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listening</title> <meta name="description" content="Search results for: musical listening"> <meta name="keywords" content="musical listening"> <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 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action="https://publications.waset.org/abstracts/search"> <div 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="musical listening"> <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> 491</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: musical listening</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">491</span> A Systematic Review Emotion Regulation through Music in Children, Adults, and Elderly</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fabiana%20Ribeiro">Fabiana Ribeiro</a>, <a href="https://publications.waset.org/abstracts/search?q=Ana%20Moreno"> Ana Moreno</a>, <a href="https://publications.waset.org/abstracts/search?q=Antonio%20Oliveira"> Antonio Oliveira</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Oliveira-Silva"> Patricia Oliveira-Silva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is present in our daily lives, and to our knowledge music is often used to change the emotions in the listeners. For this reason, the objective of this study was to explore and synthesize results examining the use and effects of music on emotion regulation in children, adults, and elderly, and clarify if the music is effective across ages to promote emotion regulation. A literature search was conducted using ISI Web of Knowledge, Pubmed, PsycINFO, and Scopus, inclusion criteria comprised children, adolescents, young, and old adults, including health population. Articles applying musical intervention, specifically musical listening, and assessing the emotion regulation directly through reports or neurophysiological measures were included in this review. Results showed age differences in the function of musical listening; initially, adolescents revealed age increments in emotional listening compared to children, and young adults in comparison to older adults, in which the first use music aiming to emotion regulation and social connection, while older adults also utilize music as emotion regulation searching for personal growth. Moreover, some of the studies showed that personal characteristics also would determine the efficiency of the emotion regulation strategy. In conclusion, it was observed that music could beneficiate all ages investigated, however, this review detected a necessity to develop adequate paradigms to explore the use of music for emotion regulation. <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=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=regulation" title=" regulation"> regulation</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20listening" title=" musical listening"> musical listening</a> </p> <a href="https://publications.waset.org/abstracts/98460/a-systematic-review-emotion-regulation-through-music-in-children-adults-and-elderly" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98460.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">171</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">490</span> Spatial Audio Player Using Musical Genre Classification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun-Yong%20Lee">Jun-Yong Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyoung-Gook%20Kim"> Hyoung-Gook Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we propose a smart music player that combines the musical genre classification and the spatial audio processing. The musical genre is classified based on content analysis of the musical segment detected from the audio stream. In parallel with the classification, the spatial audio quality is achieved by adding an artificial reverberation in a virtual acoustic space to the input mono sound. Thereafter, the spatial sound is boosted with the given frequency gains based on the musical genre when played back. Experiments measured the accuracy of detecting the musical segment from the audio stream and its musical genre classification. A listening test was performed based on the virtual acoustic space based spatial audio processing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automatic%20equalization" title="automatic equalization">automatic equalization</a>, <a href="https://publications.waset.org/abstracts/search?q=genre%20classification" title=" genre classification"> genre classification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20segment%20detection" title=" music segment detection"> music segment detection</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20audio%20processing" title=" spatial audio processing"> spatial audio processing</a> </p> <a href="https://publications.waset.org/abstracts/7561/spatial-audio-player-using-musical-genre-classification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7561.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">429</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">489</span> A Possible Determinant of Musical Preference in Big Five Personality Traits</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peter%20S.%20Kim">Peter S. Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The increasing availability of music facilitated by new technology and open sourcing has eliminated many traditional limiting factors in musical taste, creating a culture of choice. This study tested 191 international subjects, mostly young adults more decisively shaped by emerging technologies like Facebook, the platform for the study. Using an aggregated Big Five personality test, subjects were asked to self-report on questions related to extraversion, agreeableness, conscientiousness, neuroticism, and openness. Subsequently, subjects listened to five pairs of musical works reflecting opposite extremes of one of five musical qualities: tempo (fast/slow), complexity (simple/complex), degree of dissonance (tonal/atonal), familiarity (familiar/unfamiliar), and extra-musical significance (significant/not significant). Subjects were then asked to record listening times and preferences among the selections. Strikingly, this study shows a relatively high positive correlation between agreeableness and musical preferences (predicting preferences for simple, familiar, and fast music), as compared to extraversion, openness, conscientiousness, and neuroticism. Thus, this research suggests that the not yet well-understood relationship between personality traits and musical qualities merits further study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20perception" title="music perception">music perception</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20preference" title=" musical preference"> musical preference</a> </p> <a href="https://publications.waset.org/abstracts/27858/a-possible-determinant-of-musical-preference-in-big-five-personality-traits" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27858.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">313</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">488</span> Creativity and Expressive Interpretation of Musical Drama in Children with Special Needs (Down Syndrome) in Special Schools Yayasan Pendidikan Anak Cacat, Medan, North Sumatera </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Junita%20Batubara">Junita Batubara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Children with special needs, especially those with disability in mental, physical or social/emotional interactions, are marginalized. Many people still view them as troublesome, inconvenience, having learning difficulties, unproductive and burdensome to society. This study intends to investigate; how musical drama can develop the ability to control the coordination of mental functions; how musical dramas can assist children to work together; how musical dramas can assist to maintain the child's emotional and physical health; how musical dramas can improve children creativity. The objectives of the research are: To know whether musical drama can control the coordination of mental function of children; to know whether musical drama can improve communication ability and expression of children; to know whether musical drama can help children work with people around them; to find out if musical dramas can develop the child's emotional and physical health; to find out if musical drama can improve children's creativity. The study employed a qualitative research approach. Data was collecting by listening, observing in depth through public hearings that select the key informants who were teachers and principals, parents and children. The data obtained from each public hearing was then processed (reduced), conclusion drawing/verification, presentation of data (data display). Furthermore, the model obtained was implementing for musical performance, where the benefits of the show are: musical drama can improve language skills; musical dramas are capable of developing memory and storage of information; developing communication skills and express themselves; helping children work together; assisting emotional and physical health; enhancing creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%20Down%20syndrome" title="children Down syndrome">children Down syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20script" title=" drama script"> drama script</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/75400/creativity-and-expressive-interpretation-of-musical-drama-in-children-with-special-needs-down-syndrome-in-special-schools-yayasan-pendidikan-anak-cacat-medan-north-sumatera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/75400.