Self-similarity of the "1/f noise" called music

Fractal Fluency: Processing of Fractal Stimuli Across Sight, Sound, and Touch

People are continually exposed to the rich complexity generated by the repetition of fractal patterns at different size scales. Fractals are prevalent in natural scenery and also in patterns generated by artists and mathematicians. In this chapter, we will investigate the powerful significance of fractals for the human senses. In particular, we propose that fractals with mid-range complexity play a unique role in our visual experiences because the visual system has adapted to these prevalent natural patterns. This adaptation is evident at multiple stages of the visual system, ranging from data acquisition by the eye to processing of this data in the higher visual areas of the brain. Based on these results, we will discuss a fluency model in which the visual system processes mid-complexity fractals with relative ease. This fluency optimizes the observer's capabilities (such as enhanced attention and pattern recognition) and generates an aesthetic experience accompanied by a reduction in the observer's physiological stress levels. In addition to reviewing people's responses to viewing fractals, we will compare these responses to recent research focused on fractal sounds and fractal surface textures. We will extend our fractal fluency model to allow for stimuli across multiple senses.

Fractal Phototherapy in Maximizing Retina and Brain Plasticity

The neuroplasticity potential is reduced with aging and impairs during neurodegenerative diseases and brain and visual system injuries. This limits the brain's capacity to repair the structure and dynamics of its activity after lesions. Maximization of neuroplasticity is necessary to provide the maximal CNS response to therapeutic intervention and adaptive reorganization of neuronal networks in patients with degenerative pathology and traumatic injury to restore the functional activity of the brain and retina.Considering the fractal geometry and dynamics of the healthy brain and the loss of fractality in neurodegenerative pathology, we suggest that the application of self-similar visual signals with a fractal temporal structure in the stimulation therapy can reactivate the adaptive neuroplasticity and enhance the effectiveness of neurorehabilitation. This proposition was tested in the recent studies. Patients with glaucoma had a statistically significant positive effect of fractal photic therapy on light sensitivity and the perimetric MD index, which shows that methods of fractal stimulation can be a novel nonpharmacological approach to neuroprotective therapy and neurorehabilitation. In healthy rabbits, it was demonstrated that a long-term course of photostimulation with fractal signals does not harm the electroretinogram (ERG) and retina structure. Rabbits with modeled retinal atrophy showed better dynamics of the ERG restoration during daily stimulation therapy for a week in comparison with the controls. Positive changes in the retinal function can indirectly suggest the activation of its adaptive plasticity and the high potential of stimulation therapy with fractal visual stimuli in a nonpharmacological neurorehabilitation, which requires further study.

From signals to music: a bottom-up approach to the structure of neuronal activity

Introduction

The search for the "neural code" has been a fundamental quest in neuroscience, concerned with the way neurons and neuronal systems process and transmit information. However, the term "code" has been mostly used as a metaphor, seldom acknowledging the formal definitions introduced by information theory, and the contributions of linguistics and semiotics not at all. The heuristic potential of the latter was suggested by structuralism, which turned the methods and findings of linguistics to other fields of knowledge. For the study of complex communication systems, such as human language and music, the necessity of an approach that considers multilayered, nested, structured organization of symbols becomes evident. We work under the hypothesis that the neural code might be as complex as these human-made codes. To test this, we propose a bottom-up approach, constructing a symbolic logic in order to translate neuronal signals into music scores.

Methods

We recorded single cells' activity from the rat's globus pallidus pars interna under conditions of full alertness, blindfoldedness and environmental silence. We analyzed the signals with statistical, spectral, and complex methods, including Fast Fourier Transform, Hurst exponent and recurrence plot analysis.

Results

The results indicated complex behavior and recurrence graphs consistent with fractality, and a Hurst exponent >0.5, evidencing temporal persistence. On the whole, these features point toward a complex behavior of the time series analyzed, also present in classical music, which upholds the hypothesis of structural similarities between music and neuronal activity. Furthermore, through our experiment we performed a comparison between music and raw neuronal activity. Our results point to the same conclusion, showing the structures of music and neuronal activity to be homologous. The scores were not only spontaneously tonal, but they exhibited structure and features normally present in human-made musical creations.

