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concert</title> <meta name="description" content="Search results for: concert"> <meta name="keywords" content="concert"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="concert"> <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> 42</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: concert</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">42</span> Live Concert Performances in Preschool: Requirements of a Successful Concert for Young Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mei-Ying%20Liao">Mei-Ying Liao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of this study was to examine the requirements of a successful concert for young children in preschool in Taiwan. This study reports a case study of a preschool’s experience which undertook ten concerts for young children. The main audiences were young children who were two to six years of age. The performers, including children’s family, amateurs and professional performers, were invited to perform music instruments or singing twice a week. The performers participated in these concerts separately, as a solo or ensemble performance. There were totally ten concerts. The structure of concert included the performance, musical activities, questions and answers, song requests, and exploration of instruments. Data collection included interviews with children, teachers and performers, concert observations, and footnotes. Results showed that the requirements of a successful and meaningful concert for young children were suggested to include concert preparation, concert, and post activities. The concert organizer, host and classroom teachers played vital roles for a successful concert. The organizer had to organize the programs and prepared for the concerts based on the needs and interests of their audience of young children, engage their attention and offer the potential to expand their musical worlds. The hosts had to build a bridge between performers and young children who had to know how they could delight and educate children. Concerts combined games, storytelling, instrument exploration and great music had great effects. Finally, the classroom teachers had to do the extension activities after the concerts so that the children will involve more and get more enthusiasm in concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=case%20study" title="case study">case study</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</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=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/65524/live-concert-performances-in-preschool-requirements-of-a-successful-concert-for-young-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65524.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">346</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">41</span> Lunch Hour Concerts as a Strategy for Strengthening Student Performance Skills: University of Port Harcourt Experience</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rita%20A.%20Sunday-Kanu">Rita A. Sunday-Kanu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article reports on an evaluation of lunch hour concert and its effectiveness in improving undergraduate performance ability. In particular, it examines the aptitude of students in classroom applied music and their reaction/responses to true life concert situations. It further investigated factors affecting students’ confidence during performances, the relationship between stage fright and confidence building in regular concert participation. The Department of Music, University of Port Harcourt runs monthly lunch our concerts which are coordinated by undergraduates for the university community. Forty music students who have participated in or coordinated lunch hour concerts were chosen for this survey. Eight music lecturers who have supervised the monthly lunch hour concert were also chosen for this study. The attitude and view on the effectiveness of lunch hour concert in enhancing students’ performance skills were gotten through questionnaires survey, in-depth interview and participant observation to determine if classroom based applied music alone is as successful in grooming performance genius as the lunch hour concert. Result indicated that students’ participation in lunch hour concert did indeed broaden and strengthened their performance experiences. This observation led to a recommendation that regular community based concerts be considered as a standard for performance practices in the university curriculum since it serves as a preparatory platform for acquiring professional performance skills before graduation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=lunch%20hour%20concert" title="lunch hour concert">lunch hour concert</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20skill" title=" performing skill"> performing skill</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20concert" title=" community concert"> community concert</a> </p> <a href="https://publications.waset.org/abstracts/82794/lunch-hour-concerts-as-a-strategy-for-strengthening-student-performance-skills-university-of-port-harcourt-experience" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82794.