Digital watermarking is a key ingredient to copyright protection. It provides a solution to illegal copying of digital material and has many other useful applications such as broadcast monitoring and the recording of electronic transactions. Now, for the first time, there is a book that focuses exclusively on this exciting technology. Digital Watermarking covers the crucial research findings in the field: it explains the principles underlying digital watermarking technologies, describes the requirements that have given rise to them, and discusses the diverse ends to which these technologies are being applied. As a result, additional groundwork is laid for future developments in this field, helping the reader understand and anticipate new approaches and applications.

Digital Watermarking

Derivation of auditory filter shapes from notched-noise data

An algorithm is presented for the estimation of the fundamental frequency (F0) of speech or musical sounds. It is based on the well-known autocorrelation method with a number of modifications that combine to prevent errors. The algorithm has several desirable features. Error rates are about three times lower than the best competing methods, as evaluated over a database of speech recorded together with a laryngograph signal. There is no upper limit on the frequency search range, so the algorithm is suited for high-pitched voices and music. The algorithm is relatively simple and may be implemented efficiently and with low latency, and it involves few parameters that must be tuned. It is based on a signal model (periodic signal) that may be extended in several ways to handle various forms of aperiodicity that occur in particular applications. Finally, interesting parallels may be drawn with models of auditory processing.

/pdf/yin-a-fundamental-frequency-estimator-for-speech-and-music-53voam3nec.pdf

YIN, a fundamental frequency estimator for speech and music

Digital audio, video, images, and documents are flying through cyberspace to their respective owners. Unfortunately, along the way, individuals may choose to intervene and take this content for themselves. Digital watermarking and steganography technology greatly reduces the instances of this by limiting or eliminating the ability of third parties to decipher the content that he has taken. The many techiniques of digital watermarking (embedding a code) and steganography (hiding information) continue to evolve as applications that necessitate them do the same. The authors of this second edition provide an update on the framework for applying these techniques that they provided researchers and professionals in the first well-received edition. Steganography and steganalysis (the art of detecting hidden information) have been added to a robust treatment of digital watermarking, as many in each field research and deal with the other. New material includes watermarking with side information, QIM, and dirty-paper codes. The revision and inclusion of new material by these influential authors has created a must-own book for anyone in this profession.

*This new edition now contains essential information on steganalysis and steganography
*New concepts and new applications including QIM introduced
*Digital watermark embedding is given a complete update with new processes and applications

Digital Watermarking and Steganography

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

/pdf/emotional-responses-to-music-the-need-to-consider-underlying-592kszluvl.pdf

Emotional responses to music: The need to consider underlying mechanisms

Comparison of recent psychoacoustic data on consonance with those on roughness reveals that “psychoacoustic consonance” merely corresponds to the absence of roughness and is only slightly and indirectly correlated with musical intervals. Thus, psychoacoustic consonance cannot be considered as the basis of the sense of musical intervals. The basis of that sense seems to be provided by the concept of virtual pitch. This concept is introduced with a model. The concept accounts for many psychoacoustic and musical phenomena as, e.g., the ambiguity of pitch of complex tones, the “residue,” the pitch of inharmonic signals, the dominance of certain harmonics, pitch shifts, the sense for musical intervals, octave periodicity, octave enlargement, “stretching” of musical scales, and the “tonal meaning” of chords in music.

Pitch, consonance, and harmony

The critical‐band rate as well as the critical bandwidth are functions of frequency. These dependencies have been given in table form. For effective use of these values in computers, relatively simple equations are given to express the dependence of critical‐band rate on frequency with an accuracy better than 0.2 Bark and that of critical bandwidth on frequency with an accuracy better than 10% over the whole auditory range.

Analytical expressions for critical‐band rate and critical bandwidth as a function of frequency

A procedure is described for the automatic extraction of the various pitch percepts which may be simultaneously evoked by complex tonal stimuli. The procedure is based on the theory of virtual pitch, and in particular on the principle, that the whole pitch percept is dependent both on analytic listening (yielding spectral pitch), and on holistic perception (yielding virtual pitch). The more or less ambiguous pitch percept governed by these two pitch modes is described by two pitch patterns: the spectral‐pitch pattern, and the virtual‐pitch pattern. Each of these patterns consists of a number of pitch (height) values, and associated weights, which account for the relative prominence of every individual pitch. The spectral‐pitch pattern is constructed by spectral analysis, extraction of tonal components, evaluation of masking effects (masking and pitch shifts), and weighting according to the principle of spectral dominance. The virtual‐pitch pattern is obtained from the spectral‐pitch pattern by an advanced...

Ernst Terhardt

Papers

Pitch, consonance, and harmony

Analytical expressions for critical‐band rate and critical bandwidth as a function of frequency

Algorithm for extraction of pitch and pitch salience from complex tonal signals

Calculating virtual pitch.

On the perception of periodic sound fluctuations (roughness)