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">241</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">487</span> Listening Anxiety in Iranian EFL learners</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samaneh%20serraj">Samaneh serraj</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Listening anxiety has a detrimental effect on language learners. Through a qualitative study on Iranian EFL learners several factors were identified as having influence on their listening anxiety. These factors were divided into three categories, i.e. individual factors (nerves and emotionality, using inappropriate strategies and lack of practice), input factors (lack of time to process, lack of visual support, nature of speech and level of difficulty) and environmental factors (instructors, peers and class environment). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=listening%20Comprehension" title="listening Comprehension">listening Comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=Listening%20Anxiety" title=" Listening Anxiety"> Listening Anxiety</a>, <a href="https://publications.waset.org/abstracts/search?q=Foreign%20language%20learners" title=" Foreign language learners "> Foreign language learners </a> </p> <a href="https://publications.waset.org/abstracts/14284/listening-anxiety-in-iranian-efl-learners" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14284.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">470</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">486</span> The Investigation of Psychological Motives of Creative Abilities in the Omani Musical Intelligence</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammed%20Talib%20Alkiyumi">Mohammed Talib Alkiyumi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Sultanate of Oman is characterized by a huge musical heritage that remains mostly preserved. 142 different traditional musical genres and styles (funun) have been registered in the Sultanate. This large number is a unique phenomenon that is worthy of attention and study. These genres and styles are different from others in their origins, rhythms, melodies, poetry, dance movements, etc. Certainly, Oman is exposed to other cultures and there is a variety of ethnicities in the Sultanate; however, this musical diversity is mostly an Omani product. This paper investigates the psychological motives behind Omani musical creativity. This qualitative study is based on relevant documents, as well as an analysis of Omani performance in those genres through documentary films and direct observations. Musical genres are performed in social events such as weddings and celebrations; however, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20musical" title="traditional musical">traditional musical</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20intelligence" title=" musical intelligence"> musical intelligence</a>, <a href="https://publications.waset.org/abstracts/search?q=Sultanate%20of%20Oman" title=" Sultanate of Oman"> Sultanate of Oman</a> </p> <a href="https://publications.waset.org/abstracts/151295/the-investigation-of-psychological-motives-of-creative-abilities-in-the-omani-musical-intelligence" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151295.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">103</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">485</span> Attentional Differences in Musical Recall and Improvisation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krzysztof%20T.%20Piotrowski">Krzysztof T. Piotrowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main goal of the research was to investigate differences in attention in two kinds of musical performance - recall and improvisation. Musical recall is a sample of convergent production that requires intensively focused attention. Inversely, musical improvisation is a divergent task and probably requires a different way of attentional control. The study was designed in dual task paradigm. Participants were to remember a simple melody and then recall or improvise, simultaneously performing the spatial attentional test on computer screen. The result shows that improvising participants find spatial goals in more disperse way. The conclusion is that musical improvisation requires extensification of attention to occur. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attention" title="attention">attention</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=divergent%20task" title=" divergent task"> divergent task</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20improvisation" title=" musical improvisation"> musical improvisation</a> </p> <a href="https://publications.waset.org/abstracts/60560/attentional-differences-in-musical-recall-and-improvisation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60560.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">233</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">484</span> Explaining Listening Comprehension among L2 Learners of English: The Contribution of Vocabulary Knowledge and Working Memory Capacity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Masrai">Ahmed Masrai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Listening comprehension constitutes a considerable challenge for the second language (L2) learners, but a little is known about the explanatory power of different variables in explaining variance in listening comprehension. Since research in this area, to the researcher's knowledge, is relatively small in comparison to that focusing on the relationship between reading comprehension and factors such as vocabulary and working memory, there is a need for studies that are seeking to fill the gap in our knowledge about the specific contribution of working memory capacity (WMC), aural vocabulary knowledge and written vocabulary knowledge to explaining listening comprehension. Among 130 English as foreign language learners, the present study examines what proportion of the variance in listening comprehension is explained by aural vocabulary knowledge, written vocabulary knowledge, and WMC. Four measures were used to collect the required data for the study: (1) A-Lex, a measure of aural vocabulary knowledge; (2) XK-Lex, a measure of written vocabulary knowledge; (3) Listening Span Task, a measure of WMC and; (4) IELTS Listening Test, a measure of listening comprehension. The results show that aural vocabulary knowledge is the strongest predictor of listening comprehension, followed by WMC, while written vocabulary knowledge is the weakest predictor. The study discusses implications for the explanatory power of aural vocabulary knowledge and WMC to listening comprehension and pedagogical practice in L2 classrooms. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=listening%20comprehension" title="listening comprehension">listening comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=second%20language" title=" second language"> second language</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary%20knowledge" title=" vocabulary knowledge"> vocabulary knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=working%20memory" title=" working memory"> working memory</a> </p> <a href="https://publications.waset.org/abstracts/78914/explaining-listening-comprehension-among-l2-learners-of-english-the-contribution-of-vocabulary-knowledge-and-working-memory-capacity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78914.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">383</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">483</span> Mikrophonie I (1964) by Karlheinz Stockhausen - Between Idea and Auditory Image</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Justyna%20Humi%C4%99cka-Jakubowska">Justyna Humięcka-Jakubowska </a> </p> <p class="card-text"><strong>Abstract:</strong></p> 1. Background in music analysis. Traditionally, when we think about a composer’s sketches, the chances are that we are thinking in terms of the working out of detail, rather than the evolution of an overall concept. Since music is a “time art’, it follows that questions of a form cannot be entirely detached from considerations of time. One could say that composers tend to regard time either as a place gradually and partially intuitively filled, or they can look for a specific strategy to occupy it. In my opinion, one thing that sheds light on Stockhausen's compositional thinking is his frequent use of 'form schemas', that is often a single-page representation of the entire structure of a piece. 2. Background in music technology. Sonic Visualiser is a program used to study a musical recording. It is an open source application for viewing, analysing, and annotating music audio files. It contains a number of visualisation tools, which are designed with useful default parameters for musical analysis. Additionally, the Vamp plugin format of SV supports to provide analysis such as for example structural segmentation. 