Discussion

The hypothesis of a structural homology between the neural code and the code of music holds, suggesting that some of the insights introduced by linguistic and semiotic theory might be a useful methodological resource to go beyond the limits set by metaphoric notions of "code."

1/f laws found in non-human music

A compelling question at the intersection of physics, neuroscience, and evolutionary biology concerns the extent to which the brains of various species evolved to encode regularities of the physical world. It would be parsimonious and adaptive, for example, for brains to evolve an innate understanding of gravity and the laws of motion, and to be able to detect, auditorily, those patterns of noises that ambulatory creatures make when moving about the world. One such physical regularity of the world is fractal structure, generally characterized by power-law correlations or 1/f ^β spectral distributions. Such laws are found broadly in nature and human artifacts, from noise in physical systems, to coastline topography (e.g., the Richardson effect), to neuronal spike patterns. These distributions have also been found to hold for the rhythm and power spectral density of a wide array of human music, suggesting that human music incorporates regularities of the physical world that our species evolved to recognize and produce. Here we show for the first time that 1/f^β laws also govern the spectral density of a wide range of animal vocalizations (music), from songbirds, to whales, to howling wolves. We discovered this 1/f^β power-law distribution in the vocalizations within all of the 17 diverse species examined. Our results demonstrate that such power laws are prevalent in the animal kingdom, evidence that their brains have evolved a sensitivity to them as an aid in processing sensory features of the natural world.

Music in epilepsy: Predicting the effects of the unpredictable

Epilepsy is the most common serious neurological disorder in the world. Despite medical and surgical treatment, many individuals continue to have seizures, suggesting adjunctive management strategies are required. Promising effects of daily listening to Mozart K.448 on reducing seizure frequency in individuals with epilepsy have been demonstrated. In our recent randomized control study, we reported the positive effect of daily listening to Mozart K.448 on reducing seizures compared to daily listening to a control piece with an identical power spectrum to the Mozart piece yet devoid of rhythmic structure. Despite the promising effect of listening to Mozart K.448 on reducing seizure in individuals with epilepsy, the mechanism(s) underlying such an effect is largely unknown. In this paper, we specifically review how auditory stimulation alters brain dynamics, in addition to computational approaches to define the structural features of classical music, to then propose a plausible mechanism for the underlying anti-convulsant effects of listening to Mozart K.448. We review the evidence demonstrating that some Mozart pieces in addition to compositions from other composers such as Joplin contain less predictable rhythmic structure in comparison with other composers such as Beethoven. We propose through both entrainment and 1/f resonance mechanisms that listening to musical pieces containing the least predictable rhythmic structure, might reduce the self similarity of brain activity which in turn modulates low frequency power, situating the brain in a more "noise like" state and away from brain dynamics that can lead to seizures.

Fractality and Variability in Canonical and Non-Canonical English Fiction and in Non-Fictional Texts

This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose (JEFP Corpus). Two aspects of global structure are investigated, variability and self-similar (fractal) patterns, which reflect long-range correlations along texts. We use four types of basic observations, (i) the frequency of POS-tags per sentence, (ii) sentence length, (iii) lexical diversity, and (iv) the distribution of topic probabilities in segments of texts. These basic observations are grouped into two more general categories, (a) the lower-level properties (i) and (ii), which are observed at the level of the sentence (reflecting linguistic decoding), and (b) the higher-level properties (iii) and (iv), which are observed at the textual level (reflecting comprehension/integration). The observations for each property are transformed into series, which are analyzed in terms of variance and subjected to Multi-Fractal Detrended Fluctuation Analysis (MFDFA), giving rise to three statistics: (i) the degree of fractality ( H ), (ii) the degree of multifractality ( D ), i.e., the width of the fractal spectrum, and (iii) the degree of asymmetry ( A ) of the fractal spectrum. The statistics thus obtained are compared individually across text categories and jointly fed into a classification model (Support Vector Machine). Our results show that there are in fact differences between the three text categories of interest. In general, lower-level text properties are better discriminators than higher-level text properties. Canonical fictional texts differ from non-canonical ones primarily in terms of variability in lower-level text properties. Fractality seems to be a universal feature of text, slightly more pronounced in non-fictional than in fictional texts. On the basis of our results obtained on the basis of corpus data we point out some avenues for future research leading toward a more comprehensive analysis of textual aesthetics, e.g., using experimental methodologies.

