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room</title> <meta name="description" content="Search results for: piano room"> <meta name="keywords" content="piano room"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="piano room"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 1388</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: piano room</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1388</span> Performance Practices in Classic Piano Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahdi%20Kazemi">Mahdi Kazemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today's performances on Piano Forte or Fortepiano are cheerful, musical, expressive, and at the same time informative. AlterMuskie is an exciting and richly drawn magazine that is unmatched in its field. First published in 1973, it is a magazine for anyone interested in early music and its contemporary interpretation. Alexander Scriabin's (1871_1915) work has traditionally focused on his music in the mid and late 1902s. The discussion of his personal philosophy and his influence on music also focuses on these two periods. Over the last few decades, the repertoire of British classical solo pianos has received increasing interest from researchers. From the piano rolls of the early 20th century, much can be inferred about the practice of romantic piano playing. Summary Haydn's most important piano works are the sonatas, which generally represent Haydn's development as a composer from the early to the last three sonata dates, 1794. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=piano" title="piano">piano</a>, <a href="https://publications.waset.org/abstracts/search?q=classic%20piano" title=" classic piano"> classic piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/143424/performance-practices-in-classic-piano-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1387</span> Effect of Acoustical Performance Detection and Evaluation in Music Practice Rooms on Teaching</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hsu-Hui%20Cheng">Hsu-Hui Cheng</a>, <a href="https://publications.waset.org/abstracts/search?q=Peng-Chian%20Chen"> Peng-Chian Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Shu-Yuan%20Chang"> Shu-Yuan Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jie-Ying%20Zhang"> Jie-Ying Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Activities in the music practice rooms range from playing, listening, rehearsing to music performing. The good room acoustics in a music practice room enables a music teacher to teach more effectively subtle concepts such as intonation, articulation, balance, dynamics and tone production. A poor acoustical environment would deeply affect the development of basic musical skills of music students. Practicing in the music practice room is an essential daily activity for music students; consequently, music practice rooms are very important facilities in a music school or department. The purpose of this survey is to measure and analyze the acoustic condition of piano practice rooms at the department of music in Zhaoqing University and accordingly apply a more effective teaching method to music students. The volume of the music practice room is approximately 25 m³, and it has existing curtains and some wood hole sound-absorbing panels. When all small music practice rooms are in constant use for teaching, it was found that the values of the background noise at 45, 46, 42, 46, 45 dB(A) in the small music practice room ( the doors and windows were close), respectively. The noise levels in the small music practice room to higher than standard levels (35dB(A)). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustical%20performance" title="acoustical performance">acoustical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20practice%20room" title=" music practice room"> music practice room</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20level" title=" noise level"> noise level</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20room" title=" piano room"> piano room</a> </p> <a href="https://publications.waset.org/abstracts/138088/effect-of-acoustical-performance-detection-and-evaluation-in-music-practice-rooms-on-teaching" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138088.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">226</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1386</span> Exploring Polyphonic Texture in Chopin's Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Frederic Chopin created numerous acclaimed piano compositions that have been both appreciated and analyzed by musicians starting from the Romantic Period. These compositions are still being played globally with specific privileges among pianists. This study examines particular elements within Chopin's piano works and how they can be interpreted and instructed to those who are not acquainted with his pieces. The theory suggests that particular melodic attributes can be found in Chopin's piano compositions. Therefore, various elements can be recognized, such as polyphonic textures, decorated phrases, themes and variations, inner patterns tuning, blending harmonics, and conflicting beats. These characteristics were discovered within theoretical analysis has identified many of Chopin's compositions. The aim of this study is to identify the musical characteristics of analyzable through music theory and demonstrate a distinctive pianistic polyphonic texture in Chopin's solo piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chopin" title="Chopin">Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphonic" title=" polyphonic"> polyphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=texture" title=" texture"> texture</a> </p> <a href="https://publications.waset.org/abstracts/187039/exploring-polyphonic-texture-in-chopins-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">35</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1385</span> A High Performance Piano Note Recognition Scheme via Precise Onset Detection and Segmented Short-Time Fourier Transform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonali%20Banrjee">Sonali Banrjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Swarup%20Kumar%20Mitra"> Swarup Kumar Mitra</a>, <a href="https://publications.waset.org/abstracts/search?q=Aritra%20Acharyya"> Aritra Acharyya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A piano note recognition method has been proposed by the authors in this paper. The authors have used a comprehensive method for onset detection of each note present in a piano piece followed by segmented short-time Fourier transform (STFT) for the identification of piano notes. The performance evaluation of the proposed method has been carried out in different harsh noisy environments by adding different levels of additive white Gaussian noise (AWGN) having different signal-to-noise ratio (SNR) in the original signal and evaluating the note detection error rate (NDER) of different piano pieces consisting of different number of notes at different SNR levels. The NDER is found to be remained within 15% for all piano pieces under consideration when the SNR is kept above 8 dB. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AWGN" title="AWGN">AWGN</a>, <a href="https://publications.waset.org/abstracts/search?q=onset%20detection" title=" onset detection"> onset detection</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20note" title=" piano note"> piano note</a>, <a href="https://publications.waset.org/abstracts/search?q=STFT" title=" STFT"> STFT</a> </p> <a href="https://publications.waset.org/abstracts/96023/a-high-performance-piano-note-recognition-scheme-via-precise-onset-detection-and-segmented-short-time-fourier-transform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96023.