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Music genres classification poses a formidable challenge as it necessitates capturing the intricate and varied characteristics of musical signals. In this study, an innovative approach is presented to classify the music genres using the Capsule Neural Network (CapsNet). The CapsNet model optimized by an advanced version of Triangulation Topology Aggregation Optimizer (ATTAO).

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In recent years, significant advancements have been made in the field of brain-computer interfaces (BCIs), particularly in the area of emotion recognition using EEG signals. The majority of earlier research in this field has missed the spatial-temporal characteristics of EEG signals, which are critical for accurate emotion recognition. In this study, a novel approach is presented for classifying emotions into three categories, positive, negative, and neutral, using a custom-collected dataset.

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Background: Emerging literature shows that nostalgia induced by autobiographical reflection and music confers psychological benefits to people living with dementia.

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This paper approaches the connection between musical constructs and visuo-haptic experience through the lens of the cognitive-linguistic notion of the "image schema." The proposal is that the subconscious inference of spatial and haptic schematic constructs in music, such as vertical movement, will motivate their equally common occurrence in the language about that music, irrespective of the fact that this language never describes the musical structure in a one-to-one fashion. We have looked for five schemas in the scores for the first ten piano sonatas by Ludwig van Beethoven and three famous analytical and pedagogical texts about them: force, indicating changes in musical dynamics and referential invocation of power-related terms in the books; path, identifying vertical movement in the music and suggestions of upward- or downward motion in the texts; link, suggesting the presence or absence of musical slurs and references to attachment or detachment in the language; balance, indicating the loss and regain of consonance in the harmony and invocation of lost and recovered stability in the verbal semantics; and containment, allocating the nonharmonic tones that "belong" to their resolving notes in the scores and referring to physical or metaphorical enclosed areas in the texts.

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