Hector Fabio Torres-Cardona

This work presents an EEG signal database derived from the induction of three emotional states using auditory stimuli. To this end, an experiment was designed in which 30 selected affective sounds from the IADS database were presented to 36 volunteers, from whom EEG signals were acquired. Stimuli were randomly configured in the Psychopy platform and synchronized via the LSL library with the OpenVibe signal acquisition platform. The 16-channel NautilusG brain computer interface was used for signal acquisition. As part of the database validation, a recognition system for the three emotional states was developed. This system utilized machine-learning-based parameterization and classification techniques, achieving detection percentages of 88.57%.

Advancements in music emotion prediction are driving AI-driven algorithmic composition, enabling the generation of complex melodies. However, bridging neural and auditory domains remains challenging due to the semantic gap between brain-derived low-level features and high-level musical concepts, making alignment computationally demanding. This study proposes a deep learning framework for generating MIDI sequences aligned with labeled emotion predictions through supervised feature extraction from neural and auditory domains. EEGNet is employed to process neural data, while an autoencoder-based piano algorithm handles auditory data. To address modality heterogeneity, Centered Kernel Alignment is incorporated to enhance the separation of emotional states. Furthermore, regression between feature domains is applied to reduce intra-subject variability in extracted Electroencephalography (EEG) patterns, followed by the clustering of latent auditory representations into denser partitions to improve MIDI reconstruction quality. Using musical metrics, evaluation on real-world data shows that the proposed approach improves emotion classification (namely, between arousal and valence) and the system’s ability to produce MIDI sequences that better preserve temporal alignment, tonal consistency, and structural integrity. Subject-specific analysis reveals that subjects with stronger imagery paradigms produced higher-quality MIDI outputs, as their neural patterns aligned more closely with the training data. In contrast, subjects with weaker performance exhibited auditory data that were less consistent.

Sound synthesis refers to the creation of original acoustic signals with broad applications in artistic innovation, such as music creation for games and videos. Nonetheless, machine learning architectures face numerous challenges when learning musical structures from arbitrary corpora. This issue involves adapting patterns borrowed from other contexts to a concrete composition objective. Using Labeled Correlation Alignment (LCA), we propose an approach to sonify neural responses to affective music-listening data, identifying the brain features that are most congruent with the simultaneously extracted auditory features. For dealing with inter/intra-subject variability, a combination of Phase Locking Value and Gaussian Functional Connectivity is employed. The proposed two-step LCA approach embraces a separate coupling stage of input features to a set of emotion label sets using Centered Kernel Alignment. This step is followed by canonical correlation analysis to select multimodal representations with higher relationships. LCA enables physiological explanation by adding a backward transformation to estimate the matching contribution of each extracted brain neural feature set. Correlation estimates and partition quality represent performance measures. The evaluation uses a Vector Quantized Variational AutoEncoder to create an acoustic envelope from the tested Affective Music-Listening database. Validation results demonstrate the ability of the developed LCA approach to generate low-level music based on neural activity elicited by emotions while maintaining the ability to distinguish between the acoustic outputs.

This article depicts a bibliometric analysis done through visualization mechanisms and interpretation of bibliometric metadata on the research field of Brain-Computer Interface and Music or Brain-Computer Music Interface (BCMI). Citation, co-citation, co-authorship, and keywords co-occurrence analysis were carried out in this work in order to identify the intellectual structure, research trends, the organizations involved, and the methodological structure of such research field. The bibliometric metadata was visualized through VOSviewer and Scimat software. This study also includes the analysis of 227 papers done through 2005–2021 which include research and review articles, and proceedings papers. The results of this work demonstrate the growing and legitimizing of the research field, and the impact of the interdisciplinary work required in this area.