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">40</span> The Impact of Hosting an On-Site Vocal Concert in Preschool on Music Inspiration and Learning Among Preschoolers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meiying%20Liao">Meiying Liao</a>, <a href="https://publications.waset.org/abstracts/search?q=Poya%20Huang"> Poya Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aesthetic domain is one of the six major domains in the Taiwanese preschool curriculum, encompassing visual arts, music, and dramatic play. Its primary objective is to cultivate children’s abilities in exploration and awareness, expression and creation, and response and appreciation. The purpose of this study was to explore the effects of hosting a vocal music concert on aesthetic inspiration and learning among preschoolers in a preschool setting. The primary research method employed was a case study focusing on a private preschool in Northern Taiwan that organized a school-wide event featuring two vocalists. The concert repertoires included children’s songs, folk songs, and arias performed in Mandarin, Hakka, English, German, and Italian. In addition to professional performances, preschool teachers actively participated by presenting a children’s song. A total of 5 classes, comprising approximately 150 preschoolers, along with 16 teachers and staff, participated in the event. Data collection methods included observation, interviews, and documents. Results indicated that both teachers and children thoroughly enjoyed the concert, with high levels of acceptance when the program was appropriately designed and hosted. Teachers reported that post-concert discussions with children revealed the latter’s ability to recall people, events, and elements observed during the performance, expressing their impressions of the most memorable segments. The concert effectively achieved the goals of the aesthetic domain, particularly in fostering response and appreciation. It also inspired preschoolers’ interest in music. Many teachers noted an increased desire for performance among preschoolers after exposure to the concert, with children imitating the performers and their expressions. Remarkably, one class extended this experience by incorporating it into the curriculum, autonomously organizing a high-quality concert in the music learning center. Parents also reported that preschoolers enthusiastically shared their concert experiences at home. In conclusion, despite being a single event, the positive responses from preschoolers towards the music performance suggest a meaningful impact. These experiences extended into the curriculum, as firsthand exposure to performances allowed teachers to deepen related topics, fostering a habit of autonomous learning in the designated learning centers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=concert" title="concert">concert</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood%20music%20education" title=" early childhood music education"> early childhood music education</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20education" title=" aesthetic education"> aesthetic education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20develpment" title=" music develpment"> music develpment</a> </p> <a href="https://publications.waset.org/abstracts/181239/the-impact-of-hosting-an-on-site-vocal-concert-in-preschool-on-music-inspiration-and-learning-among-preschoolers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181239.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">49</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">39</span> Enhancing Audience Engagement: Informal Music Learning During Classical Concerts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Linda%20Dusman">Linda Dusman</a>, <a href="https://publications.waset.org/abstracts/search?q=Linda%20Baker"> Linda Baker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Bearman Study of Audience Engagement examined the potential for real-time music education during online symphony orchestra concerts. It follows on the promising results of a preliminary study of STEAM (Science, Technology, Engineering, Arts, and Mathematics) education during live concerts, funded by the National Science Foundation with the Baltimore Symphony Orchestra. For the Bearman Study, audience groups were recruited to attend two previously recorded concerts of the National Orchestral Institute (NOI) in 2020 or the Utah Symphony in 2021. They used a smartphone app called EnCue to present real-time program notes about the music being performed. Short notes along with visual information (photos and score fragments) were designed to provide historical, cultural, biographical, and theoretical information at specific moments in the music where that information would be most pertinent, generally spaced 2-3 minutes apart to avoid distraction. The music performed included Dvorak Symphony No. 8 and Mahler Symphony No. 5 at NOI, and Mendelssohn Scottish Symphony and Richard Strauss Metamorphosen with the Utah Symphony, all standard repertoire for symphony orchestras. During each phase of the study (2020 and 2021), participants were randomly assigned to use the app to view program notes during the first concert or to use the app during the second concert. A total of 139 participants (67 in 2020 and 72 in 2021) completed three online questionnaires, one before attending the first concert, one immediately after the concert, and the third immediately after the second concert. Questionnaires assessed demographic background, expertise in music, engagement during the concert, learning of content about the composers and the symphonies, and interest in the future use of the app. In both phases of the study, participants demonstrated that they learned content presented on the app, evidenced by the fact that their multiple-choice test scores were significantly higher when they used the app than when they did not. In addition, most participants indicated that