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acoustics</title> <meta name="description" content="Search results for: musical acoustics"> <meta name="keywords" content="musical acoustics"> <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 acoustics"> <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> 330</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: musical acoustics</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">330</span> Exploring the History of Chinese Music Acoustic Technology through Data Fluctuations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yang%20Yang">Yang Yang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lu%20Xin"> Lu Xin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study of extant musical sites can provide a side-by-side picture of historical ethnomusicological information. In their data collection on Chinese opera houses, researchers found that one Ming Dynasty opera house reached a width of nearly 18 meters, while all opera houses of the same period and after it was far from such a width, being significantly smaller than 18 meters. The historical transient fluctuations in the data dimension of width that caused Chinese theatres to fluctuate in the absence of construction scale constraints have piqued the interest of researchers as to why there is data variation in width. What factors have contributed to the lack of further expansion in the width of theatres? To address this question, this study used a comparative approach to conduct a venue experiment between this theater stage and another theater stage for non-heritage opera performances, collecting the subjective perceptions of performers and audiences at different theater stages, as well as combining BK Connect platform software to measure data such as echo and delay. From the subjective and objective results, it is inferred that the Chinese ancients discovered and understood the acoustical phenomenon of the Haas effect by exploring the effect of stage width on musical performance and appreciation of listening states during the Ming Dynasty and utilized this discovery to serve music in subsequent stage construction. This discovery marked a node of evolution in Chinese architectural acoustics technology driven by musical demands. It is also instructive to note that, in contrast to many of the world's "unsuccessful civilizations," China can use a combination of heritage and intangible cultural research to chart a clear, demand-driven course for the evolution of human music technology, and that the findings of such research will complete the course of human exploration of music acoustics. The findings of such research will complete the journey of human exploration of music acoustics, and this practical experience can be applied to the exploration and understanding of other musical heritage base data. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haas%20effect" title="Haas effect">Haas effect</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20acoustics" title=" musical acoustics"> musical acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=history%20of%20acoustical%20technology" title=" history of acoustical technology"> history of acoustical technology</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20opera%20stage" title=" Chinese opera stage"> Chinese opera stage</a>, <a href="https://publications.waset.org/abstracts/search?q=structure" title=" structure"> structure</a> </p> <a href="https://publications.waset.org/abstracts/141000/exploring-the-history-of-chinese-music-acoustic-technology-through-data-fluctuations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141000.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">184</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">329</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">328</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">327</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">326</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">325</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">324</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">323</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">322</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">321</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">320</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">319</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">318</span> Physical Modeling of Woodwind Ancient Greek Musical Instruments: The Case of Plagiaulos</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dimitra%20Marini">Dimitra Marini</a>, <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Bakogiannis"> Konstantinos Bakogiannis</a>, <a href="https://publications.waset.org/abstracts/search?q=Spyros%20Polychronopoulos"> Spyros Polychronopoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Georgios%20Kouroupetroglou"> Georgios Kouroupetroglou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Archaemusicology cannot entirely depend on the study of the excavated ancient musical instruments as most of the time their condition is not ideal (i.e., missing/eroded parts) and moreover, because of the concern damaging the originals during the experiments. Researchers, in order to overcome the above obstacles, build replicas. This technique is still the most popular one, although it is rather expensive and time-consuming. Throughout the last decades, the development of physical modeling techniques has provided tools that enable the study of musical instruments through their digitally simulated models. This is not only a more cost and time-efficient technique but also provides additional flexibility as the user can easily modify parameters such as their geometrical features and materials. This paper thoroughly