Musicality of human brain through fractal analytics:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Singapore
Springer
[2018]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xvii, 232 Seiten Illustrationen, Diagramme, Karten |
| ISBN: | 9789811065101 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
1 Introduction........................................................ 1
1.1 Music and Science................................................. 1
1.2 Music and Emotion: Looking into Historical Perspective............ 3
1.3 Psychological Analysis of Emotion................................. 4
1.4 Chaos Theory: Small Fluctuations Large Outcome.................... 6
1.5 Fractals and Multifractals: A New Dialogue Between Human
and Nature....................................................... 7
1.6 How Music Affects Our Brain: From a Neuro-Physical
Approach to Fractal Analysis Techniques.......................... 10
1.7 Study of Effects of Music on Brain: An Indian Perspective..... 13
References............................................................. 15
2 Non Linear Techniques for Studying Complex Systems..................... 21
2.1 Introduction..................................................... 21
2.2 Empirical Mode Decomposition (EMD)............................... 23
2.3 Wavelet Transform................................................ 25
2.4 Detrended Fluctuation Analysis................................... 29
2.5 Multifractal Detrended Fluctuation Analysis (DFA)................ 32
2.6 Multifractal Detrended Cross-Correlation Analysis (MFDXA) ... 36
2.7 Estimation of Neural Jitter and Shimmer.......................... 40
2.8 Estimation of Pitch of EEG Signal from Zero-Crossings............ 44
References............................................................. 46
3 Emotions from Hindustani Classical Music: An EEG based study
including Neural Hysteresis............................................ 49
3.1 Introduction..................................................... 49
3.1.1 Background............................................... 49
3.1.2 What Is Hysteresis?...................................... 50
3.1.3 Neural Plasticity and Hysteresis......................... 50
3.1.4 Hindustani Classical Music and Emotions.................. 51
3.1.5 EEG and Musical Emotions................................. 52
ix
X
Contents
3.1.6 Use of DFA to Assess Emotions and also
Neural Hysteresis...................................... 53
3.1.7 Overview of Our Work................................... 54
3.2 Experimental Details........................................ 55
3.2.1 Subjects Summary....................................... 55
3.2.2 Choice of Ragas: Chayanat and Darbari Kanada/Bahar
and Mian Ki Malhar..................................... 55
3.2.3 Experimental Protocol.................................. 56
3.3 Methodology................................................... 57
3.3.1 Empirical Mode Decomposition (EMD)..................... 57
3.3.2 Wavelet Transform...................................... 57
3.3.3 Detrended Fluctuation Analysis (DFA)................... 58
3.4 Results and Discussion........................................ 58
3.5 Conclusion.................................................... 68
References......................................................... 69
4 Musical Perception and Visual Imagery: Do Musicians visualize
while Performing?.................................................. 73
4.1 Introduction.................................................. 73
4.1.1 Creativity in Musical Performances: Brain Response .... 74
4.1.2 Improvisation in Hindustani Music...................... 75
4.1.3 Musicians and Visual Imagery: Claims and Beliefs..... 76
4.1.4 Musical Imagination and the Role of Occipital Lobe .... 76
4.1.5 Use of MFDFA and MFDXA to Study Musical
Imagination............................................ 77
4.2 Experimental Details.......................................... 78
4.2.1 Subjects Summary....................................... 78
4.2.2 Choice of Raga; Jayjayanti............................. 78
4.2.3 Experimental Protocol.................................. 79
4.3 Methodology................................................... 80
4.4 Results and Discussion........................................ 80
4.5 Conclusion.................................................... 98
References........................................................ 100
5 Tanpura Drone and Brain Response.................................. 103
5.1 Introduction................................................. 103
5.1.1 What Is Tanpura Drone?................................ 104
5.1.2 How Does a Tanpura Drone Aifect Brain Rhythm?........ 105
5.1.3 Use of Tanpura Drone as a Baseline.................... 105
5.1.4 Use of MFDFA to Assess the Effect of Drone............ 106
5.2 Experimental Details......................................... 107
5.2.1 Subjects Summary...................................... 107
5.2.2 Processing of Tanpura Drone........................... 107
5.2.3 Experimental Protocol................................. 107
Contents xi
5.3 Methodology.................................................. 108
5.4 Results and Discussions...................................... 109
5.5 Conclusion................................................... 113
References.......................................................... 114
6 Genesis of Universality of Music: Effect of Cross Cultural
Instrumental Clips.................................................. 117
6.1 Introduction................................................. 117
6.1.1 What Is Universality of Music?......................... 117
6.1.2 Previous Research to Look for Universal
Cues of Music.......................................... 118
6.1.3 Neuro-Cognition of Emotional Music Across
Different Cultures...................................... 118
6.1.4 Use of MFDFA on EEG to Assess Universality and
Domain Specificity of Musical Emotion................... 120
6.1.5 Overview of Our Work................................... 121
6.2 Experimental Details.......................................... 122
6.2.1 Collection of Human Response Data....................... 122
6.2.2 Processing of Music Signals............................. 123
6.2.3 Subjects Summary........................................ 123