using the app enriched their experience of the concert. Overall, they were very positive about their experience using the app for real-time learning and they expressed interest in using it in the future at both live and streaming concerts. Results confirmed that informal real-time learning during concerts is possible and can generate enhanced engagement and interest in classical music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title="audience engagement">audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=informal%20education" title=" informal education"> informal education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20technology" title=" music technology"> music technology</a>, <a href="https://publications.waset.org/abstracts/search?q=real-time%20learning" title=" real-time learning"> real-time learning</a> </p> <a href="https://publications.waset.org/abstracts/141533/enhancing-audience-engagement-informal-music-learning-during-classical-concerts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141533.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">203</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">38</span> Obsession of Time and the New Musical Ontologies. The Concert for Saxophone, Daniel Kientzy and Orchestra by Myriam Marbe</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dutica%20Luminita">Dutica Luminita</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetype" title="archetype">archetype</a>, <a href="https://publications.waset.org/abstracts/search?q=chronogenesis" title=" chronogenesis"> chronogenesis</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=multiphonics" title=" multiphonics"> multiphonics</a> </p> <a href="https://publications.waset.org/abstracts/29047/obsession-of-time-and-the-new-musical-ontologies-the-concert-for-saxophone-daniel-kientzy-and-orchestra-by-myriam-marbe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29047.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">543</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">37</span> Classical Improvisation Facilitating Enhanced Performer-Audience Engagement and a Mutually Developing Impulse Exchange with Concert Audiences</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pauliina%20Haustein">Pauliina Haustein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation was part of Western classical concert culture and performers’ skill sets until early 20th century. Historical accounts, as well as recent studies, indicate that improvisatory elements in the programme may contribute specifically towards the audiences’ experience of enhanced emotional engagement during the concert. This paper presents findings from the author’s artistic practice research, which explored re-introducing improvisation to Western classical performance practice as a musician (cellist and ensemble partner/leader). In an investigation of four concert cycles, the performer-researcher sought to gain solo and chamber music improvisation techniques (both related to and independent of repertoire), conduct ensemble improvisation rehearsals, design concerts with an improvisatory approach, and reflect on interactions with audiences after each concert. Data was collected through use of reflective diary, video recordings, measurement of sound parameters, questionnaires, a focus group, and interviews. The performer’s empirical experiences and findings from audience research components were juxtaposed and interrogated to better understand the (1) rehearsal and planning processes that enable improvisatory elements to return to Western classical concert experience and (2) the emotional experience and type of engagement that occur throughout the concert experience for both performer and audience members. This informed the development of a concert model, in which a programme of solo and chamber music repertoire and improvisations were combined according to historically evidenced performance practice (including free formal solo and ensemble improvisations based on audience suggestions). Inspired by historical concert culture, where elements of risk-taking, spontaneity, and audience involvement (such as proposing themes for fantasies) were customary, this concert model invited musicians to contribute to the process personally and creatively at all stages, from programme planning, and throughout the live concert. The type of democratic, personal, creative, and empathetic collaboration that emerged, as a result, appears unique in Western classical contexts, rather finding resonance in jazz ensemble, drama, or interdisciplinary settings. The research identified features of ensemble improvisation, such as empathy, emergence, mutual engagement, and collaborative creativity, that became mirrored in audience’s responses, generating higher levels of emotional engagement, empathy, inclusivity, and a participatory, co-creative experience. It appears that duringimprovisatory moments in the concert programme, audience members started feeling more like active participants in za\\a creative, collaborative exchange and became stakeholders in a deeper phenomenon of meaning-making and narrativization. Examining interactions between all involved during the concert revealed that performer-audience impulse exchange occurred on multiple levels of awareness and seemed to build upon each other, resulting in particularly strong experiences of both performer and audience’s engagement. This impact appeared especially meaningful for audience members who were seldom concertgoers and reported little familiarity with classical music. The study found that re-introducing