describes the steps to create a physical model of a woodwind ancient Greek instrument, Plagiaulos. This instrument could be considered as the ancestor of the modern flute due to the common geometry and air-jet excitation mechanism. Plagiaulos is comprised of a single resonator with an open end and a number of tone holes. The combination of closed and open tone holes produces the pitch variations. In this work, the effects of all the instrument’s components are described by means of physics and then simulated based on digital waveguides. The synthesized sound of the proposed model complies with the theory, highlighting its validity. Further, the synthesized sound of the model simulating the Plagiaulos of Koile (2nd century BCE) was compared with its replica build in our laboratory by following the scientific methodologies of archeomusicology. The aforementioned results verify that robust dynamic digital tools can be introduced in the field of computational, experimental archaemusicology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archaeomusicology" title="archaeomusicology">archaeomusicology</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20waveguides" title=" digital waveguides"> digital waveguides</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20acoustics" title=" musical acoustics"> musical acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20modeling" title=" physical modeling"> physical modeling</a> </p> <a href="https://publications.waset.org/abstracts/132330/physical-modeling-of-woodwind-ancient-greek-musical-instruments-the-case-of-plagiaulos" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132330.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">113</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">317</span> The Golden Ratio as a Common ‘Topos’ of Architectural, Musical and Stochastic Research of Iannis Xenakis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nikolaos%20Mamalis">Nikolaos Mamalis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The work of the eminent architect and composer has undoubtedly been influenced both by his architecture and collaboration with Le Corbusier and by the conquests of the musical avant-garde of the 20th century (Schoenberg, Messian, Bartock, electroacoustic music). It is known that the golden mean and the Fibonacci sequence played a momentous role in the Architectural Avant-garde (Modulor) and expanded on musical pursuits. Especially in the 50s (serialism), it was a structural tool for composition. Xenakis' architectural and musical work (Sacrifice, Metastasis, Rebonds, etc.) received the influence of the Golden Section, as has been repeatedly demonstrated. However, the idea of this retrospective sequence and the reflection raised by the search for new proportions, both in the architectural and the musical work of Xenakis, was not limited to constituting a step, a workable formula that acted unifyingly with regard to the other parameters of the musical work, or as an aesthetic model that makes sense - philosophically and poetically - an anthropocentric dimension as in other composers (see Luigi Nono) ̇ triggered a qualitative leap, an opening of the composer to the assimilation of mathematical concepts and scientific types in music and the consolidation of new sound horizons of stochastic music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=golden%20ratio" title="golden ratio">golden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=stochastic%20music" title=" stochastic music"> stochastic music</a> </p> <a href="https://publications.waset.org/abstracts/183112/the-golden-ratio-as-a-common-topos-of-architectural-musical-and-stochastic-research-of-iannis-xenakis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183112.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">316</span> On Musical Information Geometry with Applications to Sonified Image Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shannon%20Steinmetz">Shannon Steinmetz</a>, <a href="https://publications.waset.org/abstracts/search?q=Ellen%20Gethner"> Ellen Gethner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a theoretical foundation is developed for patterned segmentation of audio using the geometry of music and statistical manifold. We demonstrate image content clustering using conic space sonification. The algorithm takes a geodesic curve as a model estimator of the three-parameter Gamma distribution. The random variable is parameterized by musical centricity and centric velocity. Model parameters predict audio segmentation in the form of duration and frame count based on the likelihood of musical geometry transition. We provide an example using a database of randomly selected images, resulting in statistically significant clusters of similar image content. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonification" title="sonification">sonification</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20information%20geometry" title=" musical information geometry"> musical information geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=content%20extraction" title=" content extraction"> content extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=automated%20quantification" title=" automated quantification"> automated quantification</a>, <a href="https://publications.waset.org/abstracts/search?q=audio%20segmentation" title=" audio segmentation"> audio segmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20recognition" title=" pattern recognition"> pattern recognition</a> </p> <a href="https://publications.waset.org/abstracts/133600/on-musical-information-geometry-with-applications-to-sonified-image-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133600.