Computational Creativity and Music Generation Systems: An Introduction to the State of the Art

Computational Creativity is a multidisciplinary field that tries to obtain creative behaviors from computers. One of its most prolific subfields is that of Music Generation (also called Algorithmic Composition or Musical Metacreation), that uses computational means to compose music. Due to the multidisciplinary nature of this research field, it is sometimes hard to define precise goals and to keep track of what problems can be considered solved by state-of-the-art systems and what instead needs further developments. With this survey, we try to give a complete introduction to those who wish to explore Computational Creativity and Music Generation. To do so, we first give a picture of the research on the definition and the evaluation of creativity, both human and computational, needed to understand how computational means can be used to obtain creative behaviors and its importance within Artificial Intelligence studies. We then review the state of the art of Music Generation Systems, by citing examples for all the main approaches to music generation, and by listing the open challenges that were identified by previous reviews on the subject. For each of these challenges, we cite works that have proposed solutions, describing what still needs to be done and some possible directions for further research.

A GABA Interneuron Deficit Model of the Art of Vincent van Gogh

Vincent van Gogh was one of the most influential artists of the Western world, having shaped the post-impressionist art movement by shifting its boundaries forward into abstract expressionism. His distinctive style, which was not valued by the art-buying public during his lifetime, is nowadays one of the most sought after. However, despite the great deal of attention from academic and artistic circles, one important question remains open: was van Gogh's original style a visual manifestation distinct from his troubled mind, or was it in fact a by-product of an impairment that resulted from the psychiatric illness that marred his entire life? In this paper, we use a previously published multi-scale model of brain function to piece together a number of disparate observations about van Gogh's life and art. In particular, we first quantitatively analyze the brushwork of his large production of self-portraits using the image autocorrelation and demonstrate a strong association between the contrasts in the paintings, the occurrence of psychiatric symptoms, and his simultaneous use of absinthe-a strong liquor known to affect gamma aminobutyric acid (GABA) alpha receptors. Secondly, we propose that van Gogh suffered from a defective function of parvalbumin interneurons, which seems likely given his family history of schizophrenia and his addiction to substances associated with GABA action. This could explain the need for the artist to increasingly amplify the contrasts in his brushwork as his disease progressed, as well as his tendency to merge esthetic and personal experiences into a new form of abstraction.

Scaling behaviour in music and cortical dynamics interplay to mediate music listening pleasure

The pleasure of music listening regulates daily behaviour and promotes rehabilitation in healthcare. Human behaviour emerges from the modulation of spontaneous timely coordinated neuronal networks. Too little is known about the physical properties and neurophysiological underpinnings of music to understand its perception, its health benefit and to deploy personalized or standardized music-therapy. Prior studies revealed how macroscopic neuronal and music patterns scale with frequency according to a 1/f^α relationship, where a is the scaling exponent. Here, we examine how this hallmark in music and neuronal dynamics relate to pleasure. Using electroencephalography, electrocardiography and behavioural data in healthy subjects, we show that music listening decreases the scaling exponent of neuronal activity and-in temporal areas-this change is linked to pleasure. Default-state scaling exponents of the most pleased individuals were higher and approached those found in music loudness fluctuations. Furthermore, the scaling in selective regions and timescales and the average heart rate were largely proportional to the scaling of the melody. The scaling behaviour of heartbeat and neuronal fluctuations were associated during music listening. Our results point to a 1/f resonance between brain and music and a temporal rescaling of neuronal activity in the temporal cortex as mechanisms underlying music appreciation.

