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Exploratory discriminant analysis was used to determine the extent adult consumers' interest motivation to participate in a free educational dairy farm event and their beliefs of the dairy industry could correctly classify the respondents' predicted participation in a nonformal educational event. The most prominent conclusion of the study was that nearly three of four adult consumers in an Indiana community would attend an educational event on a dairy farm if they: (1) were motivated to attend an educational agricultural event because it is fun, interesting, and enjoyable, (2) were motivated to attend educational agricultural events to acquire new knowledge and meet a challenge, (3) were motivated to attend educational agricultural events out of desire to be nutritionally healthy, (4) were familiar with agriculture or directly involved in the industry, (5) were in agreement with the animal welfare practices that dairy farmers implement, and (6) resided in a household that reportedly consumed at least three gallons of fluid milk per week, on average, while at home. This finding may help outreach organizations develop non-formal, educational events that are more appealing to their target audiences as well as market those events in a way that will motivate more consumers to attend.

Schutz and Lipscomb (2007) reported an audiovisual illusion in which the length of the gesture used to produce a sound altered the perception of that sound's duration. This contradicts the widely accepted claim that the auditory system generally dominates temporal tasks because of its superior temporal acuity. Here, in the first of 4 experiments, we show that impact gestures influence duration ratings of percussive but not sustained sounds. In the 2nd, we show that the illusion is present even if the percussive sound occurs up to 700 ms after the visible impact, but disappears if the percussive sound precedes the visible impact. In the 3rd experiment, we show that only the motion after the visible impact influences perceived tone duration. The 4th experiment (replacing the impact gestures with the written text "long" and "short") suggests that the phenomenon is not due to response bias. Given that visual influence in this paradigm is dependent on the presence of an ecologically plausible audiovisual relationship, we conclude that cross-modal causality plays a key role in governing the integration of sensory information. (Contains 4 footnotes, 1 table, and 17 figures.)

The objective of this study was to compare three-breed rotational crossbred calves sired by Holstein, Jersey, Montbéliarde, Normande, Viking Red, and Limousin bulls with Holstein's calves fed a high milk allowance for growth, milk consumption, health scores, and profitability in an automated group feeding system. Breed groups were Holstein (n = 16), crossbreds of Montbéliarde, Viking Red, and Holstein (n = 24), crossbreds of Jersey, Normande, and Viking Red (n = 6), and Limousin crossbred beef × dairy (n = 45) calves. Calves were randomly assigned within the breed to one of two treatments from September 2019 to June 2020 at the University of Minnesota West Central Research and Outreach Center in Morris, MN. The five breed groups were balanced across the two treatment groups. Treatment groups were fed 8 L/d (8 L) or ad libitum (AL) milk allowance, and calves were introduced to the automated feeder at day 5 and were weaned at 56 d. Milk feeding behaviors (drinking speeds) were collected from the automatic feeding system and analyzed by feeding and breed groups. Body weights were recorded at birth and weekly through weaning. The health scores of calves were recorded twice per week. Variables included in the statistical model for analyses were fixed effects of birthweight, the season of birth, breed group, and treatment group. Calves fed AL had a greater weaning weight (P = 0.001; 106.4 kg vs. 91.4 kg) and greater (P = 0.001) average daily gain (ADG; 1.11 kg/d vs. 0.87 kg/d) than calves fed 8 L, respectively. The calves fed AL (1,064 mL/min) had a slower drinking speed (P = 0.01) than calves fed 8 L (1,467 mL/min). Most breed groups were not different for weaning weight or ADG across the 56 d. Daily milk consumption per calf was lower (P = 0.009) for Limousin crossbred calves compared with Holstein and crossbred dairy calves. As expected, AL calves had higher (P = 0.001) milk cost ($189.52) than the 8 L calves ($140.71). The average cost per kilogram of gain was similar for calves fed 8 L ($2.89/kg) compared to AL ($3.00/kg) calves. Overall, the Limousin crossbred calves had the least milk cost ($152.75) compared with Holstein ($175.67) calves and Montbéliarde, Viking Red, and Holstein crossbred calves ($177.13). The results from this study found that although feeding calves AL resulted in greater milk consumption and higher cost than 8 L calves, there may be an economic advantage with costs per kilogram of gain to feeding calves ad libitum if increased growth rates are realized. [ABSTRACT FROM AUTHOR]

