We introduce a fully differentiable end-to-end audio transformation network designed to convert the style of one audio sample to another. This method offers three significant advantages: (a) it operates without the need for parallel utterances, transcriptions, or time alignment processes; (b) it utilizes a global conditioning mechanism, making it vocabulary agnostic and capable of transforming audio styles regardless of the target identity; and (c) it performs one-shot audio transformations without intermediate phonetic representations, thus eliminating the necessity for phonetic alignments and speaker-independent ASR networks. We assess our method against existing approaches in voice conversion and musical style transfer tasks. Subjective evaluations demonstrate the superiority of our approach. The network employs an encoder-decoder architecture that integrates neural network models known for their explainability in natural language processing tasks.

The purpose of the current study was the level of the self-confidence among with high musical abilities Student? The randomly selected sample consisted of students (n= 130, M= 65, F= 65) . The analytical descriptive approach was applied in the study and self-confidence Scale developed by the author was administered to participants. Results indicated that: - The self-confidence among the high musical abilities Student students was rated high. There were no statistically significant differences at (α=≤0.05) attributed to effect of sex on the self-confidence overall degree. There were statistically no significant differences at (α≤0.05) attributed to effect of achievement on the self-confidence overall degree,

It is shown how the secondary structure of proteins, musical forms and verses of poems are approximately ruled by universal laws relying on graph coverings. In this direction, one explores the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structures organizing the foldings. Then one look at the musical forms employed in the classical and contemporary periods. Finally, one investigates in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.

Quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations of a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations of the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, family of instruments, and dynamics. We observed a better behavior for the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa.

Recent evidence suggests the existence of shared neural resources for rhythm processing in language and music. Such overlaps could be the basis of the facilitating effect of regular musical rhythm on spoken word processing previously reported for typical children and adults, as well as adults with Parkinson’s disease and children with developmental language disorders. The present study builds upon these previous findings by examining whether musical rhythmic priming also influences visual word processing, and the extent to which such cross-modal priming effect of rhythm is related to individual differences in musical aptitude and reading skills. EEG was recorded while participants listened to a rhythmic tone prime, followed by a visual target word with a stress pattern that either matched or mismatched the rhythmic structure of the auditory prime. Participants were also administered standardized assessments of musical aptitude and reading achievement. ERPs elicited by target words with a mismatching stress pattern showed an increased fronto-central negativity. Additionally, the size of the negative effect correlated with individual differences in musical rhythm aptitude and reading comprehension skills. Results support the existence of shared neurocognitive resources for linguistic and musical rhythm processing, and have important implications for the use of rhythm-based activities for reading interventions.

The metaphor of being touched by music is widespread and almost universal. The tactile experience, moreover, has received growing interest in recent years. There is, however, a need to go beyond a mere metaphorical use of the term, by positioning the tactile experience within the broader frame of embodied cognition and the experiential turn in cognitive science. This article explores the possible contribution of a science of touch by defining music as a vibrational art that impinges upon the body and the senses. It takes as a starting point the clinical findings on the psychological and physiological value of tender touch with a special focus on the method of kangaroo mother care, which is a method for holding the baby against the chest of the mother, skin-to-skin. It is seen as one of the most basic affiliative bonding with stimuli that elicit reward. Via an extensive review of the research literature, it is questioned to what extent this rationale can be translated to the realm of music. There are, in fact, many analogies, but a comprehensive theoretical framework is still lacking. This article aims at providing at least some preparatory groundwork to fuel more theorizing about listening and its relation to the sense of touch.

Pain is a major problem in sick newborn infants, especially for those needing intensive care. Pharmacological pain relief is the most commonly used but may be ineffective, have side effects, including long-term neurodevelopmental sequelae. The effectiveness and safety of alternative analgesic methods are ambiguous. The objective is to review the effectiveness and safety of non-pharmacological methods of pain relief in newborn infants and to identify those that are the most effective. PubMed and Google Scholar were searched using the terms: ‘infant’, ‘premature’, ‘pain’, ‘acupuncture’, ‘skin to skin contact’, ‘sucrose’ ‘massage’, ‘musical therapy’ and ‘breastfeeding’. We included 24 studies assessing different methods of non-pharmacological analgesic techniques. Most resulted in some degree of analgesia but many were ineffective and some were even detrimental. Sucrose, for example, was often ineffective but more effective than music therapy, massage, breast milk (for extremely premature infants) or non-invasive electrical stimulation acupuncture. There were also conflicting results for acupuncture, skin to skin care and musical therapy. Most non-pharmacological methods of analgesia provide some modicum of relief for preterm infants but none are completely effective and there is no clearly superior method. Study is also required to assess potential long-term consequences of any of these methods.

