Time Series Analysis as a Method to Examine Acoustical Influences on Real-time Perception of Music

Dean, Roger T.; Bailes, Freya

doi:10.18061/1811/48550

Cited by 54 publications

(108 citation statements)

References 67 publications

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“…Both variables were treated as endogenous. For perception of change or dchange (as in Dean & Bailes (2010), 'dseriesname' refers to the first differenced form of the variable), there was no significant Granger causality of spectral centroid or dspectral centroid upon the corresponding change variable. On the other hand for arousal, there was causality from spectral centroid (χ 2 (3) = 9.03, p < .029) and residuals were satisfactory.…”

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…In Dean and Bailes (2010), we chose to use spectral flatness as our physical measure of timbre, and found that it was not successfully able to predict listener perceptions of the music. In answer to Pearce's comments (Pearce 2011), we now examine the more commonplace alternative measure of timbre, namely spectral centroid, as a possible predictor of listener perceptions.…”

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…This was also true for the stationarised (first differenced) model, (χ 2 (2) 11.83, p < .008. More interestingly, given the relative lack of predictive power of the primary acoustic variables for perception of valence discussed in Dean and Bailes (2010), spectral centroid was Granger causal of valence (χ 2 (3) = 11.03, p < .004), and dspectral centroid of dvalence (χ 2 (1) = 7.20, p <.007). To analyse this possible influence of spectral centroid further, we tested simultaneously the possible impact of both spectral flatness and spectral centroid as endogenous variables that might predict arousal or valence, as in previous multivariate assessments considered in our paper.…”

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…Thus we assessed whether the addition of spectral centroid could enhance the core ARIMAX models of change, arousal and valence discussed within our paper (Dean & Bailes 2010).…”

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…

ABSTRACT: Pearce (2011) provides a positive and interesting response to our article on time series analysis of the influences of acoustic properties on real-time perception of structure and affect in a section of Trevor Wishart's Red Bird (Dean & Bailes, 2010). We address the following topics raised in the response and our paper.

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Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

Dean¹,

Bailes²

2011

Empirical Musicology Review

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Pearce (2011) provides a positive and interesting response to our article on time series analysis of the influences of acoustic properties on real-time perception of structure and affect in a section of Trevor Wishart's Red Bird (Dean & Bailes, 2010). We address the following topics raised in the response and our paper. First, we analyse in depth the possible influence of spectral centroid, a timbral feature of the acoustic stream distinct from the high level general parameter we used initially, spectral flatness. We find that spectral centroid, like spectral flatness, is not a powerful predictor of real-time responses, though it does show some features that encourage its continued consideration. Second, we discuss further the issue of studying both individual responses, and as in our paper, group averaged responses. We show that a multivariate Vector Autoregression model handles the grand average series quite similarly to those of individual members of our participant groups, and we analyse this in greater detail with a wide range of approaches in work which is in press and continuing. Lastly, we discuss the nature and intent of computational modelling of cognition using acoustic and music-or information theoretic data streams as predictors, and how the music-or information theoretic approaches may be applied to electroacoustic music, which is 'sound-based' rather than note-centred like Western classical music.Submitted 2011 September 30; accepted 2011 October 10.KEYWORDS: time series analysis; musical structure; musical affect; information theoretic analysis; computational modelling of cognition; electroacoustic music. PEARCE (2011) supports our focus on studying real-time responses to music, and appreciates our introducing the methods of time series analysis (which have been rarely used in music studies) and using computer-mediated electroacoustic music as part of this analysis. Indeed, in our ongoing work, we make a point of contrasting and comparing responses to the 'sound-centered' electroacoustic musics, as for example Landy (2009) characterizes them, with those to 'note-centered' music, such as piano music from the Western classical music tradition. Our work allows demonstration not only of the predictive capacity of acoustic information streams for perception of musical structure and affect, but also of interactions between individual perceptual/cognitive responses, and their autoregressive properties.In this article, we respond to three main topics raised by Pearce's comments and by our work to date: the possible influence of the acoustic parameter spectral centroid on perceptions of musical structure and affect; the comparison between group average perceptual responses and individual responses; and finally the nature of computational cognitive modelling and possibilities for developing information theoretic aspects of it in relation to electroacoustic music.

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Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…Thus we assessed whether the addition of spectral centroid could enhance the core ARIMAX models of change, arousal and valence discussed within our paper (Dean & Bailes 2010).…”

Section: The Possible Roles Of Spectral Centroid As a Predictor Of Pementioning

confidence: 99%

“…

…”

mentioning

confidence: 99%

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Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

Dean¹,

Bailes²

2011

Empirical Musicology Review

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Measuring Affective, Physiological and Behavioural Differences in Solo, Competitive and Collaborative Games

Arellano

Tokarchuk

Güneş

2016

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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In this paper, we aim to measure affect and behaviour indicators of players to understand how they feel in different play modes and how games could be improved to enhance user experience, immersion and engagement. We analyse the affective states in sets of two users playing AQ1 a Wii video game in three play modes: solo, competitive and collaborative. We measured their physiological signals and observed the nonverbal behaviours to infer their affective states. Although other studies have looked at these signals in gaming, this work focuses on the differences between the three play modes aforementioned. Our results show that: (1) Players experience similar levels of arousal during both solo and collaborative play modes; (2) players' heart rates are significantly correlated during the competitive mode but not during the collaborative one; and (3) heart rate variability is a good indicator of engagement when playing video games.

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Towards a Deep Improviser: a prototype deep learning post-tonal free music generator

Dean

Forth

2018

Neural Comput & Applic

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Two modest-sized symbolic corpora of post-tonal and post-metrical keyboard music have been constructed, one algorithmic, the other improvised. Deep learning models of each have been trained. The purpose was to obtain models with sufficient generalisation capacity that in response to separate fresh input seed material, they can generate outputs that are statistically distinctive, neither random nor recreative of the learned corpora or the seed material. This objective has been achieved, as judged by k-sample Anderson-Darling and Cramer tests. Music has been generated using the approach, and preliminary informal judgements place it roughly on a par with an example of composed music in a related form. Future work will aim to enhance the model such that it deserves to be fully evaluated in relation to expression, meaning and utility in real-time performance.

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Time Series Analysis as a Method to Examine Acoustical Influences on Real-time Perception of Music

Cited by 54 publications

References 67 publications

Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

Measuring Affective, Physiological and Behavioural Differences in Solo, Competitive and Collaborative Games

Towards a Deep Improviser: a prototype deep learning post-tonal free music generator

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