Many studies have demonstrated that vocabulary size plays a key role in learning English as a foreign language (EFL). In recent years, mobile game-based learning (MGBL) has been considered a promising scheme for successful acquisition and retention of knowledge. Thus, this study applies a mixed methodology that combines quantitative and qualitative approaches to assess the effects of PHONE Words, a novel mobile English vocabulary learning app (application) designed with game-related functions (MEVLA-GF) and without game-related functions (MEVLA-NGF), on learners’ perceptions and learning performance. During a four-week experiment, 20 sophomore students were randomly assigned to the experimental group with MEVLA-GF support or the control group with MEVLA-NGF support for English vocabulary learning. Analytical results show that performance in vocabulary acquisition and retention by the experimental group was significantly higher than that of the control group. Moreover, questionnaire results confirm that MEVLA-GF is more effective and satisfying for English vocabulary learning than MEVLA-NGF. Spearman rank correlation results show that involvement and dependence on gamified functions were positively correlated with vocabulary learning performance.

Perceptual dimensions underlying timbre and sound-source identification have received considerable scientific attention. While these scholarly insights help us in understanding the nature of sound within a multidimensional timbral space, they carry little meaning for the majority of musicians. To help address this, we conducted two experiments to establish listeners’ perceptual thresholds (PT) for changes in sound using a staircase-procedure. Unlike most timbre perception research, these changes were sonic manipulations that are common in synthesisers, audio processors and instruments familiar to musicians and producers, and occurred within continuous sounds (rather than between discrete pairs of sounds). In experiment 1, two sounds (variants of a sawtooth oscillation) both with the same fundamental frequency (F1: 80 Hz, 240 Hz or 600 Hz) were played with no intervening gap. In each trial, the two sounds’ partials differed in amplitudes or frequencies to produce a timbre change. The sonic manipulations were varied in size to detect thresholds for the perceived timbre change – listeners were instructed to indicate whether or not they perceived a change within the sound. In experiment 2, we modified stimulus presentation to introduce the factor of transition time (TT). Rather than occurring instantaneously (as in experiment 1), the timbre manipulations were introduced gradually over the course of a 100 ms or a 1000 ms TT. Results revealed that PTs were significantly affected by the manipulations in experiment 1, and additionally by TT in experiment 2. Importantly, the data revealed an interaction between the F1 and the timbre manipulations, such that there were differential effects of timbre changes on the perceptual system depending on pitch height. Musicians (n=11) showed significantly smaller PTs compared to non-musicians (n=10). However, PTs for musicians and non-musicians were highly correlated (r=.83) across different sonic manipulations, indicating similar perceptual patterns in both. We hope that by establishing PTs for commonly used timbre manipulations, we can provide musicians with a general perceptual unit, for each manipulation, that can guide music composition and assessment.

Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.

For a real-time robotic prosthetic control, gait event detection plays an important role. In this paper, one novel sensor was proposed to realize gait event detection. The sensor includes one strain gauge bridge, which can reflect the entire deformation of carbon-fiber footplate on a robotic prosthesis. Three unilateral transtibial amputees participated in the experiments. Experimental results show that using the proposed sensor method, gait event detection (stance phase and swing phase) accuracy is approximately 100%. Based on the detected gait events, three locomotion modes (sit, stand, and walk) and the corresponding transition modes could be determined. Difference between different gait event detection systems was further conducted.

In 1989, after ten years of research, François Delalande presented for the first time the idea of ‘listening behaviours’, distinguishing several ways to listen to the same piece of music. The methods did not allow for many conclusions, but the approach started a new field of research, where diverse listening behaviours could serve as a basis for diverse, exclusive (or even contradictory) analyses of the same work. Furthermore, Delalande’s preliminary research based on an extract from Pierre Henry’s music is still one of the few instances of research into acousmatic music listening that addresses actual listeners. The last 20 years have seen the reproduction and extension of Delalande’s results, as well as a growing interest in listening in musicological circles. For this reason, it seemed necessary to review research about listening behaviours to evaluate their operational validity and to propose a robust theoretical framework for their study and description. This paper addresses this problem using the elicitation interview for the description and interpretation of listeners’ testimonies. Drawing on testimonies from five listeners about a single extract of acousmatic music, it seems that, for Delalande’s model to be able to describe various listening experiences, it should be further detailed and completed with attention management processes. Further investigation is needed to allow the model to include some listening behaviours which were not recurrent enough here to make sense of them.