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">160</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1384</span> Performance Evaluation of a Piano Key Weir</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Shaheer%20Ali">M. Shaheer Ali</a>, <a href="https://publications.waset.org/abstracts/search?q=Talib%20Mansoor"> Talib Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Piano Key Weir (PKW) is a particular shape of labyrinth weir, using up- and/or downstream overhangs. The horizontal rectangular labyrinth shape allows to multiply the crest length for a given weir width. With the increasing demand of power, it is becoming greatly essential to increase the storage capacity of existing dams without neglecting their safety. The present aims at comparing the performance of piano key weirs in respect to the normal sharp-crested weirs. The discharge v/s head data for the piano key weir and normal sharp-crested weir obtained from the experimental study were compared and analysed using regression analysis. Piano key weir was found to perform doubly w.r.t a normal weir. The flow profiles show the parabolic nature of flow and the nappe interference in the inlet keys. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crest%20length" title="crest length">crest length</a>, <a href="https://publications.waset.org/abstracts/search?q=flow%20profile" title=" flow profile"> flow profile</a>, <a href="https://publications.waset.org/abstracts/search?q=labyrinth%20weir" title=" labyrinth weir"> labyrinth weir</a>, <a href="https://publications.waset.org/abstracts/search?q=normal%20weir" title=" normal weir"> normal weir</a>, <a href="https://publications.waset.org/abstracts/search?q=nappe%20interference" title=" nappe interference"> nappe interference</a>, <a href="https://publications.waset.org/abstracts/search?q=overhangs" title=" overhangs"> overhangs</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20key%20weir" title=" piano key weir"> piano key weir</a> </p> <a href="https://publications.waset.org/abstracts/24326/performance-evaluation-of-a-piano-key-weir" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24326.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">294</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1383</span> Principles of Music Composition in Impressionism by Focusing on Claude Debussy and Maurice Ravel’s Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essence of Musical Impressionism is best captured in the compositions of Claude Debussy and Maurice Ravel. These two important individuals represent the core of this art form, with their piano compositions remaining significant, impactful, and commonly performed in contemporary times. Their piano works reflected a revolutionary compositional style that strayed from classical romanticism and drew heavy inspiration from Symbolist poets and Asian arts. Additionally, numerous technical applications are commonly utilized to exemplify the principles of impressionism style by composers who did not frequently use them in prior eras, resulting in effectively evoking impressionistic images through diverse sonorities. The goal of this study is to showcase the range of impressionistic elements and compositional techniques, such as dissonances, pentatonic and whole-tone scales, parallel movements, and polytonality, through an examination of their piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=ravel" title=" ravel"> ravel</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a> </p> <a href="https://publications.waset.org/abstracts/186693/principles-of-music-composition-in-impressionism-by-focusing-on-claude-debussy-and-maurice-ravels-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186693.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">38</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1382</span> Three Memorizing Strategies Reflective of Individual Students' Learning Modalities Applied to Piano Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olga%20Guseynova">Olga Guseynova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Being an individual activity, the memorizing process is affected to a greater degree by the individual variables; therefore, one of the decisive factors influencing the memorization is students’ individual characteristics. Based on an extensive literature study in the domains of piano education, psychology, and neuroscience, this comprehensive research was designed in order to develop three memorizing strategies that are reflective of individual students’ learning modalities (visual, kinesthetic and auditory) applied to the piano education. The design of the study required an interdisciplinary approach which incorporated the outcome of neuropsychological and pedagogic experiments. The objectives were to determine the interaction between the process of perception and the process of memorizing music; to systematize the methods of memorizing piano sheet music in accordance with the specifics of perception types; to develop Piano Memorization Inventory (PMI) and the Three Memorizing Strategies (TMS). The following research methods were applied: a method of interdisciplinary analysis and synthesis, a method of non-participant observation. As a result of literature analysis, the following conclusions were made: the majority of piano teachers and piano students participated in the surveys, had not used and usually had not known any memorizing strategy regarding learning styles. As a result, they had used drilling as the main strategy of memorizing. The Piano Memorization Inventory and Three Memorizing Strategies developed by the author of the research were based on the observation and findings of the previous researches and considered the experience of pedagogical and neuropsychological studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=interdisciplinary%20approach" title="interdisciplinary approach">interdisciplinary approach</a>, <a href="https://publications.waset.org/abstracts/search?q=memorizing%20strategies" title=" memorizing strategies"> memorizing strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=perceptual%20learning%20styles" title=" perceptual learning styles"> perceptual learning styles</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20memorization%20inventory" title=" piano memorization inventory"> piano memorization inventory</a> </p> <a href="https://publications.waset.org/abstracts/88190/three-memorizing-strategies-reflective-of-individual-students-learning-modalities-applied-to-piano-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88190.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">305</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1381</span> The Influence of Japanese Poetry in Spanish Piano Music: Benet Casablancas and Mercedes Zavala’s Haikus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isabel%20%20P%C3%A9rez%20Dobarro">Isabel Pérez Dobarro </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-twentieth century, Spanish composers started looking beyond the national folkloric tradition (adopted by Albéniz, Granados, and Falla) and Rodrigo’s neoclassicism, and searched for other sources of inspiration. Japanese Haikus fascinated Spanish musicians, who found in their brevity and imagination a new avenue to develop their creativity. The goal of this research is to study how two renowned Spanish authors, Benet Casablancas and Mercedes Zavala, incorporated Haikus into their piano works. Based on Bruhn’s methodology on text and instrumental music relations, and developing a score and text analysis complemented by interviews with both composers, this study has revealed three possible interactions between the Haikus and these composers’ piano writing: inspiration, transmedialization, and mimesis. Findings also include specific technical gestures to support each of these approaches. Commonalities between their pieces and those by other non-Spanish composers such as Jonathan Harvey, John Cage, and Michael Berkeley have also been explored. According to the author's knowledge, this is the first study on the Japanese influence in Spanish piano music. Thus, it opens a new path for understanding musical exchanges between both countries as well as contemporary piano tools that support the interaction between text and music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haiku" title="Haiku">Haiku</a>, <a href="https://publications.waset.org/abstracts/search?q=Spanish%20piano%20music" title=" Spanish piano music"> Spanish piano music</a>, <a href="https://publications.waset.org/abstracts/search?q=Benet%20Casablancas" title=" Benet Casablancas"> Benet Casablancas</a>, <a href="https://publications.waset.org/abstracts/search?q=Mercedes%20Zavala" title=" Mercedes Zavala"> Mercedes Zavala</a> </p> <a href="https://publications.waset.org/abstracts/128209/the-influence-of-japanese-poetry-in-spanish-piano-music-benet-casablancas-and-mercedes-zavalas-haikus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128209.