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is made up of tawak, satuk and canang. A similar tube zither made of bamboo, named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the gongs of the Bidayuh. According to Horsbourgh's observation, "... gongs... are both a musical instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned by the villagers, can be typically played every year for ritual practice as well as for entertainment during the Gawai celebration on the first and second June. The audio collection of the Ethnology Section of the Sarawak Museum provides similar recordings from other occasions than played duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba of Annah Rais to this date. In the context of the use of gongs during celebrations, the representations of gong tones can also be found on a pratuokng. One point of debate in the literature about tube zithers is, whether the voice functions found in the gong collection mimic the string voices found on the pratuokng or the other way round. Does this fact serve as a featured phenomenon to the actual appearance of re-invented musical instruments? Does it contribute to its sustainable appearance today?
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Bennett, Peggy D. "Valuing your voice". In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0021.
Testo completoAbstract (sommario):
If you have ever contracted laryngitis, you know the value of your voice. You feel fine. You are not contagious. You have much to do. You cannot make a good argument for staying home. Yet teaching without a healthy voice can be hard, hard work. Our voice is our most precious instrument. Do we care for it as if that is true? These five suggestions can help you maintain a healthy voice. 1. Balance of breath and muscle. When vocal sound production is balanced with muscle and breath, we are generally using our voice properly. When more muscle than breath is used, a forced sound causes undue stress on our vocal folds, often resulting in a raspy sound. Support your voice with breath energy to help maintain healthy vocal production. 2. Hydration. Talking for lengthy amounts of time causes us to lose moisture through our breath. Don’t wait until you’re thirsty to drink water. Stay hydrated throughout the day. 3. Avoid touching your face. Our hands are often the germiest parts of our bodies. To maintain a healthy voice, avoid touching your face, especially during cold and flu season. 4. Vary your vocal expression. Variety in pitch, pace, and volume is good for our voices and good for our listeners. Vary the pitch of your voice by shifting between higher and lower tones. Speed up and slow down the pace of your speaking. Speak at louder and quieter volumes to help students listen. 5. Lift your voice. Speaking at the lower part of your vocal range, especially if you are projecting loudly to a group, can cause vocal difficulties similar to a callus on your vocal folds. For the health of your voice, lift it to a medium high range (say “mm- hm” as an agreement and stay at the “hm” level) and speak using plenty of breath energy. The louder we talk, the less students need or want to listen! Try speaking normally rather than “talking over” noisy students; they will learn to respond. In physical education, music ensembles, and other large classes, a habit of shout- speaking can develop and derail your vocal health.
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Koukia, Spiridoula, Maria Rigou e Spiros Sirmakessis. "Content Personalization for Mobile Interfaces". In Human Computer Interaction, 992–96. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-87828-991-9.ch061.
Testo completoAbstract (sommario):
The contribution of context information to content management is of great importance. The increase of storage capacity in mobile devices gives users the possibility to maintain large amounts of content to their phones. As a result, this amount of content is increasing at a high rate. Users are able to store a huge variety of content such as contacts, text messages, ring tones, logos, calendar events, and textual notes. Furthermore, the development of novel applications has created new types of content, which include images, videos, MMS (multi-media messaging), e-mail, music, play lists, audio clips, bookmarks, news and weather, chat, niche information services, travel and entertainment information, driving instructions, banking, and shopping (Schilit & Theimer, 1994; Schilit, Adams, & Want, 1994; Brown, 1996; Brown, Bovey, & Chen, 1997). The fact that users should be able to store the content on their mobile phone and find the content they need without much effort results in the requirement of managing the content by organizing and annotating it. The purpose of information management is to aid users by offering a safe and easy way of retrieving the relevant content automatically, to minimize their effort and maximize their benefit (Sorvari et al., 2004). The increasing amount of stored content in mobile devices and the limitations of physical mobile phone user interfaces introduce a usability challenge in content management. The physical mobile phone user interface will not change considerably. The physical display sizes will not increase since in the mobile devices the display already covers a large part of the surface area. Text input speed will not change much, as keyboard-based text input methods have been the most efficient way to reduce slowness. While information is necessary for many applications, the human brain is limited in terms of how much information it can process at one time. The problem of information management is more complex in mobile environments (Campbell & Tarasewich, 2004). One way to reduce information overload and enhance content management is through the use of context metadata. Context metadata is information that describes the context in which a content item was created or received and can be used to aid users in searching, retrieving, and organizing the relevant content automatically. Context is any information that can be used to characterize the situation of an entity. An entity is a person, place, or object that is considered relevant to the interaction between a user and an application, including the user and the applications themselves (Dey, 2001). Some types of context are the physical context, such as time, location, and date; the social context, such as social group, friends, work, and home; and the mental context, which includes users’ activities and feelings (Ryan, Pascoe, & Morse, 1997; Dey, Abowd, & Wood, 1998; Lucas, 2001). By organizing and annotating the content, we develop a new way of managing it, while content management features are created to face efficiently the usability challenge. Context metadata helps the user find the content he needs by enabling single and multi-criteria searches (e.g., find photos taken in Paris last year), example-based searches (e.g., find all the video clips recorded in the same location as the selected video clip), and automatic content organization for efficient browsing (e.g., location-based content view, where the content is arranged hierarchically based on the content capture location and information about the hierarchical relationships of different locations).
Atti di convegni sul tema "Tonus (Musical group)"
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Aliel, Luzilei, Rafael Fajiolli e Ricardo Thomasi. "Tecnofagia: A Multimodal Rite". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.
Testo completoAbstract (sommario):
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
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Wang, Qiurui, Jun Hu, Zhenyu Liu e Caihong He. "The Effects of Happy and Sad Dynamic Digital Art on Relieving Stress". In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004087.
Testo completoAbstract (sommario):
Experiencing psychological stress due to the demands of modern life is common, but engaging with innovative digital art has the potential to alleviate this stress and provide a source of relaxation. Moreover, the interactive and dynamic nature of digital art offers diverse and distinctive experiences. The aim of this article is to determine if the process of transferring dynamic digital art images while playing happy and sad music can have an impact on an individual's stress level. For the experiment, two congruent audio-visual digital art videos were used as stimuli to assess their potential stress-relieving effects. A total of 24 participants were invited to participate and were divided into 3 groups. To induce a stress response in the participants, the Trier Social Stress Test was employed in the experiment. Following this, two separate groups were shown videos with different emotional tones, namely joy and sadness. The third group was the control group. The study assessed changes in participants' stress levels before and after the experiment using two tools: the State-Trait Anxiety Inventory (STAI) and Empatica E4. According to the study, both happy and sad videos were effective in reducing stress levels. The findings of this research could inform the development of digital art as a potential tool for stress management and emotional intervention.