Rhythm Errors Research Articles

Machine learning analysis to identify data entry errors in prehospital patient care reports: a case study of a national out-of-hospital cardiac arrest registry

Background: To develop and validate machine learning models for data entry error detection in a national out-of-hospital cardiac arrest (OHCA) prehospital patient care report database. Methods: Adult OHCAs of presumed cardiac etiology were included. Data entry errors were defined as discrepancies between the coded data and the free-text note documenting the intervention or event; for example, information that was recorded as “absent” in the coded data but “present” in the free-text note. Machine learning models using the extreme gradient boosting, logistic regression, extreme gradient boosting outlier detection, and K-nearest neighbor outlier detection algorithms for error detection within nine core variables were developed and then validated for each variable. Results: Among 12,100 OHCAs, the proportion of cases with at least one error type was 16.2%. The area under the receiver operating characteristic curve (AUC) of the best-performing model (model with the highest AUC for each outcome variable) was 0.71–0.95. Machine learning models detected errors most efficiently for outcome place and initial rhythm errors; 82.6% of place errors and 93.8% of initial rhythm errors could be detected while checking 11% and 35% of data, respectively, compared to the strategy of checking all data. Conclusion: Machine learning models can detect data entry errors in care reports of EMS clincians with acceptable performance and likely can improve the efficiency of the process of data quality control. EMS organizations that provide more prehospital interventions for OHCA patients could have higher error rates and may benefit from the adoption of error-detection models.

Melody, not Beat Perception, Predicts Rhythmic Error Detection

The purpose of this study was to examine the relationships among beat perception, error detection, and musical experience. We presented monophonic rhythms using a piano timbre along with two measures of beat perception (Harvard Beat Finding and Interval Test [BFIT] and Goldsmiths Beat Alignment Test) and a measure of melodic error detection. College musicians’ ( N = 43) ability to detect rhythm errors was not significantly correlated to their ability to perceive beat alignment (Goldsmiths test) or tempo change (BFIT). Age was related to performance on only one of the measures, the BFIT test. A regression model yielded pitch error detection as the only significant predictor of rhythmic error detection. We suggest that college musicians already possess a requisite ability for beat processing that allows them to perform error detection. The lack of relationship between beat perception and rhythmic error detection is explained by this requisite ability in the population, and we promote future research for pitch and rhythm processing as it relates to rhythm perception or performance.

Improving the objectivity of the current World Para Swimming motor coordination test for swimmers with hypertonia, ataxia and athetosis using measures of movement smoothness, rhythm and accuracy

ABSTRACT The current protocol for classifying Para swimmers with hypertonia, ataxia and athetosis involves a physical assessment where the individual’s ability to coordinate their limbs is scored by subjective clinical judgment. The lack of objective measurement renders the current test unsuitable for evidence-based classification. This study evaluated a revised version of the Para swimming assessment for motor coordination, incorporating practical, objective measures of movement smoothness, rhythm error and accuracy. Nineteen Para athletes with hypertonia and 19 non-disabled participants performed 30 s trials of bilateral alternating shoulder flexion-extension at 30 bpm and 120 bpm. Accelerometry was used to quantify movement smoothness; rhythm error and accuracy were obtained from video. Para athletes presented significantly less smooth movement and higher rhythm error than the non-disabled participants (p < 0.05). Random forest algorithm successfully classified 89% of participants with hypertonia during out-of-bag predictions. The most important predictors in classifying participants were movement smoothness at both movement speeds, and rhythm error at 120 bpm. Our results suggest objective measures of movement smoothness and rhythm error included in the current motor coordination test protocols can be used to infer impairment in Para swimmers with hypertonia. Further research is merited to establish the relationship of these measures with swimming performance.

Automated Speech Production Assessment of Hard of Hearing Children

A new method for the automated speech production assessment (ASPA) of hearing impaired children is presented in this paper, providing feedback about the pronunciation quality of words and sentences uttered during unsupervised practice in the course of speech development. A database of the sounds produced by hearing impaired subjects was set up and assessed with a subjective test. The Mean Opinion Score (MOS) obtained in this way constituted the reference for automated assessment. The essence of the ASPA method is the joint assessment of sound and rhythm errors. After several methods were tested, the output activity of the neural networks trained to classify speech sounds was used to assess sound correctness. Dynamic time warping, adapted to the speech of the hearing impaired, was used to determine rhythm errors. ASPA provides input data for an expert system for the selection of the next word to be practiced. The novelty of the procedure is that it provides a method for the assessment of non-typifiable pronunciation errors. Results were compared with individual expert assessment and subjective tests. Automated assessment surpassed the overwhelming majority of subjective assessors and approximated the correctness of individual expert assessment. Our ASPA method is implemented in our “Speech Assistant” application, which also provides a language-independent sound visualization module and is successfully applied to assist the hearing impaired.