Origins of 1/f noise in human music performance from short-range autocorrelations related to rhythmic structures

1/f fluctuations have been described in numerous physical and biological processes. This noise structure describes an inverse relationship between the intensity and frequency of events in a time series (for example reflected in power spectra), and is believed to indicate long-range dependence, whereby events at one time point influence events many observations later. 1/f has been identified in rhythmic behaviors, such as music, and is typically attributed to long-range correlations. However short-range dependence in musical performance is a well-established finding and past research has suggested that 1/f can arise from multiple continuing short-range processes. We tested this possibility using simulations and time-series modeling, complemented by traditional analyses using power spectra and detrended fluctuation analysis (as often adopted more recently). Our results show that 1/f-type fluctuations in musical contexts may be explained by short-range models involving multiple time lags, and the temporal ranges in which rhythmic hierarchies are expressed are apt to create these fluctuations through such short-range autocorrelations. We also analyzed gait, heartbeat, and resting-state EEG data, demonstrating the coexistence of multiple short-range processes and 1/f fluctuation in a variety of phenomena. This suggests that 1/f fluctuation might not indicate long-range correlations, and points to its likely origins in musical rhythm and related structures.

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach’s harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.

Fractality of sensations and the brain health: the theory linking neurodegenerative disorder with distortion of spatial and temporal scale-invariance and fractal complexity of the visible world

The theory that ties normal functioning and pathology of the brain and visual system with the spatial-temporal structure of the visual and other sensory stimuli is described for the first time in the present study. The deficit of fractal complexity of environmental influences can lead to the distortion of fractal complexity in the visual pathways of the brain and abnormalities of development or aging. The use of fractal light stimuli and fractal stimuli of other modalities can help to restore the functions of the brain, particularly in the elderly and in patients with neurodegenerative disorders or amblyopia. Non-linear dynamics of these physiological processes have a strong base of evidence, which is seen in the impaired fractal regulation of rhythmic activity in aged and diseased brains. From birth to old age, we live in a non-linear world, in which objects and processes with the properties of fractality and non-linearity surround us. Against this background, the evolution of man took place and all periods of life unfolded. Works of art created by man may also have fractal properties. The positive influence of music on cognitive functions is well-known. Insufficiency of sensory experience is believed to play a crucial role in the pathogenesis of amblyopia and age-dependent diseases. The brain is very plastic in its early development, and the plasticity decreases throughout life. However, several studies showed the possibility to reactivate the adult's neuroplasticity in a variety of ways. We propose that a non-linear structure of sensory information on many spatial and temporal scales is crucial to the brain health and fractal regulation of physiological rhythms. Theoretical substantiation of the author's theory is presented. Possible applications and the future research that can experimentally confirm or refute the theoretical concept are considered.

Zipf's law in short-time timbral codings of speech, music, and environmental sound signals

Timbre is a key perceptual feature that allows discrimination between different sounds. Timbral sensations are highly dependent on the temporal evolution of the power spectrum of an audio signal. In order to quantitatively characterize such sensations, the shape of the power spectrum has to be encoded in a way that preserves certain physical and perceptual properties. Therefore, it is common practice to encode short-time power spectra using psychoacoustical frequency scales. In this paper, we study and characterize the statistical properties of such encodings, here called timbral code-words. In particular, we report on rank-frequency distributions of timbral code-words extracted from 740 hours of audio coming from disparate sources such as speech, music, and environmental sounds. Analogously to text corpora, we find a heavy-tailed Zipfian distribution with exponent close to one. Importantly, this distribution is found independently of different encoding decisions and regardless of the audio source. Further analysis on the intrinsic characteristics of most and least frequent code-words reveals that the most frequent code-words tend to have a more homogeneous structure. We also find that speech and music databases have specific, distinctive code-words while, in the case of the environmental sounds, this database-specific code-words are not present. Finally, we find that a Yule-Simon process with memory provides a reasonable quantitative approximation for our data, suggesting the existence of a common simple generative mechanism for all considered sound sources.