Cretan lyra is a stringed instrument very popular on the island of Crete, Greece and an important part of its musical tradition. For stringed musical instruments, the air mode resonance plays a vital part in their sound, especially in the low frequency range. For this study, the air mode resonance of a Cretan lyra is investigated with the use of finite element method (FEM). Two different FEM acoustic models were utilized: first, a pressure acoustics model with the Cretan lyra body treated as rigid was used to provide an approximate result; secondly, an acoustic-structure interaction model was applied for a more accurate representation. In addition, acoustic measurements were performed to identify the air mode resonance frequency. Results of this study reveal that the acoustic-structure interaction model has a 3.7% difference regarding the actual measurements of the resonance frequency. In contrast, the pressure acoustics solution is approximately 13.8% too high compared with the actual measurements. Taken together, findings of this study support the idea that utilizing FEM acoustic-structure interaction models could possibly predict more accurately the vibroacoustic behavior of musical instruments, which in turn can enable the determination of key aspects that can be used to control the instrument’s tone and sound quality.

The bonds of England and the UAE date back to over 220 years ago. This article explores the interference of Arabic prepositions in the English used in the United Arab Emirates (UAE), and their occurrences in light of gender and level of education, two important social variables related to linguistic behavior. To do so, participants will translate 20 sentences in Arabic into English as well as fill in 30 gaps in sentences in English with the missing prepositions. We will also experiment how musical intelligence may improve Emiratis’ performance regarding preposition. A study will be carried out to verify if participants from the experimental group, who will receive training on prepositions through music, obtains better results compared to the control group, who will receive training through a more traditional way (by listening to the instructor and repeating).

One of the uses of Helmholtz resonators is as sound absorbers for room acoustic applications, especially for the low frequency range. Their efficiency is centered around their resonance frequency which is mainly depended on elements of their geometry such as the resonator volume and neck dimensions. Incorporating additional necks on the body of a Helmholtz resonator (depending on whether they are open or closed) has been found to alter the resulted resonance frequency. For this study, tunable Helmholtz resonators to multiple resonance frequencies, are proposed and investigated utilizing additional necks. The resonance frequencies of various multi-neck Helmholtz resonators are first modeled with the use of finite element method (FEM), then calculated with the use of an analytical approach and the results of the two approaches are finally compared. Results of this study show that Helmholtz resonators with multiple resonances at desired frequencies are achievable with the use of additional necks, while FEM and analytical methods can be used for the estimation of the resonance frequencies. Analytical and FEM approach results show a good agreement in cases of small number of additional necks, while the increasing differences in cases of higher neck additions, were attributed to the change in effective length of the necks as demonstrated by FEM. The proposed approach can be useful for tunable sound absorbers for room acoustics applications according to the needs of a space. Also, this approach can be applied in cases of additional tunable air resonances of acoustic instruments (e.g. string instruments).

Musical instrument recognition is a relatively unexplored area of machine learning due to the need to analyze complex spatial-temporal audio features. Traditional methods using individual spectrograms, like STFT, Log-Mel, and MFCC, often miss the full range of features. We propose a hierarchical residual attention network using a scaled combination of multiple spectrograms, including STFT, Log-Mel, MFCC, and CST features (chroma, spectral contrast, and Tonnetz), to create a comprehensive sound representation. This model enhances focus on relevant spectrogram parts through attention mechanisms. Experimental results with the OpenMIC-2018 dataset show significant improvement in classification accuracy, especially with the "Magnified 1/4 Size" configuration. Future work will optimize CST feature scaling, explore advanced attention mechanisms, and apply the model to other audio tasks to assess its generalizability.