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">237</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">315</span> Analysis of Tempo Indications, Segmentations, and Musical Ideas in Mozart’s Piano Sonatas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=Mozart" title=" Mozart"> Mozart</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a>, <a href="https://publications.waset.org/abstracts/search?q=sonata" title=" sonata"> sonata</a> </p> <a href="https://publications.waset.org/abstracts/192298/analysis-of-tempo-indications-segmentations-and-musical-ideas-in-mozarts-piano-sonatas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">25</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">314</span> Musical Instruments Classification Using Machine Learning Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bhalke%20D.%20G.">Bhalke D. G.</a>, <a href="https://publications.waset.org/abstracts/search?q=Bormane%20D.%20S."> Bormane D. S.</a>, <a href="https://publications.waset.org/abstracts/search?q=Kharate%20G.%20K."> Kharate G. K.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents classification of musical instrument using machine learning techniques. The classification has been carried out using temporal, spectral, cepstral and wavelet features. Detail feature analysis is carried out using separate and combined features. Further, instrument model has been developed using K-Nearest Neighbor and Support Vector Machine (SVM). Benchmarked McGill university database has been used to test the performance of the system. Experimental result shows that SVM performs better as compared to KNN classifier. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feature%20extraction" title="feature extraction">feature extraction</a>, <a href="https://publications.waset.org/abstracts/search?q=SVM" title=" SVM"> SVM</a>, <a href="https://publications.waset.org/abstracts/search?q=KNN" title=" KNN"> KNN</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20instruments" title=" musical instruments"> musical instruments</a> </p> <a href="https://publications.waset.org/abstracts/23369/musical-instruments-classification-using-machine-learning-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23369.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">480</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">313</span> Integration of Acoustic Solutions for Classrooms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eyibo%20Ebengeobong%20Eddie">Eyibo Ebengeobong Eddie</a>, <a href="https://publications.waset.org/abstracts/search?q=Halil%20Zafer%20Alibaba"> Halil Zafer Alibaba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The neglect of classroom acoustics is dominant in most educational facilities, meanwhile, hearing and listening is the learning process in this kind of facilities. A classroom should therefore be an environment that encourages listening, without an obstacles to understanding what is being taught. Although different studies have shown teachers to complain that noise is the everyday factor that causes stress in classroom, the capacity of individuals to understand speech is further affected by Echoes, Reverberation, and room modes. It is therefore necessary for classrooms to have an ideal acoustics to aid the intelligibility of students in the learning process. The influence of these acoustical parameters on learning and teaching in schools needs to be further researched upon to enhance the teaching and learning capacity of both teacher and student. For this reason, there is a strong need to provide and collect data to analyse and define the suitable quality of classrooms needed for a learning environment. Research has shown that acoustical problems are still experienced in both newer and older schools. However, recently, principle of acoustics has been analysed and room acoustics can now be measured with various technologies and sound systems to improve and solve the problem of acoustics in classrooms. These acoustic solutions, materials, construction methods and integration processes would be discussed in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classroom" title="classroom">classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=acoustics" title=" acoustics"> acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=materials" title=" materials"> materials</a>, <a href="https://publications.waset.org/abstracts/search?q=integration" title=" integration"> integration</a>, <a href="https://publications.waset.org/abstracts/search?q=speech%20intelligibility" title=" speech intelligibility"> speech intelligibility</a> </p> <a href="https://publications.waset.org/abstracts/26579/integration-of-acoustic-solutions-for-classrooms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26579.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">417</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">312</span> Learning with Music: The Effects of Musical Tension on Long-Term Declarative Memory Formation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nawras%20Kurzom">Nawras Kurzom</a>, <a href="https://publications.waset.org/abstracts/search?q=Avi%20Mendelsohn"> Avi Mendelsohn</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The effects of background music on learning and memory are inconsistent, partly due to the intrinsic complexity and variety of music and partly to individual differences in music perception and preference. A prominent musical feature that is known to elicit strong emotional responses is musical tension. Musical tension can be brought about by building anticipation of rhythm, harmony, melody, and dynamics. Delaying the resolution of dominant-to-tonic chord progressions, as well as using dissonant harmonics, can elicit feelings of tension, which can, in turn, affect memory formation of concomitant information. The aim of the presented studies was to explore how