6.2.4 Experimental Protocol.................................. 124
6.2.5 Methodology............................................. 125
6.3 Results and Discussions....................................... 126
6.4 Conclusion.................................................. 138
References.......................................................... 140
7 Gestalt Phenomenon in Music: Which Frequencies
Do We Really Hear?.................................................. 145
7.1 Introduction.................................................. 145
7.1.1 What Is Gestalt Psychology?............................. 145
7.1.2 Applications of Gestalt in Visual Domain................ 146
7.1.3 Gestalt in Auditory Domain.............................. 146
7.1.4 Creativity and Gestalt Theory........................... 147
7.1.5 Response of Brain to Certain Frequency Bands of Music
Using Non-linear Techniques.......................... 147
7.1.6 Doctoring of Clips from Tagore Songs.................... 149
7.1.7 Overview of Our Work.................................... 149
7.2 Experimental Details.......................................... 150
7.2.1 Collection and Analysis of Human Response Data......... 150
7.2.2 Subjects Summary........................................ 152
7.2.3 Experimental Protocol................................... 152
7.3 Methodology................................................... 153
7.4 Results and Discussions....................................... 154
7.5 Conclusion.................................................... 158
References......................................................... 160
Contents
xii
8 Emotion and Ambiguity: A Study................................. 165
8.1 Introduction................................................. 165
8.LI Emotions in Hindustani Music and the Importance of
Ambiguity............................................. 165
8.1.2 Non Linear Source Modeling of Musical Instruments. ... 166
8.1.3 Neural Response to Emotional Stimuli.................. 167
8.1.4 Use of MFDFA to Assess Acousticai/Human
Response.............................................. 168
8.2 Experimental Details......................................... 169
8.2.1 Choice of Three Pairs of Ragas........................ 169
8.2.2 Analysis of the Acoustic Signal Using MFDFA........... 170
8.2.3 Subjects Summary for EEG.............................. 170
8.2.4 Experimental Protocol................................. 170
8.3 Methodology.................................................. 172
8.4 Results and Discussions...................................... 172
8.5 Conclusion................................................... 180
References...................... ................................. 182
9 Improvisation—A New Approach of Characterization.................. 185
9.1 Introduction................................................. 185
9.1.1 Complex Structure of Music Signals.................... 185
9.1.2 Brief Introduction to Raga in Hindustani Classical
Music.................................................... 186
9.1.3 Improvisation: Hindustani Classical Versus Western
Music................................................. 186
9.1.4 Earlier Studies to Capture Improvisation.............. 188
9.1.5 Fractal Study on Music Signals........................... 188
9.1.6 Essence of Multiiraetal Study on Music Signals........... 189
9.1.7 Multifractal Cross Correlation Study and Its
Implications............................................. 190
9.2 Experimental Details............................................ 191
9.2.1 Choice of Ragas.......................................... 191
9.3 Methodology..................................................... 191
9.4 Results and Discussion.......................................... 192
9.5 Conclusion...................................................... 207
References........................................................... 209
10 Neural Jitter-Shimmer and Extraction of Pitch
from EEG Signals..................................................... 213
10.1 Introduction.................................................... 213
10.1.1 Application of Jitter/Shimmer and Pitch in Speech and
Music Analysis........................................... 214
10.1.2 Different EEG Frequency Bands
and Their Importance..................................... 215
Contents
xiii
10.1.3 Evaluation of Neural Jitter/Shimmer and Extraction
of Fundamentals....................................... 216
10.1.4 Probability of Occurrence of Fundamentals?
Does a Preferred Fundamental Exist?................... 217
10.2 Experimental Details........................................ 217
10.3 Methodology................................................. 218
10.4 Results and Discussion.................................... 218
10.5 Conclusion.................................................. 226
References...................................................... 227
Epilogue............................................................. 231
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| spelling | Ghosh, Dipak Verfasser (DE-588)17009653X aut Musicality of human brain through fractal analytics Dipak Ghosh [umd 3 weitere] Singapore Springer [2018] © 2018 xvii, 232 Seiten Illustrationen, Diagramme, Karten txt rdacontent n rdamedia nc rdacarrier Musikwahrnehmung (DE-588)4126097-1 gnd rswk-swf Gehirn (DE-588)4019752-9 gnd rswk-swf Neurowissenschaften (DE-588)7555119-6 gnd rswk-swf Musikwahrnehmung (DE-588)4126097-1 s Gehirn (DE-588)4019752-9 s Neurowissenschaften (DE-588)7555119-6 s DE-604 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030018799&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Musicality of human brain through fractal analytics |
| title_auth | Musicality of human brain through fractal analytics |
| title_exact_search | Musicality of human brain through fractal analytics |
| title_full | Musicality of human brain through fractal analytics Dipak Ghosh [umd 3 weitere] |
| title_fullStr | Musicality of human brain through fractal analytics Dipak Ghosh [umd 3 weitere] |
| title_full_unstemmed | Musicality of human brain through fractal analytics Dipak Ghosh [umd 3 weitere] |
| title_short | Musicality of human brain through fractal analytics |
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