improvisatory elements to Western classical concert programmes has strong potential in increasing audience’s emotional engagement with the musical performance, enabling audience members to connect more personally with the individual performers, and in reaching new-to-classical-music audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title=" audience engagement"> audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20experience" title=" audience experience"> audience experience</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20improvisation" title=" classical improvisation"> classical improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=ensemble%20improvisation" title=" ensemble improvisation"> ensemble improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20engagement" title=" emotional engagement"> emotional engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisatory%20approach" title=" improvisatory approach"> improvisatory approach</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=practice%20research" title=" practice research"> practice research</a> </p> <a href="https://publications.waset.org/abstracts/145986/classical-improvisation-facilitating-enhanced-performer-audience-engagement-and-a-mutually-developing-impulse-exchange-with-concert-audiences" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> Rethinking Classical Concerts in the Digital Era: Transforming Sound, Experience, and Engagement for the New Generation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Orit%20Wolf">Orit Wolf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical music confronts a crucial challenge: updating cherished concert traditions for the digital age. This paper is a journey, and a quest to make classical concerts resonate with a new generation. It's not just about asking questions; it's about exploring the future of classical concerts and their potential to captivate and connect with today's audience in an era defined by change. The younger generation, known for their love of diversity, interactive experiences, and multi-sensory immersion, cannot be overlooked. This paper explores innovative strategies that forge deep connections with audiences whose relationship with classical music differs from the past. The urgency of this challenge drives the transformation of classical concerts. Examining classical concerts is necessary to understand how they can harmonize with contemporary sensibilities. New dimensions in audiovisual experiences that enchant the emerging generation are sought. Classical music must embrace the technological era while staying open to fusion and cross-cultural collaboration possibilities. The role of technology and Artificial Intelligence (AI) in reshaping classical concerts is under research. The fusion of classical music with digital experiences and dynamic interdisciplinary collaborations breathes new life into the concert experience. It aligns classical music with the expectations of modern audiences, making it more relevant and engaging. Exploration extends to the structure of classical concerts. Conventions are challenged, and ways to make classical concerts more accessible and captivating are sought. Inspired by innovative artistic collaborations, musical genres and styles are redefined, transforming the relationship between performers and the audience. This paper, therefore, aims to be a catalyst for dialogue and a beacon of innovation. A set of critical inquiries integral to reshaping classical concerts for the digital age is presented. As the world embraces digital transformation, classical music seeks resonance with contemporary audiences, redefining the concert experience while remaining true to its roots and embracing revolutions in the digital age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=new%20concert%20formats" title="new concert formats">new concert formats</a>, <a href="https://publications.waset.org/abstracts/search?q=reception%20of%20classical%20music" title=" reception of classical music"> reception of classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=interdiscplinary%20concerts" title=" interdiscplinary concerts"> interdiscplinary concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20in%20the%20new%20musical%20era" title=" innovation in the new musical era"> innovation in the new musical era</a>, <a href="https://publications.waset.org/abstracts/search?q=mash-up" title=" mash-up"> mash-up</a>, <a href="https://publications.waset.org/abstracts/search?q=cross%20culture" title=" cross culture"> cross culture</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20concerts" title=" innovative concerts"> innovative concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=engaging%20musical%20performances" title=" engaging musical performances"> engaging musical performances</a> </p> <a href="https://publications.waset.org/abstracts/175580/rethinking-classical-concerts-in-the-digital-era-transforming-sound-experience-and-engagement-for-the-new-generation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175580.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">64</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">35</span> Audience Members' Perspective-Taking Predicts Accurate Identification of Musically Expressed Emotion in a Live Improvised Jazz Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Omer%20Leshem">Omer Leshem</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20F.