forming declarative memory is influenced by musical tension, brought about within continuous music as well as in the form of isolated chords with varying degrees of dissonance/consonance. The effects of musical tension on long-term memory of declarative information were studied in two ways: 1) by evoking tension within continuous music pieces by delaying the release of harmonic progressions from dominant to tonic chords, and 2) by using isolated single complex chords with various degrees of dissonance/roughness. Musical tension was validated through subjective reports of tension, as well as physiological measurements of skin conductance response (SCR) and pupil dilation responses to the chords. In addition, music information retrieval (MIR) was used to quantify musical properties associated with tension and its release. Each experiment included an encoding phase, wherein individuals studied stimuli (words or images) with different musical conditions. Memory for the studied stimuli was tested 24 hours later via recognition tasks. In three separate experiments, we found positive relationships between tension perception and physiological measurements of SCR and pupil dilation. As for memory performance, we found that background music, in general, led to superior memory performance as compared to silence. We detected a trade-off effect between tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those who were less sensitive to the perception of musical tension. Musical tension exerts complex interactions with perception, emotional responses, and cognitive performance on individuals with and without musical training. Delineating the conditions and mechanisms that underlie the interactions between musical tension and memory can benefit our understanding of musical perception at large and the diverse effects that music has on ongoing processing of declarative information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical%20tension" title="musical tension">musical tension</a>, <a href="https://publications.waset.org/abstracts/search?q=declarative%20memory" title=" declarative memory"> declarative memory</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20and%20memory" title=" learning and memory"> learning and memory</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20perception" title=" musical perception"> musical perception</a> </p> <a href="https://publications.waset.org/abstracts/168139/learning-with-music-the-effects-of-musical-tension-on-long-term-declarative-memory-formation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168139.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">311</span> Musical Instrument Recognition in Polyphonic Audio Through Convolutional Neural Networks and Spectrograms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rujia%20Chen">Rujia Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Akbar%20Ghobakhlou"> Akbar Ghobakhlou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ajit%20Narayanan"> Ajit Narayanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the task of identifying musical instruments in polyphonic compositions using Convolutional Neural Networks (CNNs) from spectrogram inputs, focusing on binary classification. The model showed promising results, with an accuracy of 97% on solo instrument recognition. When applied to polyphonic combinations of 1 to 10 instruments, the overall accuracy was 64%, reflecting the increasing challenge with larger ensembles. These findings contribute to the field of Music Information Retrieval (MIR) by highlighting the potential and limitations of current approaches in handling complex musical arrangements. Future work aims to include a broader range of musical sounds, including electronic and synthetic sounds, to improve the model's robustness and applicability in real-time MIR systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binary%20classifier" title="binary classifier">binary classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=CNN" title=" CNN"> CNN</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrogram" title=" spectrogram"> spectrogram</a>, <a href="https://publications.waset.org/abstracts/search?q=instrument" title=" instrument"> instrument</a> </p> <a href="https://publications.waset.org/abstracts/185822/musical-instrument-recognition-in-polyphonic-audio-through-convolutional-neural-networks-and-spectrograms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185822.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">77</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">310</span> Digital Musical Organology: The Audio Games: The Question of “A-Musicological” Interfaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Herv%C3%A9%20Z%C3%A9nouda">Hervé Zénouda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article seeks to shed light on an emerging creative field: "Audio games," at the crossroads between video games and computer music. Indeed, many applications, which propose entertaining audio-visual experiences with the objective of musical creation, are available today for different supports (game consoles, computers, cell phones). The originality of this field is the use of the gameplay of video games applied to music composition. Thus, composing music using interfaces but also cognitive logics that we qualify as "a-musicological" seem to us particularly interesting from the perspective of musical digital organology. This field raises questions about the representation of sound and musical structures and develops new instrumental gestures and strategies of musical composition. We will try in this article to define the characteristics of this field by highlighting some historical milestones (abstract cinema, game theory in music, actions, and graphic scores) as well as the novelties brought by