3. Aims. The aim of my paper is to show how SV may be used to obtain a better understanding of the specific musical work, and how the compositional strategy does impact on musical structures and musical surfaces. I want to show that ‘traditional” music analytic methods don’t allow to indicate interrelationships between musical surface (which is perceived) and underlying musical/acoustical structure. 4. Main Contribution. Stockhausen had dealt with the most diverse musical problems by the most varied methods. A characteristic which he had never ceased to be placed at the center of his thought and works, it was the quest for a new balance founded upon an acute connection between speculation and intuition. In the case with Mikrophonie I (1964) for tam-tam and 6 players Stockhausen makes a distinction between the "connection scheme", which indicates the ground rules underlying all versions, and the form scheme, which is associated with a particular version. The preface to the published score includes both the connection scheme, and a single instance of a "form scheme", which is what one can hear on the CD recording. In the current study, the insight into the compositional strategy chosen by Stockhausen was been compared with auditory image, that is, with the perceived musical surface. Stockhausen's musical work is analyzed both in terms of melodic/voice and timbre evolution. 5. Implications The current study shows how musical structures have determined of musical surface. My general assumption is this, that while listening to music we can extract basic kinds of musical information from musical surfaces. It is shown that an interactive strategies of musical structure analysis can offer a very fruitful way of looking directly into certain structural features of music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=automated%20analysis" title="automated analysis">automated analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=composer%27s%20strategy" title=" composer's strategy"> composer's strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=mikrophonie%20I" title=" mikrophonie I"> mikrophonie I</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20surface" title=" musical surface"> musical surface</a>, <a href="https://publications.waset.org/abstracts/search?q=stockhausen" title=" stockhausen"> stockhausen</a> </p> <a href="https://publications.waset.org/abstracts/28768/mikrophonie-i-1964-by-karlheinz-stockhausen-between-idea-and-auditory-image" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28768.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">297</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">482</span> The Subcategories of Folklore Dance for Children as Didactic Games for Developing Musical Ability in the Preschool Period </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a>, <a href="https://publications.waset.org/abstracts/search?q=Mircea%20Maran"> Mircea Maran</a>, <a href="https://publications.waset.org/abstracts/search?q=Jasmina%20Stolic"> Jasmina Stolic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Viewed through the prism of folkloristics – ethnomusicology, the majority of didactic musical games belong to the category of folklore creative work of children, such games can be extremely useful for the development of musical ability in the preschool age. The paper gives a number of examples from the Romanian children folklore which were used in practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical%20games" title="musical games">musical games</a>, <a href="https://publications.waset.org/abstracts/search?q=children%20folklore" title=" children folklore"> children folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=rhythmical%20system" title=" rhythmical system"> rhythmical system</a>, <a href="https://publications.waset.org/abstracts/search?q=melodica" title=" melodica"> melodica</a> </p> <a href="https://publications.waset.org/abstracts/20125/the-subcategories-of-folklore-dance-for-children-as-didactic-games-for-developing-musical-ability-in-the-preschool-period" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20125.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">703</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">481</span> Frankie Adams’s Sexuality in the Member of the Wedding: Focusing on Musical References</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saori%20Iwatsuka">Saori Iwatsuka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In The Member of the Wedding, Carson McCullers starts with the words, “It happened,” without telling the reader what happens to a twelve-year-old protagonist, Frankie Adams. The reader feels confused and incomprehensible. However, he or she later realizes that the confusing phrase is connected to the scene where Frankie feels “the thing happened” after listening to the melodic lines of jazz and blues. Yet, the reader cannot really comprehend what happens to Frankie and feels puzzled till the end. And the story ends with Frankie’s words, “I am simply mad about . . .” Implying her queer desire for her new friend Mary Littlejohn, McCullers never tells the reader whom Frankie is mad about. Despite McCullers’s ambiguous way of depicting Frankie’s sexuality, recent critics and reviewers have come to discuss her sexuality as anti-heterosexual because Frankie expresses her hatred for Barney, whom she has had some type of sexual encounter, and feels wrong with her brother Jarvis’s wedding. After giving up her sexual desire for Jarvis’s bride, Janice, Frankie changes her name to Frances, becomes engrossed with Michelangelo, and enjoys reading Tennyson’s poetry with Mary. Michelangelo and Tennyson are well-known homosexual artists, which suggests that Frankie has an anti-heterosexual orientation. As McCullers does not precisely describe Frankie’s sexuality, the reader can only assume it by connecting fragmentary descriptions. However, this discussion is more clarified to show Frankie’s sexuality because analyzing the musical references of jazz and blues and interpreting them from a musicological viewpoint will illuminate it. In her works, McCullers frequently uses musical references and descriptions, which have a significant and psychological impact on the protagonists and portrays their bodily reactions to the impact to reveal what the reader cannot see on the surface. Thus, in this story, too, Frankie’s bodily reaction to music is portrayed to cue her feelings. After seeing the chimney swifts, known as monogamous birds, Frankie feels “a jazz sadness,” quivers her nerves and stiffens her heart. After listening to Berenice’s “dark jazz voice,” Frankie feels dizzy and throws a knife because Berenice’s voice jazzes (excites) her heart that beats in her head. Calming herself, she fantasizes that Jarvis, Jarvis’s bride, Janice, and herself are members of “the we of me.” Then in the evening, listening to the blues and jazz being played by a black horn player somewhere in her neighborhood, Frankie realizes “the thing happened” and discovers “a new feeling.” Following the musical references “jazz” and “blues” and examining them from the viewpoint of musicology and terminology leads the reader to explore what “it” is in “it happened” and what her “new feeling” is when “the thing happened” with the blues tune breaking off. Those discussions will illuminate Frankie’s sexuality. As McCullers does not clearly name her sexuality, this paper uses the word queer to express Frankie’s anti-sexual orientation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=jazz%20and%20blues" title="jazz and blues">jazz and blues</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20references" title=" musical references"> musical references</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20sexuality" title=" queer sexuality"> queer sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=%E2%80%9Cwe%20of%20me%E2%80%9D" title=" “we of me”"> “we of me”</a> </p> <a href="https://publications.waset.org/abstracts/172254/frankie-adamss-sexuality-in-the-member-of-the-wedding-focusing-on-musical-references" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172254.