General Adversarial Networks are hot. Given Murphy’s Law, it is prudent to be paranoid. Best not to design for the average case. There is a long tradition of designing for the hundred-year flood (and five 9s reliability). What is good enough? Historically, the market hasn’t been willing to pay for five 9s. Hard to justify upfront costs for future benefits that will only payoff under unlikely scenarios, and might not work when needed. If the market isn’t willing to pay for five 9s, can we afford to design for the worst case?

Sixty years on from Pierre Schaeffer’s call for ‘primacy of the ear’ (primauté de l’oreille), this article asks an ostensibly simple question: whose ear/aural perception is being referred to when we talk of and compose under this guiding principle? Is there a tacit preselected audiometric norm or even a pair of golden ears, at its core? The article will problematise the uncompromising modernist notion espoused by Babbitt of a ‘suitably equipped receptor’ (Babbitt 1958), and posit examples of well-known composers whose hearing markedly diverged from the otologically normal, an acoustics standard from which A-weighted decibels is predicated (ISO 226:2003). In conclusion the concept of auraldiverse hearing is proposed and creative strategies that eschew or problematise auraltypical archetypes in sonic arts practice and theory wherever they may lie are encouraged.

In the current work, the effects of design (groove depth and groove width) and operational (temperature and velocity) parameters on aerodynamic performance parameters (coefficient of drag and coefficient of lift) of an isolated passenger car tire have been investigated. The study is conducted by using neural network-based Monte-Carlo analysis on computational fluid dynamics (CFD). The computer experiments are designed to obtain the causal relationship between tire design, operational, and aerodynamic performance parameters. The Reynolds-averaged Navier–Stokes equations-based Realizable K-ε model has been employed to analyze the variations in flow patterns around an isolated tire. The design parameters are varied over wide range and full factorial design, while considering temperature and velocity is completely explored to draw conclusive results. The multi-layer perceptron type neural network with the back-propagation algorithm is trained to map any non-linearity in causal relationships. The sensitivity analysis is performed to find the relationship between control variables and performance indicators. The importance of control variable is determined by both sensitivity and significance analyses and the paired interaction analysis is performed between selected control variables to find the interactive behavior of corresponding variables. The design parameter of groove width with 6.8% and 41% reduction in drag and lift coefficient, respectively, and conventionally overlooked operational parameter of velocity with 4% and 35% impact on drag and lift coefficient, respectively, are found to be the most significant variables. The air trapped between the longitudinal grooves and the road is found to follow the beam theory. The interaction of the groove depth and width is found to be significant with respect to coefficient of lift based on the air beam concept. The interaction of groove width and velocity is found to be significant with respect to both coefficients of lifts and drag.

This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

This article aims to reflect on the main constraints encountered in recovering music-theatre works that involve a variety of diverse aspects that are relevant to their performance. As well as the score, scripts or other additional documents, the works considered here also include electroacoustics recorded on magnetic tape, consequently requiring specific approaches in order to preserve such kinds of works. Video recordings of concerts are important for understanding, documenting and eventually restaging these works. This idea is not new; audio-video recordings have for many years served as sources for documenting live performances (music-theatre or art performances). However, it is still important to discuss just how and with which tools these very important documents might be preserved and exploited. Hence, the study of the structure of Molly Bloom and FE…DE…RI…CO…, both with music by Constança Capdeville, enables an understanding of the processes in which documentation is relevant to preserving such a valuable cultural heritage.

One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.

Irony and sarcasm are two complex linguistic phenomena that are widely used in everyday language and especially over the social media, but they represent two serious issues for automated text understanding. Many labeled corpora have been extracted from several sources to accomplish this task, and it seems that sarcasm is conveyed in different ways for different domains. Nonetheless, very little work has been done for comparing different methods among the available corpora. Furthermore, usually, each author collects and uses their own datasets to evaluate his own method. In this paper, we show that sarcasm detection can be tackled by applying classical machine-learning algorithms to input texts sub-symbolically represented in a Latent Semantic space. The main consequence is that our studies establish both reference datasets and baselines for the sarcasm detection problem that could serve the scientific community to test newly proposed methods.