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">152</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1380</span> Discovery of the Piano Extended Techniques by Focusing on Symbols That George Crumb Used in Makrokosmos Volumes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> George Crumb's Makrokosmos Volumes are considered significant pieces in twentieth-century piano music and showcase the extensive use of different tones and extended techniques on the piano. Crumb's works are known for making references, particularly to music from previous eras which the visual, aural, and numerical characteristics are symbolic in nature. Crumb created a list of symbols and shortened letters to clarify his unique directions to those who performed his compositions. The pianists who prepare to play Makrokosmos must dedicate time to study and analyze Crumb's markings diligently to accurately capture the composer's wishes. The aim of this paper is to provide a collection for pianists looking to perform George Crumb's compositions known as Makrokosmos Volumes. The research traits of unconventional playing techniques and discussions on the music explored by the composer are being described. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=Crumb" title=" Crumb"> Crumb</a>, <a href="https://publications.waset.org/abstracts/search?q=Makrokosmos" title=" Makrokosmos"> Makrokosmos</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/186687/discovery-of-the-piano-extended-techniques-by-focusing-on-symbols-that-george-crumb-used-in-makrokosmos-volumes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">47</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1379</span> Effects of Major and Minor Modes to Emotional Perceptions of 'Happy' and 'Sad' in Piano Music among Students Aged 9-17</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurezlin%20Mohd%20Azib">Nurezlin Mohd Azib</a>, <a href="https://publications.waset.org/abstracts/search?q=Pan%20Kok%20Chang"> Pan Kok Chang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This quantitative study investigates the effects of major and minor modes, and contributing musical parameter of tempo, to the emotional perceptions of ‘happy’ and ‘sad’ in piano music among subjects aged 9-17 years old. The study was conducted in two phases; survey-questionnaire, and listening activity. Subjects (N=31) were sampled from piano music students’ population in Bangi, Selangor. In the survey-questionnaire, subjects answered 20 questions on demographic characteristics, music listening and preference, and understanding of emotional perception in music. In the listening activity, subjects listened to 20 untitled piano music excerpts and rated the emotion perceived for each excerpt, whether ‘happy’ or ‘sad’. Results from survey-questionnaire show that most percentage of subjects are 11 years old, in Grade 1, of 3 years of learning piano, prefer classical music, always listen to music, prefer both major and minor modes’ music, and find it easy to understand emotion in music, as well as major and minor modes. Results from listening activity show that 60 % of major mode music are perceived as ‘major-happy’, while 60 % too, of minor mode music are perceived as ‘minor-sad’. However, Chi-square test of independence statistical analysis indicates that there are no association and significant relationship between modes (major and minor) and ‘happy’, as well as ‘sad’ perceptions (x2 (1, N = 20) = 0.80, p = 0.371), at the significance level of p ≤ 0.05. Contrastingly, there are association and significant relationship between tempo (fast and slow), and ‘happy’, as well as ‘sad’ perceptions (x2 (1, N = 20) = 9.899, p = 0.005). Therefore, it is concluded that tempo plays an important role in effects of major and minor mode to ‘happy’ and ‘sad’ emotional perceptions in piano music among subjects aged 9 to 17 in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=effects" title="effects">effects</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20perceptions" title=" emotional perceptions"> emotional perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=major%20and%20minor%20modes" title=" major and minor modes"> major and minor modes</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20music" title=" piano music"> piano music</a> </p> <a href="https://publications.waset.org/abstracts/55914/effects-of-major-and-minor-modes-to-emotional-perceptions-of-happy-and-sad-in-piano-music-among-students-aged-9-17" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55914.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">216</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1378</span> The Genre Narrative in Beethoven's E-Flat Piano Sonata, Op.31/3</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yan%20Zou">Yan Zou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Approach to the theory of Musical Narrative, as well as the three criteria of the 'explicit narrative', 'potential narrative' and 'image narrative' which are used to analyze the music, the author put Beethoven’s Piano Sonata in E-flat major, Op.31/3, into the context of the music genre and Western music history, and interpreted the programmatic contents that were embodied and hid in the special music genres. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analysis" title="analysis">analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=rhetoric" title=" rhetoric"> rhetoric</a> </p> <a href="https://publications.waset.org/abstracts/41842/the-genre-narrative-in-beethovens-e-flat-piano-sonata-op313" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41842.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">369</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1377</span> Beneath the Leisurely Surface: An Analysis of the Piano Lesson Frenzy among Chinese Middle-Class Parents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yijie%20Wang">Yijie Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Tianyue%20Wang"> Tianyue Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the past two decades, there has been a great ‘piano lesson frenzy’ among Chinese middle-class families, with a large number of parents adding piano training to children’s extra-curriculum lists. Superficially, the frenzy reflects a rather ‘leisurely’ attitude: parents typically claim that pianos lessons are ‘just for fun’ and will hopefully render children’s life more exciting. However, a closer scrutiny reveals that there is great social-status anxiety hidden beneath this ‘leisurely’ surface. Based on pre-interviews of six Chinese middle-class parents who have enthusiastically signed their children up for piano lessons, several tentative analysis are made: 1. Owing to a series of historical and social factors, the Chinese middle-class have yet to establish their cultural norms in the past few decades, resulting in great confusion concerning how to cultivate cultural tastes in their offspring. And partly due to the fact that the middle-class status of the past Chinese generation is mostly self-acquired rather than inherited, parents are much less confident about their cultural resources—which require long-time accumulation—than material ones. Both factors combine to lead to a sort of blind, overcompensating enthusiasm in culture-related education, and the piano frenzy is but a demonstration. 2. The piano has been chosen to be the object of the frenzy partly because of its inherent characteristics as well as socially-constructed ones. Costly, large in size, imported from another culture and so forth, the piano has acquired the meaning of being exclusive, high-end and exotic, which renders it a token of top-tier status among Chinese people, and piano lessons for offspring have therefore become parents’ paths towards a kind of ‘symbolic elevation’. A child playing piano is an exhibition as well as psychological assurance of the families’ middle-class status. 