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">89</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">480</span> An Assessment of Radio-Based Education about Female Genital Cutting and Health and Human Rights Issues in Douentza, Mali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juliet%20Sorensen">Juliet Sorensen</a>, <a href="https://publications.waset.org/abstracts/search?q=Megan%20Schliep"> Megan Schliep</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: After a multidisciplinary assessment of health and human rights issues in central Mali, a musical album was created in 2014 in Douentza, Mali to provide health information on female genital mutilation/cutting (FGM/C), malaria, HIV/AIDS, girls’ education, breastfeeding, and sanitation. The objective of this study was to assess the impact of this album. Methods: A mixed-methods assessment was conducted with 149 individuals across 10 villages in Douentza Cercle. Analyses focused on the association of radio listening habits, age, sex, ethnicity and education with a public health knowledge score. Results: Over 90% of respondents reported daily radio listening, many listening five or more hours per day. Potential risks of FGM/C cited by participants included death (59%), difficulty in childbirth (48%), sterility (34%), and fistula (33%); when asked about their level of control over FGM/C, 28% stated they would never cut their daughters. Being a listener for 1-5 hours per day was associated with a 11.5% higher score of 'public health knowledge' compared to those listening only a little or not at all (p < 0.01). Education (marginal versus no formal education) was associated with 7.6% increased score (p < 0.01). Conclusion: Radio appears to be a significant part of community members’ daily routines and may be a valuable medium for transmitting information, particularly for lower literacy individuals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20genital%20cutting" title="female genital cutting">female genital cutting</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20health%20and%20social%20justice%20education" title=" public health and social justice education"> public health and social justice education</a>, <a href="https://publications.waset.org/abstracts/search?q=radio" title=" radio"> radio</a>, <a href="https://publications.waset.org/abstracts/search?q=Mali" title=" Mali"> Mali</a> </p> <a href="https://publications.waset.org/abstracts/67810/an-assessment-of-radio-based-education-about-female-genital-cutting-and-health-and-human-rights-issues-in-douentza-mali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67810.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">284</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">479</span> Effects of Listening to Pleasant Thai Classical Music on Increasing Working Memory in Elderly: An Electroencephalogram Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anchana%20Julsiri">Anchana Julsiri</a>, <a href="https://publications.waset.org/abstracts/search?q=Seree%20Chadcham"> Seree Chadcham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study determined the effects of listening to pleasant Thai classical music on increasing working memory in elderly. Thai classical music without lyrics that made participants feel fun and aroused was used in the experiment for 3.19-5.40 minutes. The accuracy scores of Counting Span Task (CST), upper alpha ERD%, and theta ERS% were used to assess working memory of participants both before and after listening to pleasant Thai classical music. The results showed that the accuracy scores of CST and upper alpha ERD% in the frontal area of participants after listening to Thai classical music were significantly higher than before listening to Thai classical music (p < .05). Theta ERS% in the fronto-parietal network of participants after listening to Thai classical music was significantly lower than before listening to Thai classical music (p < .05). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brain%20wave" title="brain wave">brain wave</a>, <a href="https://publications.waset.org/abstracts/search?q=elderly" title=" elderly"> elderly</a>, <a href="https://publications.waset.org/abstracts/search?q=pleasant%20Thai%20classical%20music" title=" pleasant Thai classical music"> pleasant Thai classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=working%20memory" title=" working memory"> working memory</a> </p> <a href="https://publications.waset.org/abstracts/4391/effects-of-listening-to-pleasant-thai-classical-music-on-increasing-working-memory-in-elderly-an-electroencephalogram-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4391.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">459</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">478</span> Vibro-Tactile Equalizer for Musical Energy-Valence Categorization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dhanya%20Nair">Dhanya Nair</a>, <a href="https://publications.waset.org/abstracts/search?q=Nicholas%20Mirchandani"> Nicholas Mirchandani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical haptic systems can enhance a listener’s musical experience while providing an alternative platform for the hearing impaired to experience music. Current music tactile technologies focus on representing tactile metronomes to synchronize performers or encoding musical notes into distinguishable (albeit distracting) tactile patterns. There is growing interest in the development of musical haptic systems to augment the auditory experience, although the haptic-music relationship is still not well understood. This paper represents a tactile music interface that provides vibrations to multiple fingertips in synchronicity with auditory music. Like an audio equalizer, different frequency bands are filtered out, and the power in each frequency band is computed and converted to a corresponding vibrational strength. These vibrations are felt on different fingertips, each corresponding to a different frequency band. Songs with music from different spectrums, as classified by their energy and valence, were used to test the effectiveness of the system and to understand the relationship between music and tactile sensations. Three participants were trained on one song categorized as sad (low energy and low valence score) and one song categorized as happy (high energy and high valence score). They were trained both with and without auditory feedback (listening to the song while experiencing the tactile music on their fingertips and then experiencing the vibrations alone without the music). The participants were then tested on three songs from both categories, without any auditory feedback, and were asked to classify the tactile vibrations they felt into either category. The participants were blinded to the songs being tested and were not provided any feedback on the accuracy of their classification. These participants were able to classify the music with 100% accuracy. Although the songs tested were on two opposite spectrums (sad/happy), the preliminary results show the potential of utilizing a vibrotactile equalizer, like the one presented, for augmenting musical experience while furthering the current understanding of music tactile relationship. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=haptic%20music%20relationship" title="haptic music relationship">haptic music relationship</a>, <a href="https://publications.waset.org/abstracts/search?q=tactile%20equalizer" title=" tactile equalizer"> tactile equalizer</a>, <a href="https://publications.waset.org/abstracts/search?q=tactile%20music" title=" tactile music"> tactile music</a>, <a href="https://publications.waset.org/abstracts/search?q=vibrations%20and%20mood" title=" vibrations and mood"> vibrations and mood</a> </p> <a href="https://publications.waset.org/abstracts/136784/vibro-tactile-equalizer-for-musical-energy-valence-categorization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136784.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">181</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">477</span> The Effect of Foreign Language Classroom Anxiety and Tolerance of Ambiguity on EFL Learners’ Listening Proficiency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Hadi%20Mahmoodi">Mohammad Hadi Mahmoodi</a>, <a href="https://publications.waset.org/abstracts/search?q=Azam%20Ghonchepoor"> Azam Ghonchepoor</a>, <a href="https://publications.waset.org/abstracts/search?q=Sheilan%20Sohrabi"> Sheilan Sohrabi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study was conducted to investigate the effect of foreign language classroom anxiety and ambiguity tolerance on EFL Learners’ listening proficiency. In so doing, 442 EFL learners were randomly selected form Azad University and some accredited language institutions in Hamaden, and were given the Foreign Language Classroom Anxiety Scale (FLCAS) (1983), and Second Language Tolerance of Ambiguity Scale (SLTAS) (1995). Participants’ listening proficiency level was determined through listening scores gained in standardized exams given by university professors or institutes in which they studied English. The results of two-way ANOVA revealed that listening proficiency was significantly affected by the interaction of anxiety and AT level of the participants. Each of the two variables were categorized in three levels of High, Mid, and Low. The highest mean score of listening belonged to the group with low degree of anxiety and high degree of ambiguity tolerance, and the lowest listening mean score was gained by the group with high level of anxiety and low level of tolerance of ambiguity. Also, the findings of multiple regressions confirmed that anxiety was the stronger predictor of listening comprehension in contrast with tolerance of ambiguity. Furthermore, the result of Pearson correlation coefficient showed that there was a significant negative relationship between the participants’ foreign language classroom anxiety and their ambiguity tolerance level. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Foreign%20Language%20Classroom%20Anxiety" title="Foreign Language Classroom Anxiety">Foreign Language Classroom Anxiety</a>, <a href="https://publications.waset.org/abstracts/search?q=Second%20language%20tolerance%20of%20ambiguity" title=" Second language tolerance of ambiguity"> Second language tolerance of ambiguity</a>, <a href="https://publications.waset.org/abstracts/search?q=Listening%20proficiency" title=" Listening proficiency"> Listening proficiency</a> </p> <a href="https://publications.waset.org/abstracts/19147/the-effect-of-foreign-language-classroom-anxiety-and-tolerance-of-ambiguity-on-efl-learners-listening-proficiency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19147.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">509</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">476</span> Musical Composition by Computer with Inspiration from Files of Different Media Types</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cassandra%20Pratt%20Romero">Cassandra Pratt Romero</a>, <a href="https://publications.waset.org/abstracts/search?q=Andres%20Gomez%20de%20Silva%20Garza"> Andres Gomez de Silva Garza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes a computational system designed to imitate human inspiration during musical composition. The system is called MIS (Musical Inspiration Simulator). The MIS system is inspired by media to which human beings are exposed daily (visual, textual, or auditory) to create new musical compositions based on the emotions detected in said media. After building the system we carried out a series of evaluations with volunteer users who used MIS to compose music based on images, texts, and audio files. The volunteers were asked to judge the harmoniousness and innovation in the system's compositions. An analysis of the results points to the difficulty of computational analysis of the characteristics of the media to which we are exposed daily, as human emotions have a subjective character. This observation will direct future improvements in the system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=human%20inspiration" title="human inspiration">human inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20composition" title=" musical composition"> musical composition</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20composition%20by%20computer" title=" musical composition by computer"> musical composition by computer</a>, <a href="https://publications.waset.org/abstracts/search?q=theory%20of%20sensation%20and%20human%20perception" title=" theory of sensation and human perception"> theory of sensation and human perception</a> </p> <a href="https://publications.waset.org/abstracts/90897/musical-composition-by-computer-with-inspiration-from-files-of-different-media-types" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90897.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">183</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">475</span> Pedagogical Effects of Using Workbooks in English Classes for the TOEIC Test: A Study on ESL Learners in Japanese Colleges</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mikako%20Nobuhara">Mikako Nobuhara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Test of English for International Communication (TOEIC) test, conducted by the Institute for International Business Communication (IIBC), has a huge impact on education in Japan. Almost all college students have to submit their TOEIC test scores when applying for entry-level jobs at companies. In addition, an increasing number of colleges are encouraging students to have a global vision. For this specific reason, studying for the TOEIC test is essential for English as a second language (ESL) learner to develop English communication skills. This study shows that studying by using some workbooks about the listening section of the TOEIC test clearly helps ESL learners to develop their listening skills. For this purpose, the listening test scores before and after classroom sessions were analyzed for each student. Students obtained higher scores in the listening section of the test and improved their English listening skills at the end of all the classroom sessions. In conclusion, it is important for English teachers to achieve the following objectives: (1) facilitate the learning of effective methods for correctly solving questions based on listening skills and (2) prepare listening tasks for reading aloud so as to keep up with the original speed, which is required for solving questions in the TOEIC test. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=ESL" title=" ESL"> ESL</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20skills" title=" listening skills"> listening skills</a>, <a href="https://publications.waset.org/abstracts/search?q=TOEIC%20test" title=" TOEIC test"> TOEIC test</a> </p> <a href="https://publications.waset.org/abstracts/52238/pedagogical-effects-of-using-workbooks-in-english-classes-for-the-toeic-test-a-study-on-esl-learners-in-japanese-colleges" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52238.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">260</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">474</span> The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20J.%20Cutler">Michael J. Cutler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20play" title="boundary play">boundary play</a>, <a href="https://publications.waset.org/abstracts/search?q=boundary%20objects" title=" boundary objects"> boundary objects</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=music%20pedagogy" title=" music pedagogy"> music pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20boundary%20play" title=" musical boundary play"> musical boundary play</a> </p> <a href="https://publications.waset.org/abstracts/125491/the-musical-imagination-re-imagining-a-sound-education-through-musical-boundary-play" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125491.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">473</span> Surveyed Emotional Responses to Musical Chord Progressions Imbued with Binaural Pulsations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jachin%20Pousson">Jachin Pousson</a>, <a href="https://publications.waset.org/abstracts/search?q=Valdis%20Bernhofs"> Valdis Bernhofs</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Applications of the binaural sound experience are wide-ranged. This paper focuses on the interaction between binaural tones and human emotion with an aim to apply the resulting knowledge artistically. For the purpose of this study, binaural music is defined as musical arrangements of sound which are made of combinations of binaural difference tones. Here, the term ‘binaural difference tone’ refers to the pulsating tone heard within the brain which results from listening to slightly differing audio frequencies or pure pitches in each ear. The frequency or tempo of the pulsations is the sum of the precise difference between the frequencies two tones and is measured in beats per second. Polyrhythmic pulsations that can be heard within combinations of these differences tones have shown to be able to entrain or tune brainwave patterns to frequencies which have been linked to mental states which can be characterized by different levels of attention and mood. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binaural%20auditory%20pulsations" title="binaural auditory pulsations">binaural auditory pulsations</a>, <a href="https://publications.waset.org/abstracts/search?q=brainwave%20entrainment" title=" brainwave entrainment"> brainwave entrainment</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title=" music composition"> music composition</a> </p> <a href="https://publications.waset.org/abstracts/96053/surveyed-emotional-responses-to-musical-chord-progressions-imbued-with-binaural-pulsations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96053.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">175</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">472</span> The Role of Smart Educational Aids in Learning Listening Among Pupils with Attention and Listening Problems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sadeq%20Al%20Yaari">Sadeq Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Alkhunayn"> Muhammad Alkhunayn</a>, <a href="https://publications.waset.org/abstracts/search?q=Adham%20Al%20Yaari"> Adham Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Aayah%20Al%20Yaari"> Aayah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Montaha%20Al%20Yaari"> Montaha Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayman%20Al%20Yaari"> Ayman Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Sajedah%20Al%20Yaari"> Sajedah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatehi%20Eissa"> Fatehi Eissa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The recent rise of smart educational aids and the move away from traditional listening aids are leading to a fundamental shift in the way in which individuals with attention and listening problems (ALP) manipulate listening inputs and/or act appropriately to the spoken information presented to them. A total sample of twenty-six ALP pupils (m=20 and f=6) between 7-12 years old was selected from different strata based on gender, region and school. In the sample size, thirteen (10 males and 3 females) received the treatment in terms of smart classes provided with smart educational aids in a listening course that lasted for four months, while others did not (they studied the same course by the same instructor