Musicality of human brain through fractal analytics

245 Pages·2018·7.96 MB·English

by  Ghosh

Signals and Communication Technology
Dipak Ghosh
Ranjan Sengupta
Shankha Sanyal
Archi Banerjee
Musicality of
Human Brain
through Fractal
Analytics
Signals and Communication Technology
More information about this series at http://www.springer.com/series/4748
Dipak Ghosh Ranjan Sengupta
(cid:129)
Shankha Sanyal Archi Banerjee
(cid:129)
Musicality of Human Brain
through Fractal Analytics
123
DipakGhosh Shankha Sanyal
Sir C.V. RamanCentre for Physics and Sir C.V. RamanCentre for Physics and
Music Music
JadavpurUniversity JadavpurUniversity
Kolkata, West Bengal Kolkata, West Bengal
India India
RanjanSengupta ArchiBanerjee
Sir C.V. RamanCentre for Physics and Sir C.V. RamanCentre for Physics and
Music Music
JadavpurUniversity JadavpurUniversity
Kolkata, West Bengal Kolkata, West Bengal
India India
ISSN 1860-4862 ISSN 1860-4870 (electronic)
Signals andCommunication Technology
ISBN978-981-10-6510-1 ISBN978-981-10-6511-8 (eBook)
https://doi.org/10.1007/978-981-10-6511-8
LibraryofCongressControlNumber:2017953814
©SpringerNatureSingaporePteLtd.2018
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Dedicated
to
myriad-minded person
Rabindranath Tagore
Acknowledgements
This book is an outcome of a decade long research carried out in the unique
multidisciplinaryresearchcentreofJadavpurUniversity,SirC.V.RamanCentrefor
Physics and Music. The diverse spectra of research conducted in the centre bring
about persons from various disciplines and one page of acknowledgement falls
short in naming all of them.
Firstandforemost,wewouldliketoacknowledgeProf.ParthaGhoseandProf.
AsokKumarDattafortheirconstantassociationandexchangeofnewthoughtsand
ideas which have enriched the book a lot, also to Pt. Ajoy Chakraborty and Pt.
Falguni Mitra, for showing continued interest toward our research work. We also
offer our sincere thanks to Shirshendu Mukherjee for actively involving himself in
many of the works included in this book.
We would also like to extend our gratitude to a very young team of super
enthusiastic students from the Department of Electrical Engineering, Jadavpur
University who are actively involved in programming to collection of human
responsedatausedinanumberofworksofthisbook.ThelonglistsincludeAkash
KumarMaity,RuchiraPratihar,VishalAgarwal.AnubrotoMitra,SouryaSengupta,
Sayan Biswas, and Sayan Nag. Their exuberance and eagerness to know keeps us
going and trying to explore new vistas of this colossal subject.
The authors would like to acknowledge the Department of Science &
Technology (DST), Govt. of India, West Bengal State Council of Science &
Technology, Govt. of West Bengal, Council of Scientific and Industrial Research
(CSIR), Govt. of India for providing the funds to continue this research program.
Our heartfelt thanks to Prof. Argha Deb and Dr. Tarit Guhahakurata who have
offered constant support throughout the period of writing this book, Dr. Kaushik
Banerjee, Souparno Roy and Dr. Anirban Patranabis have enriched us with their
inputs whenever needed, also to Sadananda Pramanik and Dr. Sadananda Harh,
who have helped us in numerous ways while conducting the several experiments
detailed in this book.
vii
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 EmotionsfromHindustaniClassicalMusic:AnEEGbasedstudy
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 ChoiceofRagas:ChayanatandDarbariKanada/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 Affect 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 ResponseofBraintoCertainFrequencyBandsofMusic
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