A growing body of research analyzing musical scores suggests mode's relationship with other expressive cues has changed over time. However, to the best of our knowledge, the perceptual implications of these changes have not been formally assessed. Here, we explore how compositional choices of 17th- and 19th-century composers (J. S. Bach and F. Chopin, respectively) differentially affect emotional communication. This novel exploration builds on our team's previous techniques using commonality analysis to decompose intercorrelated cues in unaltered excerpts of influential compositions. In doing so, we offer an important naturalistic complement to traditional experimental work—often involving tightly controlled stimuli constructed to avoid the intercorrelations inherent to naturalistic music. Our data indicate intriguing changes in cues' effects between Bach and Chopin, consistent with score-based research suggesting mode's "meaning" changed across historical eras. For example, mode's unique effect accounts for the most variance in valence ratings of Chopin's preludes, whereas its shared use with attack rate plays a more prominent role in Bach's. We discuss the implications of these findings as part of our field's ongoing effort to understand the complexity of musical communication—addressing issues only visible when moving beyond stimuli created for scientific, rather than artistic, goals. [ABSTRACT FROM AUTHOR]

The N-terminal histidine tag modification in sulfide:quinone oxidoreductase from Rhodobacter capsulatus suggests that three cysteine residues are required for the reductive half-reaction, which also govern the catalytic activity. Furthermore, mutation of valine residue to aspartate in the flavin-binding domain markedly reduces substrate affinity for both sulfide and quinone.

Research has been conducted on the gene encoding sulfide-quinone reductase. The cloning of this reductase by tryptic peptide amino acid sequences is discussed.

The article examines the sequence of the 3.5-kb fragment of genomic DNA from Rhodobacter capsulatus. The functions of the sulfide-quinone reductase of R. capsulatus are discussed.

Auditory interfaces, such as auditory alarms, are useful tools for human computer interaction. Unfortunately, poor detectability and annoyance inhibit the efficacy of many interface sounds. Here, it is shown in two ways how moving beyond the traditional simplistic temporal structures of normative interface sounds can significantly improve auditory interface efficacy. First, participants rated tones with percussive amplitude envelopes as significantly less annoying than tones with flat amplitude envelopes. Crucially, this annoyance reduction did not come with a detection cost as percussive tones were detected more often than flat tones—particularly, at relatively low listening levels. Second, it was found that reductions in the duration of a tone's harmonics significantly lowered its annoyance without a commensurate reduction in detection. Together, these findings help inform our theoretical understanding of detection and annoyance of sound. In addition, they offer promising original design considerations for auditory interfaces. [ABSTRACT FROM AUTHOR]

Previous studies have examined whether audio-visual integration changes in older age, with some studies reporting age-related differences and others reporting no differences. Most studies have either used very basic and ambiguous stimuli (e.g., flash/beep) or highly contextualized, causally related stimuli (e.g., speech). However, few have used tasks that fall somewhere between the extremes of this continuum, such as those that include contextualized, causally related stimuli that are not speech-based; for example, audio-visual impact events. The present study used a paradigm requiring duration estimates and temporal order judgements (TOJ) of audio-visual impact events. Specifically, the Schutz–Lipscomb illusion, in which the perceived duration of a percussive tone is influenced by the length of the visual striking gesture, was examined in younger and older adults. Twenty-one younger and 21 older adult participants were presented with a visual point-light representation of a percussive impact event (i.e., a marimbist striking their instrument with a long or short gesture) combined with a percussive auditory tone. Participants completed a tone duration judgement task and a TOJ task. Five audio-visual temporal offsets (−400 to +400 ms) and five spatial offsets (from −90 to +90°) were randomly introduced. Results demonstrated that the strength of the illusion did not differ between older and younger adults and was not influenced by spatial or temporal offsets. Older adults showed an 'auditory first bias' when making TOJs. The current findings expand what is known about age-related differences in audio-visual integration by considering them in the context of impact-related events. [ABSTRACT FROM AUTHOR]