digital technologies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio-games" title="audio-games">audio-games</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games" title=" video games"> video games</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20generated%20music" title=" computer generated music"> computer generated music</a>, <a href="https://publications.waset.org/abstracts/search?q=gameplay" title=" gameplay"> gameplay</a>, <a href="https://publications.waset.org/abstracts/search?q=interactivity" title=" interactivity"> interactivity</a>, <a href="https://publications.waset.org/abstracts/search?q=synesthesia" title=" synesthesia"> synesthesia</a>, <a href="https://publications.waset.org/abstracts/search?q=sound%20interfaces" title=" sound interfaces"> sound interfaces</a>, <a href="https://publications.waset.org/abstracts/search?q=relationships%20image%2Fsound" title=" relationships image/sound"> relationships image/sound</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20music" title=" audiovisual music"> audiovisual music</a> </p> <a href="https://publications.waset.org/abstracts/152518/digital-musical-organology-the-audio-games-the-question-of-a-musicological-interfaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152518.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">112</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">309</span> Automatic Music Score Recognition System Using Digital Image Processing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yuan-Hsiang%20Chang">Yuan-Hsiang Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhong-Xian%20Peng"> Zhong-Xian Peng</a>, <a href="https://publications.waset.org/abstracts/search?q=Li-Der%20Jeng"> Li-Der Jeng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music has always been an integral part of human’s daily lives. But, for the most people, reading musical score and turning it into melody is not easy. This study aims to develop an <em>Automatic music score recognition system using digital image processing</em>, which can be used to read and analyze musical score images automatically. The technical approaches included: (1) staff region segmentation; (2) image preprocessing; (3) note recognition; and (4) accidental and rest recognition. Digital image processing techniques (e.g., horizontal /vertical projections, connected component labeling, morphological processing, template matching, etc.) were applied according to musical notes, accidents, and rests in staff notations. Preliminary results showed that our system could achieve detection and recognition rates of 96.3% and 91.7%, respectively. In conclusion, we presented an effective automated musical score recognition system that could be integrated in a system with a media player to play music/songs given input images of musical score. Ultimately, this system could also be incorporated in applications for mobile devices as a learning tool, such that a music player could learn to play music/songs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=connected%20component%20labeling" title="connected component labeling">connected component labeling</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20processing" title=" image processing"> image processing</a>, <a href="https://publications.waset.org/abstracts/search?q=morphological%20processing" title=" morphological processing"> morphological processing</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20musical%20recognition" title=" optical musical recognition"> optical musical recognition</a> </p> <a href="https://publications.waset.org/abstracts/13588/automatic-music-score-recognition-system-using-digital-image-processing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13588.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">419</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">308</span> The Role of Tempo in the Perception of Musical Grouping</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marina%20B.%20Cottrell">Marina B. Cottrell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tempo plays a significant role in the perception of metrical groupings, with faster tempi tending to increase the number of beats in a given metrical unit. Previous research has shown a correlation between the perception of metric grouping and native language, but little is currently known about other possible musical factors that contribute to metric grouping tendencies. This study aims to find the tempo boundaries at which the perceptual groupings of a melodic pattern changes and to correlate these regions with self-reported musical experience. Participants were presented with looping melodies (divided between major and minor keys). Using a slider bar that controlled the tempo, subjects were asked to locate the point at which they heard the metric grouping doubled or halved. This region was shown to primarily be affected by the mode and time signature of the stimulus. The results also suggest a correlation between the level of musical training and the region of perceived grouping change. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=meter" title="meter">meter</a>, <a href="https://publications.waset.org/abstracts/search?q=metric%20grouping" title=" metric grouping"> metric grouping</a>, <a href="https://publications.waset.org/abstracts/search?q=mode" title=" mode"> mode</a>, <a href="https://publications.waset.org/abstracts/search?q=tempo" title=" tempo"> tempo</a> </p> <a href="https://publications.waset.org/abstracts/103293/the-role-of-tempo-in-the-perception-of-musical-grouping" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103293.