3. A closer look at children’s piano training process reveals that there is much more anxiety than leisurely elements involved. Despite parents’ claim that ‘piano is mainly for kids to have fun,’ the whole process is evidently of a rather ‘ascetic’ nature, with the demands of diligence and senses of time urgency throughout, and techniques rather than flair or styles are emphasized. This either means that the apparent ‘piano-for-fun’ stance is unauthentic and is only other motives in disguise, or that the Chinese middle-class parents are not yet capable of shaking off the sense of anxiety even if they sincerely intend to. 4. When viewed in relation to Chinese formal school system as well as the job market at large, it can be said that by signing children up for piano lessons, parents are consciously or unconsciously seeking to prepare for, or reduce the risks of, their children’s future social mobility. In face of possible failures in the highly-crucial, highly-competitive formal school system, piano-playing as an extra-curriculum activity may be conveniently transferred into an alternative career path. Besides, in contemporary China, as the occupational structure goes through change, and the school-related certificates decline in value, aspects such as a person’s overall deportment, which can be gained or proved by piano-learning, have been gaining in significance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=extra-curriculum%20activities" title="extra-curriculum activities">extra-curriculum activities</a>, <a href="https://publications.waset.org/abstracts/search?q=middle%20class" title=" middle class"> middle class</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20lesson%20frenzy" title=" piano lesson frenzy"> piano lesson frenzy</a>, <a href="https://publications.waset.org/abstracts/search?q=status%20anxiety" title=" status anxiety"> status anxiety</a> </p> <a href="https://publications.waset.org/abstracts/90592/beneath-the-leisurely-surface-an-analysis-of-the-piano-lesson-frenzy-among-chinese-middle-class-parents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90592.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">245</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1376</span> Analyzing Claude Debussy’s Piano Preludes by Focusing on His Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Between 1910 and 1912, Claude Debussy recorded twelve of his solo piano pieces. Although Debussy frequently provided advice to his students on performing while they followed the written notes when performing, his personal recordings are characterized by creative liberties and unique freedom interpretations. Debussy's use of numerous interpretive gestures in these recordings is fascinating and corresponds with the techniques utilized by French Baroque keyboard performers. This paper will situate Debussy's presentation in the Baroque musical approach. Initially, we will discuss the recording by analyzing Welte-Mignon's used technology to guarantee the reliability of these recordings. Then, we will find commonalities in the intricate performances of harpsichord musicians who played in the 1600s and 1700s and recordings of Debussy. Finally, by drawing comparisons, we will review the patterns by contrasting Debussy's execution with recordings of the same pieces from the latter half of the 20th century as striving for improved presentations while limiting artistic freedom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a> </p> <a href="https://publications.waset.org/abstracts/186665/analyzing-claude-debussys-piano-preludes-by-focusing-on-his-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186665.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">46</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1375</span> Debussy's Piano Music: Style Characteristics in Three Categories</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rika%20Uchida">Rika Uchida</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Claude Debussy's piano works can be divided into three categories in terms of style characteristics. The first category includes works which are strongly impressionistic, evoking a mood or an atmosphere, rather than making a direct, clear statement. These works often depict nature, and they are descriptive and sensitive in their character. Harmonic vocabulary is often complex, and the sense of tonality is often ambiguous in those works. Examples which belong to this category are ‘Clair de lune’ from Suite Bergamasque, Deux Arabesques, and ‘Reflets dans l'eau’ from Images Book 2. The second category shows little or no trace of impressionism. Works are not descriptive; rather, they are classical or absolute. Examples which belong to this category are Pour le Piano, ‘Hommage à Rameau’ and ‘Movement’ from Images Book 1 and Etudes. The third category can be called exotic. Debussy had a great interest in foreign lands such as the Far and Near East, and Spain. He employs pentatonic and quartal harmonies to describe the Orient, occasionally using the effect of the Javanese gamelan, which impressed him at the Paris Exhibition. His compositions in the Spanish style evoke the atmosphere of Spain. Though he borrowed some techniques from Spanish composers whom he knew, the tonal experimentation which occurs in these works sets them apart. Examples which belong to this category are ‘Pagodes’ and ‘la Soiree dans Grenade’ from Estampes, ‘la Puerta del Vino’ from Preludes Book 2. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a> </p> <a href="https://publications.waset.org/abstracts/133673/debussys-piano-music-style-characteristics-in-three-categories" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133673.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1374</span> Analysis of Tempo Indications, Segmentations, and Musical Ideas in Mozart’s Piano Sonatas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=Mozart" title=" Mozart"> Mozart</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a>, <a href="https://publications.waset.org/abstracts/search?q=sonata" title=" sonata"> sonata</a> </p> <a href="https://publications.waset.org/abstracts/192298/analysis-of-tempo-indications-segmentations-and-musical-ideas-in-mozarts-piano-sonatas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">25</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1373</span> The Evolution of the Piano Preludes by Focusing on Bach, Chopin and Debussy’s Work</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This document follows the development of the prelude genre by analyzing specific pieces from a representative selection of composer from Bach to Shostakovich in every era. The research aims to prove the existence of an evolutionary axis in the genre of prelude's history, which is believed to be fading. In this research, Bach, Chopin, and Debussy's works are demonstrated and explored by creating a definition of the genre on his own terms and having an impact on future composers in the following generations. Taking into account, the educational aspect of the prelude and its connection to the genre of study, a brief conversation about it is also provided with an assessment of shorter versions of the genre, for instance, Chopin's preludes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a>, <a href="https://publications.waset.org/abstracts/search?q=Bach" title=" Bach"> Bach</a>, <a href="https://publications.waset.org/abstracts/search?q=Chopin" title=" Chopin"> Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a> </p> <a href="https://publications.waset.org/abstracts/186517/the-evolution-of-the-piano-preludes-by-focusing-on-bach-chopin-and-debussys-work" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186517.