Audiences, juries, and critics continually evaluate performers based on their interpretations of familiar classics. Yet formally assessing the perceptual consequences of interpretive decisions is challenging – particularly with respect to how they shape emotional messages. Here, we explore the issue through comparison of emotion ratings (using scales of arousal and valence) for excerpts of all 48 pieces from Bach's Well-Tempered Clavier. In this series of studies, participants evaluated one of seven interpretations by highly regarded pianists. This work offers the novel ability to simultaneously explore (1) how different interpretations by expert pianists shape emotional messages, (2) the degree to which structural and interpretative elements shape the clarity of emotional messages, and (3) how interpretative differences affect the strength of specific features or cues to convey musical emotion. [ABSTRACT FROM AUTHOR]

Listening is a powerful, under-appreciated, mechanism for acquiring information about the world. Changes in the hum of a car engine can offer an early clue about potential problems; the rustle of leaves informs us of weather conditions even before checking the forecast; slight fluctuations in the sound of a kettle tell us the water is almost boiled. These are but a few examples of important sonic interactions we have with our environment throughout the day. [ABSTRACT FROM AUTHOR]

Musicians make elaborate movements while performing, often using gestures that might seem extraneous. To explore these movements, we motion-captured and audio-recorded different pairings of clarinetists and pianists performing Brahms' Clarinet Sonata No. 1 with two manipulations: (a) allowing the performers full vs. no visual feedback, and (b) allowing the performers full vs. partial auditory feedback (i.e., the clarinetist could not hear the pianist). We found that observer ratings of audio-visual point-light renditions discriminated between manipulations and refined this insight through subsequent audio-alone and visual-alone experiments, providing an understanding of each modality's contribution. This novel approach of evaluating point-light displays of performances under systematically manipulated conditions provides new perspective on the ways in which ancillary gestures contribute to both performer communication and audience reception of live performances. [ABSTRACT FROM AUTHOR]

The article focuses on improving the detection of melodic sequences by introducing inharmonic frequencies into harmonic tones and examining their impact on accuracy and response times. It mentions the study found that the presence of inharmonic frequencies, when tracking the melodic sequence of the base tones, enhanced accuracy and reduced response times, suggesting a context-dependent boost in detectability.

The article focuses on the accuracy and reliability of algorithms employed in Music Information Retrieval (MIR), specifically focusing on the MIRToolbox software. It reports that the study utilizes Chopin's Préludes as musical material to assess the algorithmic consistency in analyzing timing and mode in various performances of these compositions.

The article focuses on the enhancement of alarm systems in high-stakes industries by integrating acoustic elements inspired by musical instruments, with a primary goal of improving detection and reducing irritation. Topics discussed include the limitations of current alarm designs, the influence of temporal and harmonic complexity on alarm effectiveness, and the potential use of musical instruments like the triangle as a source of inspiration for refining alarm systems.

Research describes biochemical characterization and phylogenetic relationship of a naphthoquinol oxidizing cytochrome bc(sub)1 complex from Aquifex aeolicus by comparing it with other Rieske/cyt b, bc complexes from proteobacteria. The enzyme contains hemes b(sub)1 and C(sub)1 and two distinct Rieske center of the cytochrome bc(sub)1 complex. Phylogenetically it represents the only extant naphthoquinol oxidizing true cytochrome bc(sub)1 complex among proteobacteria.