but in ordinary class). A pretest was administered to assess participants’ levels, and a posttest was given to evaluate their attention and listening comprehension performance, namely in phonetic and phonological tests with sociolinguistic themes that have been designed for this purpose. Test results were analyzed both psychoneurolinguistically and statistically. Results reveal a remarkable change in pupils’ behavioral listening where scores witnessed a significant difference in the performance of the experimental ALP group in the pretest compared to the posttest (Pupils performed better at the pretest-posttest on phonetics than at the two tests on phonology). It is concluded that smart educational aids designed for listening skills help not only increase the listening command of pupils with ALP to understand what they listen to but also develop their interactive listening capability and, at the same rate, are responsible for increasing concentrated and in-depth listening capacity. Plus, ALP pupils become able to grasp the audio content of text recordings, including educational audio recordings, news, oral stories and tales, views, spiritual/religious text and general knowledge. However, the pupils have not experienced individual smart audio-visual aids that connect listening to other language receptive and productive skills, which could be the future area of research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=smart%20aids" title="smart aids">smart aids</a>, <a href="https://publications.waset.org/abstracts/search?q=attention" title=" attention"> attention</a>, <a href="https://publications.waset.org/abstracts/search?q=listening" title=" listening"> listening</a>, <a href="https://publications.waset.org/abstracts/search?q=problems" title=" problems"> problems</a> </p> <a href="https://publications.waset.org/abstracts/186404/the-role-of-smart-educational-aids-in-learning-listening-among-pupils-with-attention-and-listening-problems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186404.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">42</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">471</span> The Impact of Smart Educational Aids in Learning Listening Among Pupils with Attention and Listening Problems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sadeq%20Al%20Yaari">Sadeq Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Alkhunayn"> Muhammad Alkhunayn</a>, <a href="https://publications.waset.org/abstracts/search?q=Adham%20Al%20Yaari"> Adham Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayah%20Al%20Yaari"> Ayah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayman%20Al%20Yaari"> Ayman Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Montaha%20Al%20Yaari"> Montaha Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Sajedah%20Al%20Yaari"> Sajedah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatehi%20Eissa"> Fatehi Eissa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The recent rise of smart educational aids and the move away from traditional listening aids are leading to a fundamental shift in the way in which individuals with attention and listening problems (ALP) manipulate listening inputs and/or act appropriately to the spoken information presented to them. A total sample of twenty-six ALP pupils (m=20 and f=6) between 7-12 years old was selected from different strata based on gender, region and school. In the sample size, thirteen (10 males and 3 females) received the treatment in terms of smart classes provided with smart educational aids in a listening course that lasted for four months, while others did not (they studied the same course by the same instructor but in ordinary class). A pretest was administered to assess participants’ levels, and a posttest was given to evaluate their attention and listening comprehension performance, namely in phonetic and phonological tests with sociolinguistic themes that have been designed for this purpose. Test results were analyzed both psychoneurolinguistically and statistically. Results reveal a remarkable change in pupils’ behavioral listening where scores witnessed a significant difference in the performance of the experimental ALP group in the pretest compared to the posttest (Pupils performed better at the pretest-posttest on phonetics than at the two tests on phonology). It is concluded that smart educational aids designed for listening skills help not only increase the listening command of pupils with ALP to understand what they listen to but also develop their interactive listening capability and, at the same rate, are responsible for increasing concentrated and in-depth listening capacity. Plus, ALP pupils become able to grasp the audio content of text recordings, including educational audio recordings, news, oral stories and tales, views, spiritual/religious text and general knowledge. However, the pupils have not experienced individual smart audio-visual aids that connect listening to other language receptive and productive skills, which could be the future area of research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=smart%20educational%20aids" title="smart educational aids">smart educational aids</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20attention" title=" listening attention"> listening attention</a>, <a href="https://publications.waset.org/abstracts/search?q=pupils" title=" pupils"> pupils</a>, <a href="https://publications.waset.org/abstracts/search?q=problems" title=" problems"> problems</a> </p> <a href="https://publications.waset.org/abstracts/186311/the-impact-of-smart-educational-aids-in-learning-listening-among-pupils-with-attention-and-listening-problems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186311.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">52</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">470</span> The Impact of Resource-oriented Music Listening on Oversea Dispatch Employees Work Stress Relief</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wei%20Yaming">Wei Yaming</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective: In order to compare the stress of employees sent overseas with (GRAS) before and after, we used the resource-oriented music listening intervention in this study. We also collected pertinent experimental data. Methods: The experiment involved 47 employees who were sent abroad by the Chinese side. They completed the stress scale test and documented it before the intervention. They tested for stress after five interventions and performed one-on-one interviews. Quantitative data and SPSS software were used to analyze relationships between stress reduction and resource-oriented music listening, as well as Pearson's correlation, multiple regression levels, and ANOVA. For the qualitative analysis, content analysis of one-on-one interviews was performed. Results: A comparison of data from before and after demonstrates how resource-focused music listening activities can lessen and relieve stress in remote workers. In the qualitative study, stress is broken down into six categories: relationship stress, health stress, emotional stress, and frustration stress. External pressures include work pressure and cultural stress. And it has been determined that listening to music that is resource-oriented can better ease internal stress (health, emotion, and dissatisfaction). Conclusion: The Guide Resource-oriented Music Listening (GROML) Program appears to have had some effect on the participants' stress levels. The resources that the participants encountered while listening to music are bravery, calm, letting go, and relaxing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=resource-oriented" title="resource-oriented">resource-oriented</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20listening" title=" music listening"> music listening</a>, <a href="https://publications.waset.org/abstracts/search?q=oversea%20dispatch%20employees" title=" oversea dispatch employees"> oversea dispatch employees</a>, <a href="https://publications.waset.org/abstracts/search?q=work%20stress" title=" work stress"> work stress</a> </p> <a href="https://publications.waset.org/abstracts/166122/the-impact-of-resource-oriented-music-listening-on-oversea-dispatch-employees-work-stress-relief" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166122.