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">47</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1372</span> Variations and Fugue on an Ancient Taiwanese Music: The Art of Combining Taiwanese Traditional Music and Western Composition in Kuo Chih-Yuan's Piano Repertoire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sheng-Wei%20Hsu">Sheng-Wei Hsu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Taiwanese composer Kuo Chih-Yuan (1921-2013) studied composition at Tokyo University of the Arts and was influenced by the musical nationalism prevailing in Japan at the time. Determined to create world-class contemporary works to represent Taiwan, he created music with elements of traditional Taiwanese music in ways that had not been done before. The aims of this study were to examine the traditional elements used in Kuo Chih-Yuan’s Variations and Fugue on an Ancient Taiwanese Music (1972), and how an understanding of these elements might guide pianists to interpret a more proper performance of his work was also presented in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taiwanese%20traditional%20music" title="Taiwanese traditional music">Taiwanese traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=piano%20performance%20research" title=" piano performance research"> piano performance research</a>, <a href="https://publications.waset.org/abstracts/search?q=Kuo%20Chih-Yuan" title=" Kuo Chih-Yuan"> Kuo Chih-Yuan</a>, <a href="https://publications.waset.org/abstracts/search?q=fugue" title=" fugue"> fugue</a>, <a href="https://publications.waset.org/abstracts/search?q=variations" title=" variations"> variations</a> </p> <a href="https://publications.waset.org/abstracts/22461/variations-and-fugue-on-an-ancient-taiwanese-music-the-art-of-combining-taiwanese-traditional-music-and-western-composition-in-kuo-chih-yuans-piano-repertoire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22461.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">502</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1371</span> Exploring How Online Applications Help Students to Learn Music Virtually: A Study in an Australian Music Academy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Shah">Ali Shah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper outlines the case study experience of using a variety of online strategies in an Australian music academy context during covid times. The study aimed at exploring how online applications help students to learn music, specifically playing musical instruments, composing songs, and performing virtually. To explore this, music teachers’ perceptions and experiences regarding online learning, the teaching strategies they implemented, and the challenges they faced were examined. For the purpose of this study, a qualitative research structure was adopted through the use of three data collection tools. These methods included pre- and post-research individual interviews of teachers and students, analysis of their lesson plans, virtual classroom observations of the teachers followed by the researcher’sown reflections, post-observation discussions, and teachers’ reflective journals. The findings revealed that teachers had a theoretical understanding of virtual learning and recent musical application such as Flowkey, Skoove, and Piano marvel, which are benefits of e-learning. While teachers faced challenges in implementing strategies to teach keyboard/piano online, overall, both students and teachers felt the positive impact of online applications and strategies on their learning and felt that modern technology made it possible for anyone to take music lessons at home. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=keyboard" title=" keyboard"> keyboard</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20learning" title=" online learning"> online learning</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20learning" title=" virtual learning"> virtual learning</a> </p> <a href="https://publications.waset.org/abstracts/158433/exploring-how-online-applications-help-students-to-learn-music-virtually-a-study-in-an-australian-music-academy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158433.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1370</span> Music Education in Aged Care: Positive Ageing through Instrumental Music Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ellina%20Zipman">Ellina Zipman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research investigates the place of music education in aged care facilities through the implementation of a program of regular piano lessons for residents. Using a qualitative case study methodology, the research explores aged care residents’ experiences in learning to play the piano. Since the aged care homes are unlikely places for formal learning and since older adults, especially in residential care, are not considered likely candidates for learning, this research opens the door for innovative and transformative thinking about where and to whom educational programs can be delivered. By addressing the educational needs of residents in aged care facilities, this research fills the gap in the literature. The research took place in Australia in two of Melbourne’s residential aged care facilities, engaging two residents (a nonagenarian female and an octogenarian male) to participate in 12-months weekly individual piano lessons. The data was collected through video recording of lessons, observations, interviews, emails, and a reflective journal. Data analysis was done using Nvivo and hard copy analysis with identifications of themes. The case studies revealed that passion for music was a major driver in participants’ motivation to engage in a long-term piano lessons program. This participation led to experiences of positive emotions, positive attitude, successes and challenges, the exercise of control, maintaining and building new relationships, improved self-confidence through autonomy and independent skills development, and discovering new identities through finding a new purpose and new roles in life. Speaking through participants’ voices, this research project demonstrates the importance of music education for older adults and hopes to influence transformation in the residential aged care sector. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adult%20music%20education" title="adult music education">adult music education</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20of%20life" title=" quality of life"> quality of life</a>, <a href="https://publications.waset.org/abstracts/search?q=passion" title=" passion"> passion</a>, <a href="https://publications.waset.org/abstracts/search?q=positive%20ageing" title=" positive ageing"> positive ageing</a>, <a href="https://publications.waset.org/abstracts/search?q=wellbeing" title=" wellbeing"> wellbeing</a> </p> <a href="https://publications.waset.org/abstracts/154421/music-education-in-aged-care-positive-ageing-through-instrumental-music-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154421.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1369</span> 3D CFD Modelling of the Airflow and Heat Transfer in Cold Room Filled with Dates </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zina%20Ghiloufi">Zina Ghiloufi</a>, <a href="https://publications.waset.org/abstracts/search?q=Tahar%20Khir"> Tahar Khir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A transient three-dimensional computational fluid dynamics (CFD) model is developed to determine the velocity and temperature distribution in different positions cold room during pre-cooling of dates. The turbulence model used is the k-ω Shear Stress Transport (SST) with the standard wall function, the air. The numerical results obtained show that cooling rate is not uniform inside the room; the product at the medium of room has a slower cooling rate. This cooling heterogeneity has a large effect on the energy consumption during cold storage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CFD" title="CFD">CFD</a>, <a href="https://publications.waset.org/abstracts/search?q=cold%20room" title=" cold room"> cold room</a>, <a href="https://publications.waset.org/abstracts/search?q=cooling%20rate" title=" cooling rate"> cooling rate</a>, <a href="https://publications.waset.org/abstracts/search?q=dDates" title=" dDates"> dDates</a>, <a href="https://publications.waset.org/abstracts/search?q=numerical%20simulation" title=" numerical simulation"> numerical simulation</a>, <a href="https://publications.waset.org/abstracts/search?q=k-%CF%89%20%28SST%29" title=" k-ω (SST)"> k-ω (SST)</a> </p> <a href="https://publications.waset.org/abstracts/90986/3d-cfd-modelling-of-the-airflow-and-heat-transfer-in-cold-room-filled-with-dates" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">235</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1368</span> Ariettes Oublieés of Claude Debussy: An Interpretive Approach of Two Songs of the Composer’s Compilation through a Comparative Study of Four Contemporary Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Giannaki%20Natalia">Giannaki