Quality care for patients requires effective communication amongst medical teams. Increasingly, communication is required not only between team members themselves, but between members and the medical devices monitoring and managing patient well-being. Most human--computer interfaces use either auditory or visual displays, and despite significant experimentation, they still elicit well-documented concerns. Curiously, few interfaces explore the benefits of multimodal communication, despite extensive documentation of the brain's sensitivity to multimodal signals. New approaches built on insights from basic audiovisual integration research hold the potential to improve future human--computer interfaces. In particular, recent discoveries regarding the acoustic property of amplitude envelope illustrate that it can enhance audiovisual integration while also lowering annoyance. Here, we share key insights from recent research with the potential to inform applications related to human--computer interface design. Ultimately, this could lead to a cost-effective way to improve communication in medical contexts--with signification implications for both human health and the burgeoning medical device industry. [ABSTRACT FROM AUTHOR]

Interfaces play a crucial role in a device's success or failure. Although visual aspects generally receive more attention, findings from sonic interaction design increasingly illustrate the importance of auditory aesthetics in creating desirable products. Here we show that small changes to the amplitude envelope (i.e., "sound shape") of tones affect user preference. Specifically, participants are willing to pay 9% more for products using sounds with decaying-amplitude envelopes rather than abruptly ending envelopes that are common in many device sounds. These findings hold important implications for cost-effective changes that could potentially improve a product's desirability and perceived value. [ABSTRACT FROM AUTHOR]

A series of experiments demonstrated novel effects of amplitude envelope on associative memory, with tones exhibiting naturally decaying amplitude envelopes (e.g., those made by two wine glasses clinking) better associated with target objects than amplitude-invariant tones. In Experiment 1 participants learned associations between household objects and 4-note tone sequences constructed of spectrally matched pure tones with either “flat” or “percussive” amplitude envelopes. Those hearing percussive tones correctly recalled significantly more sequence–object associations. Experiment 2 demonstrated that participants hearing percussive tones learned the associations more quickly. Experiment 3 used “reverse percussive” tones (percussive tones played backwards) to test whether differences in overall energy might account for this effect, finding they did not lead to the same level of performance as percussive tones. Experiment 4 varied the envelope at encoding and retrieval to determine which stage of the task was most affected by the envelope manipulation. Participants hearing percussive tones at both encoding and retrieval performed significantly better than the other three groups (i.e., flat at encoding/percussive at retrieval, etc.). We conclude that amplitude envelope plays an important role in learning and memory, a finding with relevance to psychological research on audition and associative memory, as well as practical relevance for improving human–computer interface design. [ABSTRACT FROM PUBLISHER]

Short melodies are commonly linked to referents in jingles, ringtones, movie themes, and even auditory displays (i.e., sounds used in human–computer interactions). While melody associations can be quite effective, auditory alarms in medical devices are generally poorly learned and highly confused. Here, we draw on approaches and stimuli from both music cognition (melody recognition) and human factors (alarm design) to analyze the patterns of confusions in a paired-associate alarm-learning task involving both a standardized melodic alarm set (Experiment 1) and a set of novel melodies (Experiment 2). Although contour played a role in confusions (consistent with previous research), we observed several cases where melodies with similar contours were rarely confused – melodies holding musically distinctive features. This exploratory work suggests that salient features formed by an alarm’s melodic structure (such as repeated notes, distinct contours, and easily recognizable intervals) can increase the likelihood of correct alarm identification. We conclude that the use of musical principles and features may help future efforts to improve the design of auditory alarms. [ABSTRACT FROM PUBLISHER]

Digital rectal examination (DRE) may not increase blood levels of prostate-specific antigen (PSA), an enzyme produced in the prostate gland. Men with diseases of the prostate gland and prostate cancer often have higher blood levels of PSA and measurement of PSA levels is considered one way to screen for prostate disease. Of 2,754 healthy men 40 years-of-age and older who underwent DRE for prostate cancer screening, 2,427 had PSA levels from 0.1 to 4.0 micrograms per liter (microg/L), 240 had PSA levels from 4.1 to 10.0 microg/L, 51 had PSA levels from 10.1 to to 20.0 microg/L, and 36 had PSA levels higher than 200 microg/L. Men with a PSA level between 0.1 and 4.0 microg/L and between 4.1 and 10.0 microg/L did not have higher blood levels of PSA after undergoing a DRE. Individuals with a PSA level between 10.1 and 20.0 microg/L had higher blood levels of PSA after a DRE, but the increase in PSA level seen in these men was not significant. Men with a PSA level above 20.0 microg/L had a significantly higher blood level of PSA.