The Effect of Piano Playing on Preservice Teachers’ Ability to Detect Errors in a Choral Score

The purpose of this study was to examine and empirically test the pedagogical claim that playing the piano while listening to choral singers impedes error detection ability. In a within-subjects design, participants ( N = 55 preservice teachers) either listened to four excerpts of choral hymns or played a single part (soprano/bass) on the piano while listening. They were asked to locate the errors that occurred in these excerpts. Each excerpt contained a pitch and a rhythm error, in the soprano and bass voice parts. Results of an analysis of covariance (with years of piano study as the covariate) indicated significant main effects for condition and voicing. There were more errors detected in the soprano voicing than in the bass voicing, and more errors detected in the listen condition than in the playing condition. Implications for music teacher education are discussed, including adding practice in error detection activities to methods and conducting courses.

Time perception in patients with dementia with Lewy bodies.

Disturbances of time perception could explain some behavioral disorders in patients with dementia with Lewy bodies (DLB), and the aim of this preliminary study was to evaluate time perception in these patients. 7 patients with DLB (mean age = 82±6,8 years) were compared to 7 cognitively normal subjects (m = 81.2±6,8 years) for spatiotemporal orientation, verbal estimation, semantic knowledge, rhythm perception and verbal time estimation. The scores on the semantic scale of temporality were statistically different between the two groups, and patients made more rhythm errors than the control sample. Moreover, a significant improvement between the first and second assessment on verbal time estimation was found in the control subjetcs but not in the patients. Time perception seems to be disturbed in patients with DLB, but more studies are required to understand this result with the behavioural disorders.

Differences in Error Detection Skills by Band and Choral Preservice Teachers

Band and choral preservice teachers ( N = 44) studied band and choral scores, listened to recordings of school ensembles, and identified errors in the recordings. Results indicated that preservice teachers identified significantly more errors when listening to recordings of their primary area (band majors listening to band, p = .045; choral majors listening to chorus, p = .012). Furthermore, band majors identified rhythm errors more frequently than pitch errors when listening to both types of ensembles, while chorus majors listened predominantly for pitch errors. A significant correlation existed between choral majors’ ability to detect pitch errors in choral recordings and their ability to detect pitch errors in band recordings ( r = .556). Theory course grades were not significantly correlated to error detection abilities, but aural skills course grades were related to ability to identify pitch errors outside the primary area (band majors, r = .441; choral majors, r = .611).

Temporal motor coordination in the ankle joint following upper motor neuron lesions.

[Purpose] We compared ankle temporal motor coordination between stroke, spinal disease and healthy elderly groups, and investigated the relationship between motor impairments and gait speed. [Subjects] Twenty-four patients with stroke, 19 post-operative spinal disease patients and 17 healthy elderly subjects participated. [Methods] Ankle temporal motor coordination of the three groups was assessed using the simple reaction time, the foot-tapping test, and a rhythm task. Rhythm error and rhythm variation were analyzed using the results of the rhythm task. Isometric muscle strength, spasticity, muscle stiffness, somatosensory and 10-m gait speed of the stroke and spinal disease subjects were also measured. [Results] Only the stroke group showed significant reductions in temporal accuracy and consistency in the rhythm task. Simple reaction time and the rhythm task were significantly poorer in the stroke group, whereas the foot-tapping test was not. Stepwise multiple regression analysis indicated gait speed was explained by rhythm error and plantarflexor strength in the stroke group, and rhythm error and simple reaction time in the spinal disease group. [Conclusion] Poor performance in simple reaction time and the rhythm task in the stroke group suggest these tasks are controlled by the supraspinal central nervous system. Negative features, particularly motor coordination, are more associated with gait speed than positive features.

EFFECTS OF GENERAL‐CASE TRAINING, INSTRUCTIONS, REHEARSAL, AND FEEDBACK ON THE REDUCTION OF SIGHT‐READING ERRORS BY COMPETENT MUSICIANS

We used general-case training, instructions, rehearsal, and feedback to teach 3 advanced flute students to improve their sight-reading skills. Training resulted in systematic decreases in note errors, rhythm errors, repetitions, and hesitations for each participant. The procedures and outcomes were socially validated through subjective evaluation by the participants and music teachers not involved with the study.