Musical rhythm spectra from Bach to Joplin obey a 1/f power law

Much of our enjoyment of music comes from its balance of predictability and surprise. Musical pitch fluctuations follow a 1/f power law that precisely achieves this balance. Musical rhythms, especially those of Western classical music, are considered highly regular and predictable, and this predictability has been hypothesized to underlie rhythm's contribution to our enjoyment of music. Are musical rhythms indeed entirely predictable and how do they vary with genre and composer? To answer this question, we analyzed the rhythm spectra of 1,788 movements from 558 compositions of Western classical music. We found that an overwhelming majority of rhythms obeyed a 1/f(β) power law across 16 subgenres and 40 composers, with β ranging from ∼0.5-1. Notably, classical composers, whose compositions are known to exhibit nearly identical 1/f pitch spectra, demonstrated distinctive 1/f rhythm spectra: Beethoven's rhythms were among the most predictable, and Mozart's among the least. Our finding of the ubiquity of 1/f rhythm spectra in compositions spanning nearly four centuries demonstrates that, as with musical pitch, musical rhythms also exhibit a balance of predictability and surprise that could contribute in a fundamental way to our aesthetic experience of music. Although music compositions are intended to be performed, the fact that the notated rhythms follow a 1/f spectrum indicates that such structure is no mere artifact of performance or perception, but rather, exists within the written composition before the music is performed. Furthermore, composers systematically manipulate (consciously or otherwise) the predictability in 1/f rhythms to give their compositions unique identities.

Revealing competitive behaviours in music by means of the multifractal detrended fluctuation analysis: application to Bach's Sinfonias

The one-, two- and three-dimensional multifractal detrended fluctuation analysis (MF-DFA) was applied to Bach's Sinfonias, which are characterized by the superposition of three different voices. Each voice, represented as a time series, can be considered as a component of a one-, two- or three-dimensional vector. The one-dimensional MF-DFA was applied to any single voice, while the two- and three-dimensional MF-DFA was applied to the couples of voices and to the triple, respectively. Each voice is characterized by a multifractal degree (MD), indicated by the range of the generalized Hurst exponents; the higher the MD, the larger the amount of heterogeneity and irregularity. Competitive scaling multifractal behaviours in Bach's Sinfonias were revealed; although one (or two) voices showed a relatively high MD, the other two voices, or voice, are characterized by a low MD. Nevertheless, the overall effect of the Sinfonia, measured by the MD of the triple, tends towards homogeneity, or at least to an average between the different competitive scaling behaviour shown by the different voices.

Universal patterns in sound amplitudes of songs and music genres

We report a statistical analysis of more than eight thousand songs. Specifically, we investigated the probability distribution of the normalized sound amplitudes. Our findings suggest a universal form of distribution that agrees well with a one-parameter stretched Gaussian. We also argue that this parameter can give information on music complexity, and consequently it helps classify songs as well as music genres. Additionally, we present statistical evidence that correlation aspects of the songs are directly related to the non-Gaussian nature of their sound amplitude distributions.

Fractals in the nervous system: conceptual implications for theoretical neuroscience

This essay is presented with two principal objectives in mind: first, to document the prevalence of fractals at all levels of the nervous system, giving credence to the notion of their functional relevance; and second, to draw attention to the as yet still unresolved issues of the detailed relationships among power-law scaling, self-similarity, and self-organized criticality. As regards criticality, I will document that it has become a pivotal reference point in Neurodynamics. Furthermore, I will emphasize the not yet fully appreciated significance of allometric control processes. For dynamic fractals, I will assemble reasons for attributing to them the capacity to adapt task execution to contextual changes across a range of scales. The final Section consists of general reflections on the implications of the reviewed data, and identifies what appear to be issues of fundamental importance for future research in the rapidly evolving topic of this review.

The temporal structures and functional significance of scale-free brain activity

Scale-free dynamics, with a power spectrum following P proportional to f(-beta), are an intrinsic feature of many complex processes in nature. In neural systems, scale-free activity is often neglected in electrophysiological research. Here, we investigate scale-free dynamics in human brain and show that it contains extensive nested frequencies, with the phase of lower frequencies modulating the amplitude of higher frequencies in an upward progression across the frequency spectrum. The functional significance of scale-free brain activity is indicated by task performance modulation and regional variation, with beta being larger in default network and visual cortex and smaller in hippocampus and cerebellum. The precise patterns of nested frequencies in the brain differ from other scale-free dynamics in nature, such as earth seismic waves and stock market fluctuations, suggesting system-specific generative mechanisms. Our findings reveal robust temporal structures and behavioral significance of scale-free brain activity and should motivate future study on its physiological mechanisms and cognitive implications.