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">141</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">307</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">306</span> The Comparative Electroencephalogram Study: Children with Autistic Spectrum Disorder and Healthy Children Evaluate Classical Music in Different Ways</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Galina%20Portnova">Galina Portnova</a>, <a href="https://publications.waset.org/abstracts/search?q=Kseniya%20Gladun"> Kseniya Gladun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In our EEG experiment participated 27 children with ASD with the average age of 6.13 years and the average score for CARS 32.41 and 25 healthy children (of 6.35 years). Six types of musical stimulation were presented, included Gluck, Javier-Naida, Kenny G, Chopin and other classic musical compositions. Children with autism showed orientation reaction to the music and give behavioral responses to different types of music, some of them might assess stimulation by scales. The participants were instructed to remain calm. Brain electrical activity was recorded using a 19-channel EEG recording device, 'Encephalan' (Russia, Taganrog). EEG epochs lasting 150 s were analyzed using EEGLab plugin for MatLab (Mathwork Inc.). For EEG analysis we used Fast Fourier Transform (FFT), analyzed Peak alpha frequency (PAF), correlation dimension D2 and Stability of rhythms. To express the dynamics of desynchronizing of different rhythms we've calculated the envelope of the EEG signal, using the whole frequency range and a set of small narrowband filters using Hilbert transformation. Our data showed that healthy children showed similar EEG spectral changes during musical stimulation as well as described the feelings induced by musical fragments. The exception was the ‘Chopin. Prelude’ fragment (no.6). This musical fragment induced different subjective feeling, behavioral reactions and EEG spectral changes in children with ASD and healthy children. The correlation dimension D2 was significantly lower in autists compared to healthy children during musical stimulation. Hilbert envelope frequency was reduced in all group of subjects during musical compositions 1,3,5,6 compositions compared to the background. During musical fragments 2 and 4 (terrible) lower Hilbert envelope frequency was observed only in children with ASD and correlated with the severity of the disease. Alfa peak frequency was lower compared to the background during this musical composition in healthy children and conversely higher in children with ASD. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electroencephalogram%20%20%28EEG%29" title="electroencephalogram (EEG)">electroencephalogram (EEG)</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20perception" title=" emotional perception"> emotional perception</a>, <a href="https://publications.waset.org/abstracts/search?q=ASD" title=" ASD"> ASD</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20perception" title=" musical perception"> musical perception</a>, <a href="https://publications.waset.org/abstracts/search?q=childhood%20Autism%20rating%20scale%20%20%28CARS%29" title=" childhood Autism rating scale (CARS)"> childhood Autism rating scale (CARS)</a> </p> <a href="https://publications.waset.org/abstracts/62155/the-comparative-electroencephalogram-study-children-with-autistic-spectrum-disorder-and-healthy-children-evaluate-classical-music-in-different-ways" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62155.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">305</span> Expectation during Improvisation: The Way It Influences the Musical Dialogue</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisa%20Negretto">Elisa Negretto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation is a fundamental form of musical practice and an increasing amount of literature shows a particular interest on the consequences it might have in different kinds of social contexts. A relevant aspect of the musical experience is the ability to create expectations, which reflects a basic strategy of the human mind, an intentional movement toward the future which is based on previous experiences. Musical Expectation – an unconscious tendency to project forward in time, to predict future sound events and the ongoing of a musical experience – can be regarded as a process that strongly influences the listeners’ emotional and affective response to music, as well as their social and aesthetic experience. While improvising, composers, interpreters and listeners generate and exchange expectations, thus creating a dynamic dialogue and meaningful relationships. The aim of this paper is to investigate how expectation contributes to the creation of such a dialogue during the unfolding of the musical experience and to what extent it influences the meaning music acquires during the performance. The difference between the ability to create expectations and the anticipation of the future ongoing of music will be questioned. Does it influence in different ways the meaning of music and the kind of dialogical relationship established between musicians and between performers and audience? Such questions will be investigated with reference to recent research in music cognition and the analysis of a particular case: a free jazz performance during which musicians improvise and/or change the location of the sound source. The present paper is an attempt to provide new insights for investigating and understanding the cognitive mechanisms underlying improvisation as a musical and social practice. They contribute to the creation of a model that we can find in many others social practices in which people have to build meaningful relationships and responses to environmental stimuli. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anticipation" title="anticipation">anticipation</a>, <a href="https://publications.waset.org/abstracts/search?q=expectation" title=" expectation"> expectation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=meaning" title=" meaning"> meaning</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20dialogue" title=" musical dialogue"> musical dialogue</a> </p> <a href="https://publications.waset.org/abstracts/70575/expectation-during-improvisation-the-way-it-influences-the-musical-dialogue" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70575.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">247</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">304</span> Musical Culture of Sea Gypsies in Bulon Archipelago</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rewadee%20Ungpho">Rewadee Ungpho</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on the musical culture of Sea Gypsies in Bulon archipelago, Satun Province, is considered as an anthropology research. Research objectives were to study the history and information culture and also to find the basis information for the restoration and preservation of the music culture of Sea Gypsies who live in Bulon archipelago. Findings of the research are as follows: 1) Musical characteristics of Sea Gypsies in Bulon archipelago is still traditional. It does not mix with any external musical influence such as musical instruments, language, and other musical characteristics. There are various kind of songs which can play a complete melody and rhythm, including a total of 8 songs as follows; Lagu-Ayam-Dide, Lagu-Sitipayong, Lagu-Bulong-pute, Lagu-Chemamat, Laguduwo, Lagu-Ma-I-nang, Lagu-Mana-Ikan. 2) The roles of culture/music in Bulon archipelago correlate with Urak Lawoi society. They use music in the ceremony of votive offering, in the floating ceremony held in Lipe Island and in various festivals. Therefore, music is a spiritual sacrifice and a spiritual instrument that conveys an Urak Lawoi, which makes the Urak Lawoi still unique and has a sense of ethnic identity. 3) The inheritance of Urak Lawoi music is still being made in a traditional way, as an oral tradition with no record. The teaching and learning must be one on one, and it required length of time to practice and accumulate the knowledge. Due to above mentioned reasons, a few people attend in the inheritance. Those who are interested may not be able to practice constantly. As a result, there is only a few, or even none, descendants left. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sea%20gypsy" title="sea gypsy">sea gypsy</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=Bulon%20archipelago" title=" Bulon archipelago"> Bulon archipelago</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnomusicology" title=" ethnomusicology"> ethnomusicology</a> </p> <a href="https://publications.waset.org/abstracts/4857/musical-culture-of-sea-gypsies-in-bulon-archipelago" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4857.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">371</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">303</span> Perception of Eco-Music From the Contents the Earth’s Sound Ecosystem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joni%20Asitashvili">Joni Asitashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Eka%20Chabashvili"> Eka Chabashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Maya%20Virsaladze"> Maya Virsaladze</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Chokhonelidze"> Alexander Chokhonelidze</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studying the soundscape is a major challenge in many countries of the civilized world today. The sound environment and music itself are part of the Earth's ecosystem. Therefore, researching its positive or negative impact is important for a clean and healthy environment. The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability to imitate the surrounding sound. For example, a population surrounded by mountains invented the technique of antiphonal singing, which mimics the effect of an echo. Canadian composer Raymond Murray Schafer viewed the world as a kind of musical instrument with ever-renewing tuning. He coined the term "Soundscape" as a name of a natural environmental sound, including the sound field of the Earth. It can be said that from which the “music of nature” is constructed. In the 21st century, a new field–Ecomusicology–has emerged in the field of musical art to study the sound ecosystem and various issues related to it. Ecomusicology considers the interconnections between music, culture, and nature–According to the Aaron Allen. Eco-music is a field of ecomusicology concerning with the depiction and realization of practical processes using modern composition techniques. Finding an artificial sound source (instrumental or electronic) for the piece that will blend into the soundscape of Sound Oases. Creating a composition, which sounds in harmony with the vibrations of human, nature, environment, and micro- macrocosm as a whole; Currently, we are exploring the ambient sound of the Georgian urban and suburban environment to discover “Sound Oases" and compose Eco-music works. We called “Sound Oases" an environment with a specific sound of the ecosystem to use in the musical piece as an instrument. The most interesting examples of Eco-music are the round dances, which were already created in the BC era. In round dances people would feel the united energy. This urge to get united revealed itself in our age too, manifesting itself in a variety of social media. The virtual world, however, is not enough for a healthy interaction; we created plan of “contemporary round dance” in sound oasis, found during expedition in Georgian caves, where people interacted with cave's soundscape and eco-music, they feel each other sharing energy and listen to earth sound. This project could be considered a contemporary round dance, a long improvisation, particular type of art therapy, where everyone can participate in an artistic process. We would like to present research result of our eco-music experimental performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eco-music" title="eco-music">eco-music</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a>, <a href="https://publications.waset.org/abstracts/search?q=oasis" title=" oasis"> oasis</a> </p> <a href="https://publications.waset.org/abstracts/173544/perception-of-eco-music-from-the-contents-the-earths-sound-ecosystem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173544.