%20Schober"> Michael F. Schober</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper introduces a new method for assessing how audience members and performers feel and think during live concerts, and how audience members' recognized and felt emotions are related. Two hypotheses were tested in a live concert setting: (1) that audience members’ cognitive perspective taking ability predicts their accuracy in identifying an emotion that a jazz improviser intended to express during a performance, and (2) that audience members' affective empathy predicts their likelihood of feeling the same emotions as the performer. The aim was to stage a concert with audience members who regularly attend live jazz performances, and to measure their cognitive and affective reactions during the performance as non-intrusively as possible. Pianist and Grammy nominee Andy Milne agreed, without knowing details of the method or hypotheses, to perform a full-length solo improvised concert that would include an ‘unusual’ piece. Jazz fans were recruited through typical advertising for New York City jazz performances. The event was held at the New School’s Glass Box Theater, the home of leading NYC jazz venue ‘The Stone.’ Audience members were charged typical NYC jazz club admission prices; advertisements informed them that anyone who chose to participate in the study would be reimbursed their ticket price after the concert. The concert, held in April 2018, had 30 attendees, 23 of whom participated in the study. Twenty-two minutes into the concert, the performer was handed a paper note with the instruction: ‘Perform a 3-5-minute improvised piece with the intention of conveying sadness.’ (Sadness was chosen based on previous music cognition lab studies, where solo listeners were less likely to select sadness as the musically-expressed emotion accurately from a list of basic emotions, and more likely to misinterpret sadness as tenderness). Then, audience members and the performer were invited to respond to a questionnaire from a first envelope under their seat. Participants used their own words to describe the emotion the performer had intended to express, and then to select the intended emotion from a list. They also reported the emotions they had felt while listening using Izard’s differential emotions scale. The concert then continued as usual. At the end, participants answered demographic questions and Davis’ interpersonal reactivity index (IRI), a 28-item scale designed to assess both cognitive and affective empathy. Hypothesis 1 was supported: audience members with greater cognitive empathy were more likely to accurately identify sadness as the expressed emotion. Moreover, audience members who accurately selected ‘sadness’ reported feeling marginally sadder than people who did not select sadness. Hypotheses 2 was not supported; audience members with greater affective empathy were not more likely to feel the same emotions as the performer. If anything, members with lower cognitive perspective-taking ability had marginally greater emotional overlap with the performer, which makes sense given that these participants were less likely to identify the music as sad, which corresponded with the performer’s actual feelings. Results replicate findings from solo lab studies in a concert setting and demonstrate the viability of exploring empathy and collective cognition in improvised live performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience" title="audience">audience</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20cognition" title=" collective cognition"> collective cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=empathy" title=" empathy"> empathy</a>, <a href="https://publications.waset.org/abstracts/search?q=expressed%20emotion" title=" expressed emotion"> expressed emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=felt%20emotion" title=" felt emotion"> felt emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=live%20performance" title=" live performance"> live performance</a>, <a href="https://publications.waset.org/abstracts/search?q=recognized%20emotion" title=" recognized emotion"> recognized emotion</a> </p> <a href="https://publications.waset.org/abstracts/102956/audience-members-perspective-taking-predicts-accurate-identification-of-musically-expressed-emotion-in-a-live-improvised-jazz-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102956.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">132</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">34</span> Classical Music Unplugged: The Future of Classical Music Performance: Tradition, Technology, and Audience Engagement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Orit%20Wolf">Orit Wolf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical music performance is undergoing a profound transformation, marked by a confluence of technological advancements and evolving cultural dynamics. This academic paper explores the multifaceted changes and challenges faced by classical music performance, considering the impact of artificial intelligence (AI) along with other vital factors shaping this evolution. In the contemporary era, classical music is experiencing shifts in performance practices. This paper delves into these changes, emphasizing the need for adaptability within the classical music world. From repertoire selection and concert formats to artistic expression, performers and institutions navigate a delicate balance between tradition and innovation. We explore how these changes impact the authenticity and vitality of classical music performances. Furthermore, the influence of AI in the classical music concert world cannot be underestimated. AI technologies are making inroads into various aspects, from composition assistance to