Effects of Listening Conditions, Error Types, and Ensemble Textures on Error Detection Skills

This study was designed with three main purposes: (a) to investigate the effects of two listening conditions on error detection accuracy, (b) to compare error detection responses for rhythm errors and pitch errors, and (c) to examine the influences of texture on error detection accuracy. Undergraduate music education students ( N = 18) listened to purposefully incorrect performances of band literature in two formats, on recordings and while conducting a live ensemble. Pitch and rhythm errors were inserted into the music excerpts to investigate responses to different types of errors. Half of the excerpts were played by the full ensemble and half by a single section. Participants served as their own controls by completing the error detection tasks under all conditions. Results indicated that participants were significantly more successful in identifying errors in the recording condition than in the conducting condition. A significant interaction existed between the error type (pitch or rhythm) and the ensemble texture (single section or full ensemble). Participants identified rhythm errors more accurately in the single section texture and diagnosed pitch errors more successfully in the full ensemble excerpts.

Perceptual Issues in Music Pattern Recognition: Complexity of Rhythm and Key Finding

We consider several perceptual issues in the context of machine recognition ofmusic patterns. It is argued that a successful implementation of a musicrecognition system must incorporate perceptual information and error criteria.We discuss several measures of rhythm complexity which are used fordetermining relative weights of pitch and rhythm errors. Then, a new methodfor determining a localized tonal context is proposed. This method is based onempirically derived key distances. The generated key assignments are then usedto construct the perceptual pitch error criterion which is based on noterelatedness ratings obtained from experiments with human listeners.

Development of Harmonization and Sight-Reading Skills among University Class Piano Students

This study is an exploration of the development of sight-reading and harmonization skills among nonkeyboard music majors enrolled in six intact sections of class piano ( N = 39). Classes included 10 minutes of instruction in each of two topics, harmonization and sight-reading, with the remaining time spent on keyboard skills not directly related to the study. Subjects were videotaped twice completing two harmonization and two sight-reading tasks. Videotapes were analyzed for pitch and rhythm errors. Statistical analysis compared pretest to posttest scores, right-hand to left-hand scores, the four tasks, and practice-group condition. Results indicated the right hand was more accurate and consistent than was the left hand, made less improvement on all tasks, and was slightly more accurate on the harmonization tasks than the sight-reading tasks. The left hand made noticeable gain in accuracy on all tasks and was more accurate on the easier tasks than on the more difficult ones.

Effects of Contextual Sight-Singing and Aural Skills Training on Error-Detection Abilities

Effects of contextual sight-singing and ear training on pitch and rhythm error detection abilities among undergraduate instrumental music education majors were examined. Experimental (n1 = 15) and control (n2 = 15) groups received identical training in instrumental methods and conducting. Experimental subjects additionally received 50 minutes of sight-singing and ear training per week over 11 weeks using materials drawn from extant band repertoire. Subject responses to errors in one-, two-, and three-part homorhythmic and polyrhythmic examples were examined. Results showed significant differences in correct detection of rhythm and pitch errors. Experimental subjects were better at error detection compared to control subjects. Subjects were better at detecting rhythm errors compared to pitch errors. They were best with one-part, did less well with two-part, and least well with three-part examples. Differences attributable to texture were not significant. Contextual sight-singing and aural skills training and practice may have contributed to short-term development of error-detection abilities.

The Effects of Texture and Number of Parts on the Ability of Music Majors to Detect Performance Errors

The purpose of this study was to examine graduate and undergraduate music majors' ability to detect pitch arid rhythm errors in one-, two-, and three-part settings of texturally contrasting musical excerpts. A stimulus audiotape consisting of 12 excerpts resulted from the following arrangement by texture and number of parts: 4 one-part excerpts, 2 two-part and 2 three-part homorhythmic excerpts, and 2 two-part and 2 three-part polyrhythmic excerpts. Subjects ( N = 150) listened to purposefully marred recorded performances of these excerpts and attempted to identify pitch and rhythm errors by circling appropriate places on correctly notated scores. Results of analyses of variance with repeated measures on correct responses indicated significant main effects of degree status (graduate students were more accurate than were undergraduates); number of parts (subjects were most accurate in one-part settings, less accurate in two-part settings, and least accurate in three-part settings); texture (subjects were more accurate in homorhythmic texture than in polyrhythmic texture); and. error type (subjects were more accurate detecting rhythm errors than pitch errors). Significant interactions indicated that these variables did not function independently of each other.

The Influence of Textural and Timbral Factors on the Ability of Music Majors to Detect Performance Errors

The purpose of this study was to investigate the effect of textural and timbral factors on graduate and undergraduate music majors' ability to detect performance errors. Specifically, subjects' discrimination of pitch and rhythm errors in music excerpts that were counterbalanced for error type, textural placement of errors (soprano, alto, tenor, and bass voices), and timbre (single and multiple) was examined. In the development of a stimulus audiotape for error detection, the Yamaha SY77 digital synthesizer was used to record and perform two contrasting, six-measure music excerpts selected from the wind band literature. The original excerpts were edited to include purposeful errors resulting in a stimulus of 20 total excerpts, 16 of which included performance errors. Subjects (N - 60) listened to the recorded excerpts and attempted to identify pitch and rhythm errors by circling appropriate places in the scores. Results of a four-factor analysis of variance with repeated measures on correct responses indicated significant main effects of error type (subjects were more discerning of rhythm errors) and timbre (subjects were more discerning of errors in the single-timbre condition) and no effects regarding voice placement and degree status. There was a significant three-way interaction among the variables of error type, textural placement, and timbre. Additionally, descriptive comparisons were made concerning incorrect responses.