Natalia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines the songs compilation of Claude Debussy Ariettes Oublieés for voice and piano and especially the songs C’est l’extase langoureuse and Chevaux des bois of the compilation in order to present some interpretational suggestions for the singer and the piano accompanist for a more complete knowledge of the style of French singing of this period. First, the historical frame of the French song (in which this compilation is integrated) is introduced, as well as the historical frame of this work, and then, the most predominant interpretational parameters of the impressionistic French song are presented from testimonies of Claude Debussy and his contemporaries. Moreover, a brief analysis of the verses that turned into music by Debussy from the collection of poems by the famous French poet Paul Verlaine for subsequent interpretative suggestions is integrated into the research. The purpose of this work is not to elucidate the work from a harmonic or morphological point of view. Instead, this research primarily attempts to delve into performance issues through a comparison of four contemporary recordings of the work, from which it will be proved whether the principles of impressionism that were established are respected and how they affect these songs, as well as how much the personal viewpoint of each interpreter intervenes. The latter intends to fill the research gap in the interpretation of Debussy's songs and to guide the performers. To conclude, it will be discovered whether there is any recording closest to a French song’s interpretation principles and how a complete interpretation of a French song should be. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ariettes%20Oublie%C3%A9s" title="Ariettes Oublieés">Ariettes Oublieés</a>, <a href="https://publications.waset.org/abstracts/search?q=Claude%20Debussy" title=" Claude Debussy"> Claude Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=comparison" title=" comparison"> comparison</a>, <a href="https://publications.waset.org/abstracts/search?q=French%20song" title=" French song"> French song</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=interpretation" title=" interpretation"> interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20practice" title=" performance practice"> performance practice</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance" title=" music performance"> music performance</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=recordings" title=" recordings"> recordings</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a>, <a href="https://publications.waset.org/abstracts/search?q=voice" title=" voice"> voice</a> </p> <a href="https://publications.waset.org/abstracts/171781/ariettes-oubliees-of-claude-debussy-an-interpretive-approach-of-two-songs-of-the-composers-compilation-through-a-comparative-study-of-four-contemporary-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171781.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1367</span> Response of Full-Scale Room Building Against Blast Loading</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eid%20Badshah">Eid Badshah</a>, <a href="https://publications.waset.org/abstracts/search?q=Amjad%20Naseer"> Amjad Naseer</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Ashraf"> Muhammad Ashraf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper full-scale brick masonry room along with the veranda of a typical school building was subjected to eight successive blast tests with increasing charge weights ranging from 0.5kg to 16.02kg at 3.66m fixed stand-off distance. Pressure-time histories were obtained by data acquisition system from pressure sensors, installed on different points of room as well as veranda columns. The resulting damage pattern of different locations was observed during each test. Weak zones of masonry room were identified. Scaled distances for different damage levels in masonry room were experimentally obtained. The results provided a basis for determining the response of masonry room building against blast loading in a specific threat scenario. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=peak%20pressure" title="peak pressure">peak pressure</a>, <a href="https://publications.waset.org/abstracts/search?q=composition-B" title=" composition-B"> composition-B</a>, <a href="https://publications.waset.org/abstracts/search?q=TNT" title=" TNT"> TNT</a>, <a href="https://publications.waset.org/abstracts/search?q=pressure%20sensor" title=" pressure sensor"> pressure sensor</a>, <a href="https://publications.waset.org/abstracts/search?q=scaled%20distance" title=" scaled distance"> scaled distance</a>, <a href="https://publications.waset.org/abstracts/search?q=masonry" title=" masonry"> masonry</a> </p> <a href="https://publications.waset.org/abstracts/157393/response-of-full-scale-room-building-against-blast-loading" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157393.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">126</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1366</span> Performance of an Absorption Refrigerator Using a Solar Thermal Collector</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abir%20Hmida">Abir Hmida</a>, <a href="https://publications.waset.org/abstracts/search?q=Nihel%20Chekir"> Nihel Chekir</a>, <a href="https://publications.waset.org/abstracts/search?q=Ammar%20Ben%20Brahim"> Ammar Ben Brahim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present paper, we investigate the feasibility of a thermal solar driven cold room in Gabes, southern region of Tunisia. The cold room of 109 m<sup>3</sup> is refrigerated using an ammonia absorption machine. It is destined to preserve dates during the hot months of the year. A detailed study of the cold room leads previously to the estimation of the cooling load of the proposed storage room in the operating conditions of the region. The next step consists of the estimation of the required heat in the generator of the absorption machine to ensure the desired cold temperature. A thermodynamic analysis was accomplished and complete description of the system is determined. We propose, here, to provide the needed heat thermally from the sun by using vacuum tube collectors. We found that at least 21m² of solar collectors are necessary to accomplish the work of the solar cold room. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=absorption" title="absorption">absorption</a>, <a href="https://publications.waset.org/abstracts/search?q=ammonia" title=" ammonia"> ammonia</a>, <a href="https://publications.waset.org/abstracts/search?q=cold%20room" title=" cold room"> cold room</a>, <a href="https://publications.waset.org/abstracts/search?q=solar%20collector" title=" solar collector"> solar collector</a>, <a href="https://publications.waset.org/abstracts/search?q=vacuum%20tube" title=" vacuum tube"> vacuum tube</a> </p> <a href="https://publications.waset.org/abstracts/99221/performance-of-an-absorption-refrigerator-using-a-solar-thermal-collector" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99221.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">174</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1365</span> Airborne Molecular Contamination in Clean Room Environment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=T.%20Rajam%C3%A4ki">T. Rajamäki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In clean room environment molecular contamination in very small concentrations can cause significant harm for the components and processes. This is commonly referred as airborne molecular contamination (AMC). There is a shortage of high sensitivity continuous measurement data for existence and behavior of several of these contaminants. Accordingly, in most cases correlation between concentration of harmful molecules and their effect on processes is not known. In addition, the formation and distribution of contaminating molecules are unclear. In this work sensitive optical techniques are applied in clean room facilities for investigation of concentrations, forming mechanisms and effects of contaminating molecules. Special emphasis is on reactive acid and base gases ammonia (NH3) and hydrogen fluoride (HF). They are the key chemicals in several operations taking place in clean room processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AMC" title="AMC">AMC</a>, <a href="https://publications.waset.org/abstracts/search?q=clean%20room" title=" clean room"> clean room</a>, <a href="https://publications.waset.org/abstracts/search?q=concentration" title=" concentration"> concentration</a>, <a href="https://publications.waset.org/abstracts/search?q=reactive%20gas" title=" reactive gas"> reactive gas</a> </p> <a href="https://publications.waset.org/abstracts/44284/airborne-molecular-contamination-in-clean-room-environment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44284.