rehearsal and live performances. This paper examines the transformative effects of AI, considering how it enhances precision, adaptability, and creative exploration for musicians. We explore the implications for composers, performers, and the overall concert experience while addressing ethical concerns and creative opportunities. In addition to AI, there is the importance of cross-genre interactions within the classical music sphere. Mash-ups and collaborations with artists from diverse musical backgrounds are redefining the boundaries of classical music and creating works that resonate with a wider and more diverse audience. The benefits of cross-pollination in classical music seem crucial, offering a fresh perspective to listeners. As an active concert artist, Orit Wolf will share how the expectations of classical music audiences are evolving. Modern concertgoers seek not only exceptional musical performances but also immersive experiences that may involve technology, multimedia, and interactive elements. This paper examines how classical musicians and institutions are adapting to these changing expectations, using technology and innovative concert formats to deliver a unique and enriched experience to their audiences. As these changes and challenges reshape the classical music world, the need for a harmonious coexistence of tradition, technology, and innovation becomes evident. Musicians, composers, and institutions are striving to find a balance that ensures classical music remains relevant in a rapidly changing cultural landscape while maintaining the value it brings to compositions and audiences. This paper, therefore, aims to explore the evolving trends in classical music performance. It considers the influence of AI as one element within the broader context of change, highlighting the necessity of adaptability, cross-genre interactions, and a response to evolving audience expectations. By doing so, the classical music world can navigate this transformative period while preserving its timeless traditions and adding value to both performers and listeners. Orit Wolf, an international concert pianist, fulfils her vision to bring this music in new ways to mass audiences and will share her personal and professional experience as an artist who goes on stage and makes disruptive concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross%20culture%20collaboration" title="cross culture collaboration">cross culture collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance%20and%20ai" title=" music performance and ai"> music performance and ai</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20music%20in%20the%20digital%20age" title=" classical music in the digital age"> classical music in the digital age</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20concerts" title=" classical concerts"> classical concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20and%20technology" title=" innovation and technology"> innovation and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20innovation" title=" performance innovation"> performance innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement%20in%20classical%20concerts" title=" audience engagement in classical concerts"> audience engagement in classical concerts</a> </p> <a href="https://publications.waset.org/abstracts/175572/classical-music-unplugged-the-future-of-classical-music-performance-tradition-technology-and-audience-engagement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175572.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">64</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">33</span> Performants: Making the Organization of Concerts Easier</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ioannis%20Andrianakis">Ioannis Andrianakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Panagiotis%20Panagiotopoulos"> Panagiotis Panagiotopoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Kyriakos%20Chatzidimitriou"> Kyriakos Chatzidimitriou</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Tampakis"> Dimitrios Tampakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Manolis%20Falelakis"> Manolis Falelakis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Live music, whether performed in organized venues, restaurants, hotels or any other spots, creates value chains that support and develop local economies and tourism development. In this paper, we describe PerformAnts, a platform that increases the mobility of musicians and their accessibility to remotely located venues by rationalizing the cost of live acts. By analyzing the event history and taking into account their potential availability, the platform provides bespoke recommendations to both bands and venues while also facilitating the organization of tours and helping rationalize transportation expenses by realizing an innovative mechanism called “chain booking”. Moreover, the platform provides an environment where complicated tasks such as technical and financial negotiations, concert promotion or copyrights are easily manipulated by users using best practices. The proposed solution provides important benefits to the whole spectrum of small/medium size concert organizers, as the complexity and the cost of the production are rationalized. The environment is also very beneficial for local talent, musicians that are very mobile, venues located away from large urban areas or in touristic destinations, and managers who will be in a position to coordinate a larger number of musicians without extra effort. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title="machine learning">machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20industry" title=" music industry"> music industry</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title=" creative industries"> creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=web%20applications" title=" web applications"> web applications</a> </p> <a href="https://publications.waset.org/abstracts/162544/performants-making-the-organization-of-concerts-easier" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162544.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">97</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">32</span> Effect of Lullabies on Babies Stress and Relaxation Symptoms in the Neonatal Intensive Care Units</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meltem%20%20K%C3%BCrt%C3%BCnc%C3%BC">Meltem Kürtüncü</a>, <a href="https://publications.waset.org/abstracts/search?q=I%C5%9F%C4%B1n%20Alkan"> Işın Alkan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective: This study was carried out with an experimental design in order to determine whether the lullaby, which was listened from mother’s voice and a stranger’s voice to the babies born at term and hospitalized in neonatal intensive care unit, had an effect on stress and relaxation symptoms of the infants. Method: Data from the study were obtained from 90 newborn babies who were hospitalized in Neonatal Intensive Care Unit of Zonguldak Maternity And Children Hospital between September 2015-January 2016 and who met the eligibility criteria. Lullaby concert was performed by choosing one of the suitable care hours. Stress and relaxation symptoms were recorded by the researcher on “Newborn response follow-up form” at pre-care and post-care. Results: After lullaby concert when stress symptoms compared to infants in the experimental and control groups before the care was not detected statistically significant difference between crying, contraction, facial grimacing, flushing, cyanosis and the rates of increase in temperature. After care, crying, contractions, facial grimacing, flushing, and restlessness revealed a statistically significant difference between the groups, but as the cyanosis and temperature increased stress responses did not result in a significant difference between the groups. In the control group babies the crying, contraction, facial grimacing, flushing, and restlessness behaviors rates were found to be significantly higher than experimental group babies. After lullaby concert when relaxation symptoms compared to infants in the experimental and control groups before the care, eye contact rates who listen to lullaby from mother’s voice was found to be significantly higher than infants who listen to lullaby from stranger’s voice and infants in the control group. After care as eye contact, smiling, sucking/searching, yawning, non-crying and sleep behaviors relaxation symptoms revealed statistically significant results. In the control group, these behaviors were found statistically lower degree than the experimental groups. Conclusion: Lullaby concerts as masking the ambient noise, reducing the stress symptoms and increasing the relaxation symptoms, and also for soothing and stimulant affects, due to ease the transition to the sleep state should be preferred in the neonatal intensive care units. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=lullaby" title="lullaby">lullaby</a>, <a href="https://publications.waset.org/abstracts/search?q=mother%20voice" title=" mother voice"> mother voice</a>, <a href="https://publications.waset.org/abstracts/search?q=relaxation" title=" relaxation"> relaxation</a>, <a href="https://publications.waset.org/abstracts/search?q=stress" title=" stress"> stress</a> </p> <a href="https://publications.waset.org/abstracts/64813/effect-of-lullabies-on-babies-stress-and-relaxation-symptoms-in-the-neonatal-intensive-care-units" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64813.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">231</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">31</span> Decision Support Tool for Water Re-used Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Paw%C4%99ska">Katarzyna Pawęska</a>, <a href="https://publications.waset.org/abstracts/search?q=Aleksandra%20Bawiec"> Aleksandra Bawiec</a>, <a href="https://publications.waset.org/abstracts/search?q=Ewa%20Burszta-Adamiak"> Ewa Burszta-Adamiak</a>, <a href="https://publications.waset.org/abstracts/search?q=Wies%C5%82aw%20Fia%C5%82kiewicz"> Wiesław Fiałkiewicz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The water shortage becomes a serious problem not only in African and Middle Eastern countries, but also recently in the European Union. Scarcity of water means that not all agricultural, industrial and municipal needs will be met. When the annual availability of renewable freshwater per capita is less than 1,700 cubic meters, countries begin to experience periodic or regular water shortages. The phenomenon of water stress is the result of an imbalance between the constantly growing demand for water and its availability. The constant development of industry, population growth, and climate changes make the situation even worse. The search for alternative water sources and independent supplies is becoming a priority for many countries. Data enabling the assessment of country’s condition regarding water resources, water consumption, water price, wastewater volume, forecasted climate changes e.g. temperature, precipitation, are scattered and their interpretation by common entrepreneurs may be difficult. For this purpose, a digital tool has been developed to support