Memorising Two Melodies of Different Style

Thirty one freshmen of the Academy of Music, classified either as possessors of absolute pitch (N=5) or non-possessors (N=26), memorised two melodies: one having a clear tonal structure, another one based on a modal scale. Generally, the culturally remote (modal) melody was more difficult for both groups of subjects, and the rhythm of the melodies caused more trouble in reproductions than pitch. Qualitative analysis of the measures sung during reproductions suggested that the musical material and individual character- istics of the subjects not controlled in the study influenced strategies of learning applied during the experiment, rather than the possession of AP per se. Results of a MANOVA showed no significant indication that the possession of AP modifies the proportions of contour, interval and rhythm errors during melodic memorisation of both melodies, though AP subjects memorised both melodies faster than non-APs. They also scored signifi- cantly better in retaining the key and storing pitch information when they recalled the melodies from long term memory.

Effects of Mental Practice, Physical Practice, and Knowledge of Results on Piano Performance

In this study, the author examined the effects of type of practice (physical, mental, I alternating physical/mental, and a motivational control) and aural knowledge of results on improving piano performance. Forty music education and music therapy majors participated in a pretest and posttest experiment using one of eight treatment conditions. The dependent variables were performance time, number of pitch errors, and number of rhythm errors. Results revealed that (a) all three practice conditions had significantly shorter performance times than did the control condition, (b) treatments using physical practice and alternating mental/physical practice yielded significantly shorter performance times than did the mental practice treatment alone, and (c) the physical practice treatment did not differ significantly from the alternating mental/physical practicel treatment in improving performance times. No other statistically significant differences were found among the three practice conditions.

Computer-Assisted Instruction in Pitch and Rhythm Error Detection

The purpose of the study was to determine whether the Computer-Assisted Program in Error Detection (CA-PED) was an effective method for developing that skill in college music education majors through a comparison with an effective error detection program, the Program in Error Detection (PED). The computer program, written for the Apple II + microcomputer, is an interactive, programmed-instruction format that utilizes four-voice examples of published band literature. The results indicated significant gains in error-detection skill for both groups, but no significant difference ( p &lt; .05) between treatment groups on the Test in Error Detection (TIED) in each of three analyses of covariance, utilizing TIED pretest, Aliferis-Stecklein Music Achievement Test, College Midpoint Level (AS), and combined TIED pretest and AS as the covariates, respectively.

Programmed Instruction using Band Literature to Teach Pitch and Rhythm Error Detection to Music Education Students

One of the skills necessary for the conductor of an ensemble is the ability to detect errors of pitch and rhythm in a rehearsal while examining a correct score. This study developed (1) a program to train the ability to detect errors, and (2) a test to measure improvement of this ability. Both the program and the test used full-score band literature of medium-level difficulty. Three forms of the program, each differing in the number of practice frames, were developed in order to determine the optimum length of program needed to effectively train error detection skill. Results showed that programmed instruction was effective in training error detection skill and that the longer forms of the program resulted in greater gains.

Self-Instructional Drill Materials for Student Conductors

1HIS STUDY WAS CONCERNED with the development and experimental testing of self-instructional drill materials aimed at the improvement of score-reading ability. For the purpose of this research score-reading ability was defined as skill in the detection and identification of pitch and rhythm errors in instrumental performance. This skill is deemed a necessary behavioral competence of teachers of instrumental music. These teachers are faced with the necessity of detecting and identifying errors during rehearsal class. Highly developed aural/visual skill, commonly referred to as score-reading ability can have positive effect on the judicious use of available teaching time. Efficient rehearsal procedures facilitate student learning through accurate music performance experience. There is presently no instructional method for the teaching of scorereading skill. Experience in aural music theory classes is very often unrelated to the aural discrimination skills needed by instrumental teachers. Rarely, if ever, are future teachers asked to detect and identify errors produced in a music texture involving various instruments. Aural skills are developed in ear training classes but there is little evidence of transfer to the problems that confront the conductor. Students are unable to synthesize existent skills and focus them in solving the rehearsal problems of the conductor-teacher. In order to develop scorereading skill, students must experience reality-oriented material in a carefully organized format. It was the purpose of this study to develop self-instructional materials that bring about a synthesis of aural/visual skills needed for accurate score reading. Specifically, the objectives were as follows: