Kyoto City University of Arts

www.kcua.ac.jp
Kyoto, Japan

Kyoto City University of Arts is a municipal university of general art and music art in Kyoto, Japan. Established in 1880, it is the oldest university of art in Japan. Among its faculty and graduates have been 16 recipients of the Order of Culture, 24 members of the Japan Art Academy, and 10 artists who have been designated living national treasures.It has been associated especially closely with nihonga painters from western Japan. Wikipedia.


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Mori M.,Kyoto University | Tatsumi A.,Kyoto City University of Arts
Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics) | Year: 2014

This paper describes the Fieldwork Support System (FSS) for project-based Learning. The FSS is an essential tool for students who are new to fieldwork activities. They need to take notes on events that occur in the field and reflect on what people did and what they talked about in interviews. In addition, students should collaborate to learn using the data they collected. Therefore, we developed the FSS, which was constructed to use a combination of portable terminals during the students' time in the field and a Web-based management application upon their return. We also conducted a practical experiment on PBL in which students explored local communities. The results of a posterior questionnaire showed the students enjoyed being able to view their current locations and the locations of data they had collected on the FSS terminal map. However, they had complaints about the user interface. © 2014 Springer International Publishing.


Otsuka S.,Nippon Telegraph and Telephone | Tsuzaki M.,Kyoto City University of Arts | Sonoda J.,Kyoto City University of Arts | Tanaka S.,Kyoto City University of Arts | Furukawa S.,Nippon Telegraph and Telephone
PLoS ONE | Year: 2016

Previous studies have indicated that extended exposure to a high level of sound might increase the risk of hearing loss among professional symphony orchestra musicians. One of the major problems associated with musicians' hearing loss is difficulty in estimating its risk simply on the basis of the physical amount of exposure, i.e. the exposure level and duration. The aim of this study was to examine whether the measurement of the medial olivocochlear reflex (MOCR), which is assumed to protect the cochlear from acoustic damage, could enable us to assess the risk of hearing loss among musicians. To test this, we compared the MOCR strength and the hearing deterioration caused by one-hour instrument practice. The participants in the study were music university students who are majoring in the violin, whose left ear is exposed to intense violin sounds (broadband sounds containing a significant number of high-frequency components) during their regular instrument practice. Audiogram and click-evoked otoacoustic emissions (CEOAEs) were measured before and after a one-hour violin practice. There was a larger exposure to the left ear than to the right ear, and we observed a left-ear specific temporary threshold shift (TTS) after the violin practice. Left-ear CEOAEs decreased proportionally to the TTS. The exposure level, however, could not entirely explain the inter-individual variation in the TTS and the decrease in CEOAE. On the other hand, the MOCR strength could predict the size of the TTS and CEOAE decrease. Our findings imply that, among other factors, the MOCR is a promising measure for assessing the risk of hearing loss among musicians. © 2016 Otsuka et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.


Takeshima C.,Kyoto City University of Arts | Tsuzaki M.,Kyoto City University of Arts | Irino T.,Wakayama University
Acoustical Science and Technology | Year: 2010

Speech sounds convey information about the size of the speaker. Several studies have demonstrated that human vowel recognition is possible even for an unnatural size range, and have revealed that size factor normalization can be achieved automatically in the auditory system. In this study, we further investigated the characteristics of the size normalization process, using vowel sequences with temporal changes in the speaker size. In the current experiments, listeners were presented with six-vowel sequences in which the vocal-tract length was alternated vowel by vowel. The experimental results for the identification of the vowel sequence showed that it was increasingly difficult for listeners to identify vowels in the correct order as size alternation was applied with a higher speed and to a larger degree. However, they showed the high performance of vowel recognition when serial order judgment between vowels was not required, and in this case the performance deterioration caused by size alternation became small. The observed deterioration of sequence identification is likely to have been caused not by a failure in size normalization in the auditory system but because of a difficulty in judging the serial order between vowels in the sequence with rapid size changes. The results suggest that the auditory system has a fast process for normalizing speaker-size information and that it operates appropriately even when a sequence contains the temporal alternation of vocal-tract length. © 2010 The Acoustical Society of Japan.


Tsuzaki M.,Kyoto City University of Arts | Takeshima C.,J. F. Oberlin University | Matsui T.,Nara Medical University
Advances in Experimental Medicine and Biology | Year: 2013

The purpose of this study is to investigate the sufficient "similarity" between consecutive auditory events for the auditory system to define the fundamental period for pitch perception. It is possible to contaminate the periodicity of harmonic complex tones by scaling the impulse response in the time domain at every other cycle. Scale-alternating wavelet sequences (SAWS) in which two impulse responses with different scaling factors alternated were generated based on impulse responses obtained from Japanese vowels spoken by a male speaker. Preliminary listening to such signals indicated that the perceived pitch went down an octave relative to the original when the scaling factor exceeded a certain degree. In the first experiment, pitch matching was measured as a function of the scaling factor by the method of adjustment where the comparison stimuli were completely periodic with adjustable base periods. The pitch shift was discontinuous against the base period, chromatic continuum. In the second experiment, pitch matching was investigated with comparison stimuli whose odd harmonics were attenuated. This procedure provides a stimulus continuum where the pitch moved up an octave without changing its pitch chroma. The attenuation of the odd harmonics needed to match the SAWS varied systematically as a function of the degree of scaling. The relation between pitch matching and the peak height along the time interval axis of the stabilized auditory image is discussed. © Springer Science+Business Media New York 2013.


Matsui T.,University of Tsukuba | Tsuzaki M.,Kyoto City University of Arts
Acoustical Science and Technology | Year: 2013

A study was conducted to demonstrate independence of mental representations for tonotopic and periodic scales in perceptual judgment of vowel-like sounds. The researchers tested the hypothesis that mean formant frequency (MFF) of a vowel and F0 information was represented on a two-dimensional representational plane in the auditory mental representation, and that this information could be accessed to make perceptual judgments. They also examined listeners' abilities to identify the rotation direction in the two-dimensional representational plane and to extract a transition pattern of one type of information regardless of another transition pattern. The stimuli were constructed from vowel sounds, generated using the STRAIGHT analysis-synthesis algorithm. Vowel sequences were generated to track one of the circular trajectories and each stimulus sequence comprised vowels on a single circular trajectory.


Takahashi S.,Kyoto City University of Arts | Ejima Y.,Kyoto University
Behavioral and Brain Sciences | Year: 2013

A psycho-historical framework for the science of art appreciation will be an experimental discipline that may shed new light on the highest capacities of the human brain, yielding new scientific ways to talk about the art appreciation. The recent findings of the contextual information processing in the human brain make the concept of the art-historical context clear for empirical experimentation. Copyright © Cambridge University Press 2013.


Tsuzaki M.,Kyoto City University of Arts | Tokuda K.,Nagoya Institute of Technology | Ni J.,Knowledge Creating Communication Research Center
Proceedings of the Annual Conference of the International Speech Communication Association, INTERSPEECH | Year: 2011

This paper reconfirms that talker identity can be transmitted across languages. Talker discrimination was examined in the ABX paradigm, where the stimuli A and B were utterances by different talkers in the same language and the stimulus X was an utterance by either of A or B in the different language. The average hit rate of this discrimination task was as high as 0.89. The mutual distance matrices were generated using the discrimination index, d'. By applying the multidimensional scaling, three-dimensional perceptual spaces were estimated. The features related with loudness and spectral centroid had high contribution to the perceptual dimensions. Copyright © 2011 ISCA.


Yamamoto H.,Kyoto University | Fukunaga M.,Meiji University | Takahashi S.,Kyoto City University of Arts | Mano H.,Meiji University | And 3 more authors.
Human Brain Mapping | Year: 2012

Here we created two different multisubject maps (16 subjects) to characterize interindividual variability in the positions of human visual areas (V1, dorsal and ventral parts of V2/3, V3A, V3B, V7, LOc, MT+, and hV4 [or V4v and V8]), which were localized using fMRI and coregistered using a surface-based method. The first is a probability map representing the degree of alignment inconsistency for each area, in which each point in space is associated with the probability affiliated with a given area. The second, a novel map termed an entropy map in which each point is associated with Shannon entropy computed from the probabilities, represents the degree of uncertainty regarding the area that resides there, and is maximal when all areas are equally probable. The overall average probability and entropy values were about 0.27 and 1.15 bits, respectively, with dependencies on the visual areas. The probability and entropy maps generated here will benefit any application which requires predictions of areas that are most likely present at an anatomical point and know the uncertainty associated with such predictions. © 2011 Wiley Periodicals, Inc.


Tsuzaki M.,Kyoto City University of Arts
Proceedings of Meetings on Acoustics | Year: 2013

Timbre provided by the resonant characteristics of the vibrating body can be represented as spectral envelope patterns and can contribute as one of the important cues for sound source identification. However, its concept is not so strictly established as that of loudness, and of pitch. Recently, the fact that the spectral pattern can be decomposed into two factors, i.e., the shape and size of the resonant body, has been reconsidered. Several psychophysical findings have successfully suggested tat a "bottom-up" perceptual mechanism of the decomposition might be implemented. Manipulating the scaling factor of resonance can change the perceptual size of the sound source. By concatenating synthesized vowel segments whose resonant scale (RS) alternates between two values in an "ABA-ABA-" fashion, one can generate series of test stimuli for stream segregation with the galloping rhythm paradigm. The experimental results revealed that th e RS factor could provide a reliable cue for streaming. As an extreme variation of this RS alternation, scale alternating wavelet sequences (SAWSs) have been proposed. In the SAWS, the RS alternates at every regular time grid. When the difference between the two RS factors exceeded a certain limit, perceived pitch shifted downwards by an octave. © 2013 Acoustical Society of America.


PubMed | Kyoto City University of Arts
Type: Comment | Journal: The Behavioral and brain sciences | Year: 2013

A psycho-historical framework for the science of art appreciation will be an experimental discipline that may shed new light on the highest capacities of the human brain, yielding new scientific ways to talk about the art appreciation. The recent findings of the contextual information processing in the human brain make the concept of the art-historical context clear for empirical experimentation.

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