In many real-world situations, performers always adopt different energy levels (strategies) to participate. Different from pre-existing results, this paper is devoted proposing several generalized power outputs of the marginal index, Banzhaf–Coleman and Banzhaf–Owen respectively, by assigning all performers. Since these extended may not be efficacious, we further define efficacious extensions o...

This article describes a method of getting a harmonious combination of colors, developed by us on the basis of the relationship of color and acoustic waves. Presents a parallel between harmoniously matched colors and the concept of harmony in music theory (consonance). Describes the physical assumption of the essence of the phenomenon of harmony (consonance). The article also provides algorithm...

In their three thoughtful commentaries on my essay, Prentice, Mahoney and Moore Lantos reflect the challenges that I set out: can we make sense of notion a good death, use art music to provide any insights into it?1–3 I was thinking about these questions again while reading this week yet another UK legal dispute relating life-sustaining treatment for child. January, High Court heard case Pipp...

To date, no consensus exists in the literature as to theories of consonance and dissonance. Experimental data collected over the last century have raised questions about the dominant theories that are based on frequency relationships between the harmonics of music chords. This study provides experimental evidence that strongly challenges these theories and suggests a new theory of dissonance ba...

Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in t...

While a number of theories have been advanced to account for why musical consonance is related to simple frequency ratios, as yet there is no completely satisfying explanation. Here, we explore the theory of synchronization properties of ensembles of coupled neural oscillators to demonstrate why simple frequency ratios may have achieved a special status and why they are important for auditory p...

We investigated the effect on objective speech intelligibility of scaling the fundamental frequency (f0) of voiced regions in a set of utterances. The frequency scaling was driven by maximising the glimpse proportion in voiced epochs, inspired by musical consonance maximisation techniques. Results show that depending on the energetic masker and the signal to noise ratio, f0 modifications increa...

We present Conchord, a system for real-time automatic generation of musical harmony through navigation in a novel 12-dimensional Tonal Interval Space. In this tonal space, Euclidean distances among multi-level pitch configurations equate with their perceptual proximity, and Euclidean distances of pitch configurations from the center of the space acts as an indicator of consonance. Building upon...