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">98</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">469</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">468</span> The Impact of Smart Educational Aids in Learning Listening Among Pupils with Attention and Listening Problems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sadeq%20Al%20Yaari">Sadeq Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Alkhunayn"> Muhammad Alkhunayn</a>, <a href="https://publications.waset.org/abstracts/search?q=Aayah%20Al%20Yaari"> Aayah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayman%20Al%20Yaari"> Ayman Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Montaha%20Al%20Yaari"> Montaha Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Sajedah%20Al%20Yaari"> Sajedah Al Yaari</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatehi%20Eissa"> Fatehi Eissa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The recent rise of smart educational aids and the move away from traditional listening aids are leading to a fundamental shift in the way in which individuals with attention and listening problems (ALP) manipulate listening inputs and/or act appropriately to the spoken information presented to them. A total sample of twenty-six ALP pupils (m=20 and f=6) between 7-12 years old was selected from different strata based on gender, region and school. In the sample size, thirteen (10 males and 3 females) received the treatment in terms of smart classes provided with smart educational aids in a listening course that lasted for four month-semester while others did not (they studied the same course by the same instructor but in ordinary class). A pretest was administered to assess participants’ levels, and a posttest was given to evaluate their attention and listening comprehension performance, namely in phonetic and phonological tests with sociolinguistic themes that have been designed for this purpose. Test results were analyzed both psychoneurolinguistically and statistically. Results reveal a remarkable change in pupils’ behavioral listening where scores witnessed a significant difference in the performance of the experimental ALP group in the pretest compared to the posttest (Pupils performed better at the pretest-posttest on phonetics than at the two tests on phonology). It is concluded that smart educational aids designed for listening skills help not only increase the listening command of pupils with ALP to understand what they listen to but also develop their interactive listening capability and, at the same rate, are responsible for increasing concentrated and in-depth listening capacity. Plus, ALP pupils become able to grasp the audio content of text recordings, including educational audio recordings, news, oral stories and tales, views, spiritual/religious text and general knowledge. However, the pupils have not experienced individual smart audio-visual aids that connect listening to other language receptive and productive skills, which could be the future area of research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language%20skills" title="language skills">language skills</a>, <a href="https://publications.waset.org/abstracts/search?q=implementing" title=" implementing"> implementing</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20skill" title=" listening skill"> listening skill</a>, <a href="https://publications.waset.org/abstracts/search?q=attention" title=" attention"> attention</a>, <a href="https://publications.waset.org/abstracts/search?q=smart%20aids" title=" smart aids"> smart aids</a> </p> <a href="https://publications.waset.org/abstracts/186383/the-impact-of-smart-educational-aids-in-learning-listening-among-pupils-with-attention-and-listening-problems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186383.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">42</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">467</span> Predictive Relationship between Motivation Strategies and Musical Creativity of Secondary School Music Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lucy%20Lugo%20Mawang">Lucy Lugo Mawang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Educational Psychologists have highlighted the significance of creativity in education. Likewise, a fundamental objective of music education concern the development of students’ musical creativity potential. The purpose of this study was to determine the relationship between motivation strategies and musical creativity, and establish the prediction equation of musical creativity. The study used purposive sampling and census to select 201 fourth-form music students (139 females/ 62 males), mainly from public secondary schools in Kenya. The mean age of participants was 17.24 years (SD = .78). Framed upon self- determination theory and the dichotomous model of achievement motivation, the study adopted an ex post facto research design. A self-report measure, the Achievement Goal Questionnaire-Revised (AGQ-R) was used in data collection for the independent variable. Musical creativity was based on a creative music composition task and measured by the Consensual Musical Creativity Assessment Scale (CMCAS). Data collected in two separate sessions within an interval of one month. The questionnaire was administered in the first session, lasting approximately 20 minutes. The second session was for notation of participants’ creative composition. The results indicated a positive correlation r(199) = .39, p ˂ .01 between musical creativity and intrinsic music motivation. Conversely, negative correlation r(199) = -.19, p < .01 was observed between musical creativity and extrinsic music motivation. The equation for predicting musical creativity from music motivation strategies was significant F(2, 198) = 20.8, p < .01, with R2 = .17. Motivation strategies accounted for approximately (17%) of the variance in participants’ musical creativity. Intrinsic music motivation had the highest significant predictive value (β = .38, p ˂ .01) on musical creativity. In the exploratory analysis, a significant mean difference t(118) = 4.59, p ˂ .01 in musical creativity for intrinsic and extrinsic music motivation was observed in favour of intrinsically motivated participants. Further, a significant gender difference t(93.47) = 4.31, p ˂ .01 in musical creativity was observed, with male participants scoring higher than females. However, there was no significant difference in participants’ musical creativity based on age. The study recommended that music educators should strive to enhance intrinsic music motivation among students. Specifically, schools should create conducive environments and have interventions for the development of intrinsic music motivation since it is the most facilitative motivation strategy in predicting musical creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=extrinsic%20music%20motivation" title="extrinsic music motivation">extrinsic music motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=intrinsic%20music%20motivation" title=" intrinsic music motivation"> intrinsic music motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20creativity" title=" musical creativity"> musical creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title=" music composition"> music composition</a> </p> <a href="https://publications.waset.org/abstracts/103585/predictive-relationship-between-motivation-strategies-and-musical-creativity-of-secondary-school-music-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103585.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">154</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">466</span> Transporting the Setting of the Beloved Musical, Peter Pan, to Colonial India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20Roznowski">R. Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is an examination of a recent Michigan State University production of the classic musical, Peter Pan. In this production, approved by the licensor, the action was moved to Colonial India transforming the musical’s message to include themes of cultural identity, racism, classism and ultimately inclusion. Major character changes and casting decisions expanded the scope of the musical while still retaining the original book and score. Major changes included reframing the Darlings as British Colonials stationed in India. The Lost Boy’s as mixed race children of British officials and their Indian nannies, the Pirates were a female 'fishing fleet' a group of women sent from England to keep the British soldiers from mixing with the locals and the Michigan State University Bhangra Dance Team played the Indians in the production. Traditional Indian theatrical techniques were also employed in the storytelling. The presentation will cover the key changes to the musical, the rehearsal process, historical accuracy and audience reaction. A final analysis of cultural appropriation versus historical reframing will be examined. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=directing" title="directing">directing</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=producing" title=" producing"> producing</a> </p> <a href="https://publications.waset.org/abstracts/81134/transporting-the-setting-of-the-beloved-musical-peter-pan-to-colonial-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81134.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">250</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">465</span> The Impact of Keyword and Full Video Captioning on Listening Comprehension</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elias%20Bensalem">Elias Bensalem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the effect of two types of captioning (full and keyword captioning) on listening comprehension. Thirty-six university-level EFL students participated in the study. They were randomly assigned to watch three video clips under three conditions. The first group watched the video clips with full captions. The second group watched the same video clips with keyword captions. The control group watched the video clips without captions. After watching each clip, participants took a listening comprehension test. At the end of the experiment, participants completed a questionnaire to measure their perceptions about the use of captions and the video clips they watched. Results indicated that the full captioning group significantly outperformed both the keyword captioning and the no captioning group on the listening comprehension tests. However, this study did not find any significant difference between the keyword captioning group and the no captioning group. Results of the survey suggest that keyword captioning were a source of distraction for participants. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=captions" title="captions">captions</a>, <a href="https://publications.waset.org/abstracts/search?q=EFL" title=" EFL"> EFL</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20comprehension" title=" listening comprehension"> listening comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=video" title=" video"> video</a> </p> <a href="https://publications.waset.org/abstracts/62467/the-impact-of-keyword-and-full-video-captioning-on-listening-comprehension" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62467.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">262</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">464</span> Towards a Scientific Intepretation of the Theory of Rasa in Indian Classical Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ajmal%20Hussain">Ajmal Hussain</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Indian music parlance, Rasa denotes a distinct aesthetic experience that builds up in the mind of the listeners while listening to a piece of Indian classical music. The distinction of the experience is rooted in the concept that it gives rise to an enhanced awareness about the Self or God and creates a mental state detached from mundane issues of everyday life. The theory of Rasa was initially proposed in the context of theatre but became a part of Indian musicological discourse roughly two thousand years ago, however, to this day, it remains shrouded in mystery due to its religious associations and connotations. This paper attempts to demystify the theory of Rasa in the light of available scientific knowledge fund particularly in Brain and Mind sciences. The paper initially describes the religious context of the theory of Rasa and then discusses its classical formulations by Bharata and Abhinavagupta including the steps and stages laid down by the latter to explain the creation of musical experience. The classical formulations are then interpreted with reference to the scientific knowledge fund about the human mind and mechanics of perception. The study uses the model of human mind as proposed by Portuguese-American neuroscientist Antonio Damasio in his theory ‘A Nesting Principle’. On the basis of the findings by Damasio, the paper interprets the experience of Rasa from a scientific perspective and clarifies the sequence of steps and stages involved in the making of musical experience. The study concludes that although the classical formulations of Rasa identify key aspects of musical experience, the association of Rasa with religion is misleading. The association with religion does not depend upon musical stimulus but the intellectual orientation of the listener. It further establishes that the function of Rasa is more profound as, from an evolutionary perspective, it can be seen as a catalyst for higher consciousness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=consciousness" title=" consciousness"> consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Rasa" title=" Rasa"> Rasa</a> </p> <a href="https://publications.waset.org/abstracts/119752/towards-a-scientific-intepretation-of-the-theory-of-rasa-in-indian-classical-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/119752.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">128</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">463</span> The Traditional Roles and Place of Indigenous Musical Practices in Contemporary African Society</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Obeghare%20%20Izu">Benjamin Obeghare Izu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Africa, indigenous musical practices are the focal point in which most cultural practices revolve, and they are the conduit mainly used in transmitting Indigenous knowledge and values. They serve as a means of documenting, preserving, transmitting indigenous knowledge, and re-enacting their historical, social, and cultural affinity. Indigenous musical practices also serve as a repository for indigenous knowledge and artistic traditions. However, these indigenous musical practices and the resulting cultural ideals are confronted with substantial challenges in the twenty-first century from contemporary cultural influence. Additionally, indigenous musical practices' educational and cultural purposes have been impacted by the broad monetisation of the arts in contemporary society. They are seen as objects of entertainment. Some young people are today unaware of their cultural roots and are losing their cultural identity due to these influences and challenges. In order to help policymakers raise awareness of and encourage the use of indigenous knowledge and musical practices among African youth and scholars, this study is in response to the need to explore the components and functions of the indigenous knowledge system, values, and musical tradition in Africa. The study employed qualitative research methods, utilising interviews, participant observation, and conducting related literature as data collection methods. It examines the indigenous musical practices in the Oba of Benin Royal Igue festival among the Benin people in Edo state, Nigeria, and the Ovwuwve festival observed by the Abraka people in Delta state, Nigeria. The extent to which the indigenous musical practices convey and protect indigenous knowledge and cultural values are reflected in the musical practices of the cultural festivals. The study looks at how indigenous musical arts are related to one another and how that affects how indigenous knowledge is transmitted and preserved. It makes recommendations for how to increase the use of indigenous knowledge and values and their fusion with contemporary culture. The study contributes significantly to ethnomusicology by showing how African traditional music traditions support other facets of culture and how indigenous knowledge might be helpful in contemporary society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20musical%20practices" title="African musical practices">African musical practices</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20music%20and%20dance" title=" African music and dance"> African music and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=African%20society" title=" African society"> African society</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous%20musical%20practices" title=" indigenous musical practices"> indigenous musical practices</a> </p> <a href="https://publications.waset.org/abstracts/154700/the-traditional-roles-and-place-of-indigenous-musical-practices-in-contemporary-african-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154700.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">115</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">462</span> Improving Listening Comprehension for EFL Pre-Intermediate Students through a Blended Learning Strategy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Heba%20Mustafa%20Abdullah">Heba Mustafa Abdullah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research aimed at examining the effect of using a suggested blended learning (BL) strategy on developing EFL pre- intermediate students. The study adopted the quasi-experimental design. The sample of the research consisted of a group of 26 EFL pre- intermediate students. Tools of the study included a listening comprehension checklist and a pre-post listening comprehension test. Results were discussed in relation to several factors that affected the language learning process. Finally, the research provided beneficial contributions in relation to manipulating BL strategy with respect to language learning process in general and oral language learning in particular. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blended%20learning" title="blended learning">blended learning</a>, <a href="https://publications.waset.org/abstracts/search?q=english%20as%20a%20foreign%20language" title=" english as a foreign language"> english as a foreign language</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20comprehension" title=" listening comprehension"> listening comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20language%20instruction" title=" oral language instruction"> oral language instruction</a> </p> <a href="https://publications.waset.org/abstracts/35749/improving-listening-comprehension-for-efl-pre-intermediate-students-through-a-blended-learning-strategy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35749.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">561</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=musical%20listening&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=musical%20listening&page=3">3</a></li> <li class="page-item"><a class="page-link" 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