Fine-structured multi-scaling long-range correlations in completely sequenced genomes--features, origin, and classification

The sequential organization of genomes, i.e. the relations between distant base pairs and regions within sequences, and its connection to the three-dimensional organization of genomes is still a largely unresolved problem. Long-range power-law correlations were found using correlation analysis on almost the entire observable scale of 132 completely sequenced chromosomes of 0.5 × 10⁶ to 3.0 × 10⁷ bp from Archaea, Bacteria, Arabidopsis thaliana, Saccharomyces cerevisiae, Schizosaccharomyces pombe, Drosophila melanogaster, and Homo sapiens. The local correlation coefficients show a species-specific multi-scaling behaviour: close to random correlations on the scale of a few base pairs, a first maximum from 40 to 3,400 bp (for Arabidopsis thaliana and Drosophila melanogaster divided in two submaxima), and often a region of one or more second maxima from 10⁵ to 3 × 10⁵ bp. Within this multi-scaling behaviour, an additional fine-structure is present and attributable to codon usage in all except the human sequences, where it is related to nucleosomal binding. Computer-generated random sequences assuming a block organization of genomes, the codon usage, and nucleosomal binding explain these results. Mutation by sequence reshuffling destroyed all correlations. Thus, the stability of correlations seems to be evolutionarily tightly controlled and connected to the spatial genome organization, especially on large scales. In summary, genomes show a complex sequential organization related closely to their three-dimensional organization.

Scale-free music of the brain

Background

There is growing interest in the relation between the brain and music. The appealing similarity between brainwaves and the rhythms of music has motivated many scientists to seek a connection between them. A variety of transferring rules has been utilized to convert the brainwaves into music; and most of them are mainly based on spectra feature of EEG.

Methodology/Principal Findings

In this study, audibly recognizable scale-free music was deduced from individual Electroencephalogram (EEG) waveforms. The translation rules include the direct mapping from the period of an EEG waveform to the duration of a note, the logarithmic mapping of the change of average power of EEG to music intensity according to the Fechner's law, and a scale-free based mapping from the amplitude of EEG to music pitch according to the power law. To show the actual effect, we applied the deduced sonification rules to EEG segments recorded during rapid-eye movement sleep (REM) and slow-wave sleep (SWS). The resulting music is vivid and different between the two mental states; the melody during REM sleep sounds fast and lively, whereas that in SWS sleep is slow and tranquil. 60 volunteers evaluated 25 music pieces, 10 from REM, 10 from SWS and 5 from white noise (WN), 74.3% experienced a happy emotion from REM and felt boring and drowsy when listening to SWS, and the average accuracy for all the music pieces identification is 86.8%(κ = 0.800, P<0.001). We also applied the method to the EEG data from eyes closed, eyes open and epileptic EEG, and the results showed these mental states can be identified by listeners.

Conclusions/Significance

The sonification rules may identify the mental states of the brain, which provide a real-time strategy for monitoring brain activities and are potentially useful to neurofeedback therapy.

Universal 1/f noise, crossovers of scaling exponents, and chromosome-specific patterns of guanine-cytosine content in DNA sequences of the human genome

Spatial fluctuations of guanine and cytosine base content (GC%) are studied by spectral analysis for the complete set of human genomic DNA sequences. We find that (i) 1/ f(alpha) decay is universally observed in the power spectra of all 24 chromosomes, and (ii) the exponent alpha approximately 1 extends to about 10(7) bases, one order of magnitude longer than has previously been observed. We further find that (iii) almost all human chromosomes exhibit a crossover from alpha(1) approximately 1 (1/ f (alpha(1))) at lower frequency to alpha(2) <1 (1/ f (alpha(2))) at higher frequency, typically occurring at around 30,000-100,000 bases, while (iv) the crossover in this frequency range is virtually absent in human chromosome 22. In addition to the universal 1/ f(alpha) noise in power spectra, we find (v) several lines of evidence for chromosome-specific correlation structures, including a 500,000 base long oscillation in human chromosome 21. The universal 1/ f(alpha) spectrum in the human genome is further substantiated by a resistance to reduction in variance of guanine and cytosine content when the window size is increased.