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">61</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">302</span> Math and Religion in Arvo Pärt's Out of the Depths</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ismael%20Lins%20Patriota">Ismael Lins Patriota</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Arvo Pärt is an Estonian composer who started his musical career under the influence of twelve-tone music and dodecaphonism. From 1968 to 1976, he isolated himself to search for a new path as a composer. In this period, he converted to Russian orthodoxy and changed his composing to tintinnabuli, a musical technique combining triadic chords with simple melodies. The recent analysis of Pärt’s output demonstrates that mathematics remained an influence after the invention of tintinnabuli. The present discussion deals with the relationship between math and religion in his work Out of the Depths (1980), proposing a musical-text approach and examining the minimum elements of the piece, such as motives and sub-phrases, which is the main focus of this work, considering text patterns and the role of the organ, which also uses the tintinnabuli system. The analysis of these elements demonstrates that Pärt uses math as a formal element, and the composer combines musical parameters to execute a personal and innovative interpretation of the text. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arvo%20P%C3%A4rt" title="Arvo Pärt">Arvo Pärt</a>, <a href="https://publications.waset.org/abstracts/search?q=Out%20of%20the%20Depths" title=" Out of the Depths"> Out of the Depths</a>, <a href="https://publications.waset.org/abstracts/search?q=math" title=" math"> math</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a> </p> <a href="https://publications.waset.org/abstracts/167163/math-and-religion-in-arvo-parts-out-of-the-depths" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167163.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">83</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">301</span> Constructing a Grounded Theory of Parents' Musical Engagement with Their Premature Baby Contributing to Their Emerging Parental Identity in a Neonatal Unit</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elizabeth%20McLean">Elizabeth McLean</a>, <a href="https://publications.waset.org/abstracts/search?q=Katrina%20Skewes-McFerran"> Katrina Skewes-McFerran</a>, <a href="https://publications.waset.org/abstracts/search?q=Grace%20Thompson"> Grace Thompson </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Scholarship highlights the need to further examine and better understand and foster the process of becoming a parent to a premature baby in the neonatal context to support the critical development of the parent-infant relationship. Music therapy research documents significant benefits of music therapy on neonatal physiological and neurodevelopmental function, reduced maternal anxiety and validating parents’ relationship with their premature baby, yet limited studies examine the role of music in supporting parental identity. This was a multi-site study, exploring parents’ musical engagement with their hospitalised baby and parental identity in a NU. In-depth interviews with nine parents of a premature baby across varying time points in their NU journey took place. Data collection and analysis was influenced by Constructive Grounded Theory methodology. Findings in the form of a substantive grounded theory illuminated the contribution of parents’ musical engagement on their sense of parental identity in the NU. Specifically, the significance of their baby’s level and type of response during musical interactions in influencing parents’ capacity to engage in musical dialogue with their baby emerged. Specific conditions that acted as both barriers and fosters in parents’ musical engagement across a high- risk pregnancy and NU admission also emerged. Recommendations for future research into the role of music and music therapy in supporting parental coping and transition to parenthood during a high-risk pregnancy and birth and beyond the NU will be discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=grounded%20theory" title="grounded theory">grounded theory</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20engagement" title=" musical engagement"> musical engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title=" music therapy"> music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=parental%20identity" title=" parental identity"> parental identity</a> </p> <a href="https://publications.waset.org/abstracts/87076/constructing-a-grounded-theory-of-parents-musical-engagement-with-their-premature-baby-contributing-to-their-emerging-parental-identity-in-a-neonatal-unit" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87076.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> <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%20acoustics&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=musical%20acoustics&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=musical%20acoustics&page=4">4</a></li> <li class="page-item"><a class="page-link" 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