We propose Context-aware Feature Transformer Network (CaFTNet), a novel network for human pose estimation. To address the issue of limited modeling of global dependencies in convolutional neural networks, we design Transformerneck to strengthen the expressive power of features. Transformerneck directly substitutes the 3×3 convolution in bottleneck of HRNet with Contextual Transformer (CoT) block, while reducing the complexity of the network. Specifically, CoT first produces keys with static contextual information through 3×3 convolution. Then, relying on the query and contextualization keys, the dynamic contexts are generated through two concatenated 1×1 convolutions. Static and dynamic contexts are eventually fused as an output. Additionally, for the multi-scale networks, in order to further refine the features of the fusion output, we propose an Attention Feature Aggregation Module(AFAM). Technically, given an intermediate input, AFAM successively deduces attention maps along channel and spatial dimensions. Then, Adaptive refinement module(ARM) is exploited to activate the obtained attention maps. Finally, the input undergoes adaptive feature refinement through multiplication with the activated attention maps. Through the above studies, our lightweight network provides a powerful clue for detection of keypoints. Experiments are implemented on the COCO and MPII datasets. The model achieves 76.2 AP on the COCO val2017. Compared to other methods with the CNN as the backbone, CaFTNet reduces the number of parameters by 72.9 %. On the MPII, our method uses only 60.7% of the number of parameters, acquiring semblable results to other methods with the CNN as the backbone.

In music, the role of the interpreter is to play her/his part manipulating the performance parameters in order to offer a sonic rendition of the piece capable of conveying specific expressive intentions. Since the 1980s there has been a growing interest in computational expressive music performance (EMP). This research field has two fundamental objectives: the understanding of the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule based, statistical, machine and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in particular to piano pieces. On the contrary, we present an introduction to the role of expressive performance within popular music and to the contemporary ecology of pop music production, based on the use of Digital Audio Workstations (DAWs) and virtual instruments. After an analysis of the tools related to expressiveness commonly available to modern producers we propose a detailed survey of research into the computational EMP field, highlighting the potential and limits of what is present in literature with respect to the context of popular music, which by its nature cannot be completely superimposed on the classical one. In the concluding discussion we suggest possible lines of future research in the field of computational expressiveness applied to pop music.

Authors such as Schnoebelen (2012: 12) suggest that in some languages (cf. Navajo) certain dependent clauses are frequently used independently to “mark emotional evaluation and background information”. Evans (2007) uses the term insubordination to refer to this phenomenon. Our study focuses on a particular insubordinate construction introduced by the sequence ni que in Spanish, as in the example [¡Una carta cada día!] Ni que yo fuese Umbral. (CORPES 100), used as an independent clause with a sociopragmatic meaning which is different from that of its subordinate counterpart (cf. No escribiría una carta cada día ni que yo fuese Umbral). Our research questions ask about the potential for ni que to be used as a discourse marker fulfilling an expressive function when it introduces this type of construction, and the derived hypothesis is then oriented to test whether Schnoebelen's (2012) observation about insubordinate constructions applies also to this Spanish construction. In order to test this hypothesis, we performed a functional-discourse analysis of more than 2000 concordances (and their extended contexts) in Mark Davies' Corpus del Español and the Real Academia CORPES XXI. Our findings show that the insubordinate construction differs in function and meaning from its subordinate counterpart, the former fulfilling a stronger emotive function, often combined with other discourse-pragmatic functions, such as evaluation or the organization of discourse.