Acoustic cues such as pitch height and timing are effective at communicating emotion in both music and speech. Numerous experiments altering musical passages have shown that higher and faster melodies generally sound "happier" than lower and slower melodies, findings consistent with corpus analyses of emotional speech. However, equivalent corpus analyses of complex time-varying cues in music are less common, due in part to the challenges of assembling an appropriate corpus. Here, we describe a novel, score-based exploration of the use of pitch height and timing in a set of "balanced" major and minor key compositions. Our analysis included all 24 Preludes and 24 Fugues from Bach's Well-Tempered Clavier (book 1), as well as all 24 of Chopin's Preludes for piano. These three sets are balanced with respect to both modality (major/minor) and key chroma ("A," "B," "C," etc.). Consistent with predictions derived from speech, we found major-key (nominally "happy") pieces to be two semitones higher in pitch height and 29% faster than minor-key (nominally "sad") pieces. This demonstrates that our balanced corpus of major and minor key pieces uses low-level acoustic cues for emotion in a manner consistent with speech. A series of post hoc analyses illustrate interesting trade-offs, with sets featuring greater emphasis on timing distinctions between modalities exhibiting the least pitch distinction, and vice-versa. We discuss these findings in the broader context of speech-music research, as well as recent scholarship exploring the historical evolution of cue use in Western music. [ABSTRACT FROM AUTHOR]

Moving (tapping) to a beat can objectively improve the perception of timing. Here we examine whether auditory feedback from tapping is a requirement for this improvement. In this experiment, two groups of participants heard a series of isochronous beats, and identified whether a probe tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along on an electronic drum pad up to and including the probe tone, and on half of the trials they listened without tapping. In the auditory feedback (AF) group sounds from tapping were available to participants and in the no auditory feedback (NAF) group these sounds were masked using white noise. In both groups, movement improved timing judgments of the probe tone, however this improvement was more pronounced when auditory feedback was present. Additionally, tapping was more accurate when auditory feedback was available. While previously we demonstrated an effect of movement on perceived timing, here we clarify that movement alone is sufficient to trigger this improvement (independent of the movement's auditory consequences). We identify the importance of auditory feedback as a cue for movement timing, which subsequently affects perceived timing of an external stimulus. Additionally we have demonstrated that movement alone can improve timing perception, independent of the auditory feedback caused by this movement. [ABSTRACT FROM AUTHOR]

A sound's duration provides important information about the event producing it. Although many of the sounds we hear every day are 'percussive' in nature (ie resulting from two objects impacting) and therefore exhibit decaying/damped amplitude envelopes, perceptual experiments frequently use tones synthesized with 'flat' or abruptly ending envelopes. Such sounds afford an estimation strategy involving calculating the elapsed time between tone onset and offset--a strategy that would be problematic for ecologically pervasive decaying sounds. Here we compare duration judgments for tones with percussive (ie gradually decaying) and flat (ie abruptly ending) amplitude envelopes, finding evidence for the use of different strategies. This result is discussed in terms of its implications for dominant theories and models of sensory perception that are often assessed using artificial sounds (ie 'flat tones') affording strategies that may not be optimal or even available for everyday listening. [ABSTRACT FROM AUTHOR]

Performing musicians frequently use physical gestures that are more elaborate than required for sound production alone. Such movements are not prescribed in traditional musical scores, nor are they evident in audio recordings, and consequently they are rarely regarded as integral to a formal musical analysis. However, there is growing evidence that these movements do in fact alter an audience's listening experience--i.e., the way a performance "sounds." Therefore, we believe that analyses of these movements can inform more traditional analyses of notes and rhythms by lending insight into the way in which these musical elements are perceived. Here, we review research on the role of gestures in shaping the musical experience, focusing in particular on gestures used by percussionists to control perceived note duration. This paper embraces the multi-media affordances of Music Theory Online by integrating stimuli from key experiments--the first publication of these materials. Our aim is not only to summarize a growing body of work on the musical role of extra-acoustic factors such as ancillary gestures, but also to present new avenues of musical research that complement existing approaches. [ABSTRACT FROM AUTHOR]