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">281</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1364</span> Emotional Skills and Musical Performance in the Elementary Music Education in Conservatoires: An Exploratory Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emilia%20A.%20Campayo-Munoz">Emilia A. Campayo-Munoz</a>, <a href="https://publications.waset.org/abstracts/search?q=Alberto%20Cabedo-Mas"> Alberto Cabedo-Mas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music students have to face the challenges of musical practice -such as discipline in study, competitiveness, or performance anxiety- that require good emotional management to enable successful performance. However, few rigorous implementations focused on studying the influence of emotional skills in student's musical performance. Responding to this gap in the literature, this study aims to explore the relationship between emotional skills and musical performance in the context of elementary music education in conservatoires. Given the individual nature of the instrumental studies and the difficult availability of teachers to be trained in emotional education, it was decided to conduct a multiple case study in a Spanish music conservatoire. Author 1 carried out the implementation of the research with three 10-year-old students who were selected from her piano class. All of them attended the third year of their piano studies. The research processes consisted of the implementation of a set of specific and cross-sectional activities designed 'ad hoc' to be articulated in the subjects of individual instrument -piano- and ensemble in parallel to the contents of musical nature. The CE-360º questionnaire was used to measure different aspects of the students' emotional skills from a multi-angle perspective, each of the questionnaires being responded by oneself, three teachers and three peers, before and after the implementation. The data from the questionnaire were compared with the grades that the students obtained during the first and last quarter of the school year in the attended subjects. Acknowledging the complexity of emotional development, the results indicate possible relations between emotional skills and musical performance in music education in conservatoires. The results show that for the cases explored; there exists a relationship between emotional skills and musical performance. Although generalizations cannot be made, this study reinforces the need to further explore emotional development in instrumental teaching and suggest the importance of inviting teachers to reflect on the pedagogical practices extended in the conservatoires and to develop and implement those that promote the work of the students' emotions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conservatoires" title="conservatoires">conservatoires</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20skills" title=" emotional skills"> emotional skills</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a> </p> <a href="https://publications.waset.org/abstracts/100919/emotional-skills-and-musical-performance-in-the-elementary-music-education-in-conservatoires-an-exploratory-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100919.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">244</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1363</span> Thermal and Acoustic Design of Mobile Hydraulic Vehicle Engine Room</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Homin%20Kim">Homin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyungjo%20Byun"> Hyungjo Byun</a>, <a href="https://publications.waset.org/abstracts/search?q=Jinyoung%20Do"> Jinyoung Do</a>, <a href="https://publications.waset.org/abstracts/search?q=Yongil%20Lee"> Yongil Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyunho%20Shin"> Hyunho Shin</a>, <a href="https://publications.waset.org/abstracts/search?q=Seungbae%20Lee"> Seungbae Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Engine room of mobile hydraulic vehicle is densely packed with an engine and many hydraulic components mostly generating heat and sound. Though hydraulic oil cooler, ATF cooler, and axle oil cooler etc. are added to vehicle cooling system of mobile vehicle, the overheating may cause downgraded performance and frequent failures. In order to improve thermal and acoustic environment of engine room, the computational approaches by Computational Fluid Dynamics (CFD) and Boundary Element Method (BEM) are used together with necessary modal analysis of belt-driven system. The engine room design layout and process, which satisfies the design objectives of sound power level and temperature levels of radiator water, charged air cooler, transmission and hydraulic oil coolers, is discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustics" title="acoustics">acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=CFD" title=" CFD"> CFD</a>, <a href="https://publications.waset.org/abstracts/search?q=engine%20room%20design" title=" engine room design"> engine room design</a>, <a href="https://publications.waset.org/abstracts/search?q=mobile%20hydraulics" title=" mobile hydraulics"> mobile hydraulics</a> </p> <a href="https://publications.waset.org/abstracts/61957/thermal-and-acoustic-design-of-mobile-hydraulic-vehicle-engine-room" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61957.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">326</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1362</span> Microbiological Assessment of Fish Sausages Coated with Smoked-Edible Film, and Stored in Room and Refrigerator Temperatures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henny%20A.%20Dien">Henny A. Dien</a>, <a href="https://publications.waset.org/abstracts/search?q=Roike%20I.%20Montolalu"> Roike I. Montolalu</a>, <a href="https://publications.waset.org/abstracts/search?q=Feny%20Mentang"> Feny Mentang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jupni%20Keno"> Jupni Keno</a>, <a href="https://publications.waset.org/abstracts/search?q=Reynerd%20S.%20Burdam"> Reynerd S. Burdam</a>, <a href="https://publications.waset.org/abstracts/search?q=Siegfried%20Berhimpon"> Siegfried Berhimpon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fish Sausages became popular nowadays, because of high nutritious and low in cholesterol. However, this food is also highly perishable and often contaminated by pathogen bacteria. Edible film was made from myofibril of Black Marlin (Makaira indica) waste, with addition of liquid smoke 0.8%. The aim of this study were to determine the TPC, total coliform and Escherichia coli in fish sausages coated with smoked edible film, and stored in room temperature (26-29oC), and refrigerator (5-10oC). Results shown that TPC in fish sausages coated with smoked edible film were lower than that of without coated, both for storage in room temperature and in refrigerator. Total coliform in coated with smoked edible film and stored in room temperature ranged between 7-120 MPN/g (1-4 days), while stored in refrigerator ranged between 7-93 MPN/g (1-6 days); while fish sausages coated with edible film without liquid smoke were 7-240 MPN/g (1-4 days) in room temperature, and 7-150 MPN/g in refrigerator. Total E. coli of fish sausages coated with smoked edible film and stored in room temperature ranged between 3-4 MPN/g (1-4 days), while stored in refrigerator ranged were 3 MPN/g (1-6 days); while fish sausages coated with edible film without smoked both stored in room temperature and in refrigerator, shown total E. coli 3 MPN/g during 4 days in room temperature, and 6 days in refrigerator. Total E. coli of sausages without coated stored in room temperature ranged between 7-24 MPN/g, and that of stored in refrigerator ranged between 3-4 MPN/g. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=smoke%20liquid" title="smoke liquid">smoke liquid</a>, <a href="https://publications.waset.org/abstracts/search?q=edible%20film" title=" edible film"> edible film</a>, <a href="https://publications.waset.org/abstracts/search?q=coating" title=" coating"> coating</a>, <a href="https://publications.waset.org/abstracts/search?q=sausages" title=" sausages"> sausages</a> </p> <a href="https://publications.waset.org/abstracts/33011/microbiological-assessment-of-fish-sausages-coated-with-smoked-edible-film-and-stored-in-room-and-refrigerator-temperatures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33011.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">449</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1361</span> The Effect of Applying Surgical Safety Checklist on Surgical Team’s Knowledge and Performance in Operating Room</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Soheir%20Weheida">Soheir Weheida</a>, <a href="https://publications.waset.org/abstracts/search?q=Amal%20E.%20Shehata"> Amal E. Shehata</a>, <a href="https://publications.waset.org/abstracts/search?q=Samira%20E.%20Aboalizm"> Samira E. Aboalizm</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study was to examine the effect of surgical safety checklist on surgical team’s knowledge and performance in operating room. Subjects: A convenience sample 151 (48 head nurse, 45 nurse, 37 surgeon and 21 anesthesiologist) which available in operating room at two different hospitals was included in the study. Setting: The study was carried out at operating room in Menoufia University and Shebin Elkom Teaching Hospitals, Egypt. Tools: I: Surgical safety: Surgical team knowledge assessment structure interview schedule. II: WHO surgical safety observational Checklist. III: Post Surgery Culture Survey scale. Results: There was statistical significant improvement of knowledge mean score and performance about surgical safety especially in post and follow up than pre intervention, before patients entering the operating, before induction of anesthesia, skin incision and post skin closure and before patient leaves operating room, P values (P < 0.001). Improvement of communication post intervention than pre intervention between surgical team’s (4.74 ± 0.540). About two thirds (73.5 %) of studied sample strongly agreed on surgical safety in operating room. Conclusions: Implementation of surgical safety checklist has a positive effect on improving knowledge, performance and communication between surgical teams and these seems to have a positive effect on improve patient safety in the operating room. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=knowledge" title="knowledge">knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=operating%20room" title=" operating room"> operating room</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=surgical%20safety%20checklist" title=" surgical safety checklist "> surgical safety checklist </a> </p> <a href="https://publications.waset.org/abstracts/25275/the-effect-of-applying-surgical-safety-checklist-on-surgical-teams-knowledge-and-performance-in-operating-room" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25275.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">334</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1360</span> Mixed Model Sequencing in Painting Production Line</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Unchalee%20Inkampa">Unchalee Inkampa</a>, <a href="https://publications.waset.org/abstracts/search?q=Tuanjai%20Somboonwiwat"> Tuanjai Somboonwiwat </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Painting process of automobiles and automobile parts, which is a continuous process based on EDP (Electrode position paint, EDP). Through EDP, all work pieces will be continuously sent to the painting process. Work process can be divided into 2 groups based on the running time: Painting Room 1 and Painting Room 2. This leads to continuous operation. The problem that arises is waiting for workloads onto Painting Room. The grading process EDP to Painting Room is a major problem. Therefore, this paper aim to develop production sequencing method by applying EDP to painting process. It also applied fixed rate launching for painting room and earliest due date (EDD) for EDP process and swap pairwise interchange for waiting time to a minimum of machine. The result found that the developed method could improve painting reduced waiting time, on time delivery, meeting customers wants and improved productivity of painting unit. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sequencing" title="sequencing">sequencing</a>, <a href="https://publications.waset.org/abstracts/search?q=mixed%20model%20lines" title=" mixed model lines"> mixed model lines</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20process" title=" painting process"> painting process</a>, <a href="https://publications.waset.org/abstracts/search?q=electrode%20position%20paint" title=" electrode position paint"> electrode position paint</a> </p> <a href="https://publications.waset.org/abstracts/34291/mixed-model-sequencing-in-painting-production-line" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34291.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">420</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1359</span> Computational Modeling of Thermal Comfort and CO2 Distribution in Common Room-Lecture Room by Using Hybrid Air Ventilation System, Thermoelectric-PV-Silica Gel under IAQ Standard</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jirod%20Chaisan">Jirod Chaisan</a>, <a href="https://publications.waset.org/abstracts/search?q=Somchai%20Maneewan"> Somchai Maneewan</a>, <a href="https://publications.waset.org/abstracts/search?q=Chantana%20Punlek"> Chantana Punlek</a>, <a href="https://publications.waset.org/abstracts/search?q=Ninnart%20Rachapradit"> Ninnart Rachapradit</a>, <a href="https://publications.waset.org/abstracts/search?q=Surapong%20Chirarattananon"> Surapong Chirarattananon</a>, <a href="https://publications.waset.org/abstracts/search?q=Pattana%20Rakkwamsuk"> Pattana Rakkwamsuk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, simulation modeling of heat transfer, air flow and distribution emitted from CO2 was performed in a regenerated air. The study room was divided in 3 types: common room, small lecture room and large lecture room under evaluated condition in two case: released and unreleased CO2 including of used hybrid air ventilation system for regenerated air under Thailand climate conditions. The carbon dioxide was located on the center of the room and released rate approximately 900-1200 ppm corresponded with indoor air quality standard (IAQs). The indoor air in the thermal comfort zone was calculated and simulated with the numerical method that using real data from the handbook guideline. The results of the study showed that in the case of hybrid air ventilation system explained thermal and CO2 distribution due to the system was adapted significantly in the comfort zone. The results showed that when CO2 released on the center of the other room, the CO2 high concentration in comfort zone so used hybrid air ventilation that decreased CO2 with regeneration air including of reduced temperature indoor. However, the study is simulation modeling and guideline only so the future should be the experiment of hybrid air ventilation system for evaluated comparison of the systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=air%20ventilation" title="air ventilation">air ventilation</a>, <a href="https://publications.waset.org/abstracts/search?q=indoor%20air%20quality" title=" indoor air quality"> indoor air quality</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20comfort" title=" thermal comfort"> thermal comfort</a>, <a href="https://publications.waset.org/abstracts/search?q=thermoelectric" title=" thermoelectric"> thermoelectric</a>, <a href="https://publications.waset.org/abstracts/search?q=photovoltaic" title=" photovoltaic"> photovoltaic</a>, <a href="https://publications.waset.org/abstracts/search?q=dehumidify" title=" dehumidify"> dehumidify</a> </p> <a 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