To remain competitive in the industry, beef and dairy producers in the Midwest need to adapt to the use of alternative feeds and take advantage of the expected abundance and favorable pricing of biofuel coproducts. Integrating the coproducts as feed ingredients could make the livestock industry significantly more attractive and competitive in domestic and global markets. A survey instrument was created to inventory resources that currently limit (or enable) the use of biofuel coproducts by small and medium-sized beef and dairy producers in the state of Indiana. Seventy-eight of Indiana's 92 counties were represented in the survey results. [ABSTRACT FROM AUTHOR]

An iterative method for the fit optimisation of a pre-contoured fracture fixation plate for a given bone data set is presented. Both plate shape optimisation and plate fit quantification are conducted in a virtual environment utilising computer graphical methods and 3D bone and plate models. Two optimised shapes of the undersurface of an existing distal medial tibia plate were generated based on a dataset of 45 3D bone models reconstructed from computed tomography image data of Japanese tibiae. The existing plate shape achieved an anatomical fit on 13% of tibiae from the dataset. Modified plate 1 achieved an anatomical fit for 42% and modified plate 2 a fit for 67% of the bones. If either modified plate 1 or plate 2 is used, then the anatomical fit can be increased to 82% for the same dataset. Issues pertaining to any further improvement in plate fit/shape are discussed. [ABSTRACT FROM AUTHOR]

Two body condition scoring systems were compared for assessing body condition of cows at the Scottish Agricultural College's Crichton Royal Farm. The weekly body condition scores (BCS) were collected for a period of 12 weeks (5 September-21 November). Scores were obtained using the primary systems utilized within the UK and USA. The USBCS were obtained by the same evaluator each week, while the UKBCS were obtained by two different evaluators alternating between weeks. Paired scores (n=2088) between the two systems within week were moderately correlated (r=0.75, P<0.0001). Regression equations to convert scores between the two systems were created using the GLM procedure of SAS (SAS Institute Inc., Cary NC, USA). The simple GLM models to convert from UK to US scores and US to UK scores were USBCS=1.182+0.816 * UKBCS (R²=0.56) and UKBCS=0.131+0.681 (R²=0.56), respectively. These equations may be used to interpret scores within the literature obtained using these two BCS systems, although they must be used with caution. [ABSTRACT FROM AUTHOR]

Time spent lying by lactating Holstein-Friesian cows of varying body condition scores (BCS) and milk yield was measured using an animal activity monitor. A 3-week average BCS was calculated for each cow; and in total, 84 cows were selected with 28 cows each among three BCS categories (Thin: BCS<2.75; Moderate: 2.75⩾BCS<3.25; Heavy: BCS⩾3.25) and two stage of lactation categories (<150 days in milk or >150 days in milk). Cows were kept in two management systems: parlour/freestall (n=60) or automated milking system/freestall (n=24). Behaviour was recorded for 5.3±0.1 d for each cow. Production levels were considered using a 28-d rolling average of daily milk production. Cows that exhibited clinical lameness before or during the observation period were excluded from analyses. For cows exhibiting oestrus, the day prior to, day of, and day following breeding were removed. The final analysis included 77 cows (408 d of observation). A mixed model was fitted to describe average daily hours spent lying. Results demonstrated that lying time increased as days in milk (DIM) increased (P=0.05). Variables that were tested but not significant (P>0.05) were BCS category, parity category (1 or ⩾2) and 28-d rolling average daily milk production. Although a numerical trend for increasing hours spent lying with increasing BCS was observed, after accounting for other factors in the mixed model, BCS did not significantly impact lying time. Continued investigation of these management factors that impact lying time and bouts, using new technologies, more cows, and more herds will help dairy owners better manage facilities and cow movements to optimize this essential behaviour. [ABSTRACT FROM AUTHOR]