decisions related to the implementation of water and wastewater re-use systems, as a result of an international research project “Framework for organizational decision-making process in water reuse for smart cities” (SMART-WaterDomain) funded under the EIG-CONCERT Japan call on Smart Water Management for Sustainable Society. The developed geo-visualization tool graphically presents, among others, data about the capacity of wastewater treatment plants and the volume of water demand in the private and public sectors for Poland, Germany, and the Czech Republic. It is expected that such a platform, extended with economical water management data and climate forecasts (temperature, precipitation), will allow in the future independent investigation and assessment of water use rate and wastewater production on the local and regional scale. The tool is a great opportunity for small business owners, entrepreneurs, farmers, local authorities, and common users to analyze the impact of climate change on the availability of water in the regions of their business activities. Acknowledgments: The authors acknowledge the support of the Project Organisational Decision Making in Water Reuse for Smart Cities (SMART- WaterDomain), funded by The National Centre for Research and Development and supported by the EIG-Concert Japan. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=circular%20economy" title="circular economy">circular economy</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20tool" title=" digital tool"> digital tool</a>, <a href="https://publications.waset.org/abstracts/search?q=geo-visualization" title=" geo-visualization"> geo-visualization</a>, <a href="https://publications.waset.org/abstracts/search?q=wastewater%20re-use" title=" wastewater re-use"> wastewater re-use</a> </p> <a href="https://publications.waset.org/abstracts/178274/decision-support-tool-for-water-re-used-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178274.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">56</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">30</span> The Improvement of Environmental Protection through Motor Vehicle Noise Abatement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Z.%20Jovanovic">Z. Jovanovic</a>, <a href="https://publications.waset.org/abstracts/search?q=Z.%20Masonicic"> Z. Masonicic</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Dragutinovic"> S. Dragutinovic</a>, <a href="https://publications.waset.org/abstracts/search?q=Z.%20Sakota"> Z. Sakota</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, a methodology for noise reduction of motor vehicles in use is presented. The methodology relies on synergic model of noise generation as a function of time. The arbitrary number of motor vehicle noise sources act in concert yielding the generation of the overall noise level of motor vehicle thereafter. The number of noise sources participating in the overall noise level of motor vehicle is subjected to the constraint of the calculation of the acoustic potential of each noise source under consideration. It is the prerequisite condition for the calculation of the acoustic potential of the whole vehicle. The recast form of pertinent set of equations describing the synergic model is laid down and solved by dint of Gauss method. The bunch of results emerged and some of them i.e. those ensuing from model application to MDD FAP Priboj motor vehicle in use are particularly elucidated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=noise%20abatement" title="noise abatement">noise abatement</a>, <a href="https://publications.waset.org/abstracts/search?q=MV%20noise%20sources" title=" MV noise sources"> MV noise sources</a>, <a href="https://publications.waset.org/abstracts/search?q=noise%20source%20identification" title=" noise source identification"> noise source identification</a>, <a href="https://publications.waset.org/abstracts/search?q=muffler" title=" muffler"> muffler</a> </p> <a href="https://publications.waset.org/abstracts/47373/the-improvement-of-environmental-protection-through-motor-vehicle-noise-abatement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47373.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">445</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">29</span> The Women's Orchestra and Music in Auschwitz-Birkenau: A Qualitative Study on Nazi Manipulation </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20T.%20%20Kohler">K. T. Kohler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Typically in war, force involves physical violence, though those who perpetrated the Holocaust expanded manipulation techniques to include mental violence. This qualitative research study was conducted to understand the effects that the music of the Women’s Orchestra of Auschwitz-Birkenau had on women prisoners during World War II. Over 100 testimonies from the USC Shoah Foundation’s Visual History Archive reveal that the orchestra’s music had a profoundly distressing effect on many of the women in the camp. Led by Gustav Mahler’s granddaughter, Alma Rosé, the orchestra rhythmed the life cycle of the camp, from marching to and from work, Sunday concerts, welcoming transports, to the prisoners’ walk to gas chambers. What surfaced from these testimonies was that the more technical the exposure a woman had to music before camp, the more disturbing its effect. The juxtaposition of beauty with the visible horror of the camp thrust them into an impossible state where suicide became a plausible alternative. By exploiting the Women’s Orchestra, the Nazis made music a critical component of manipulation within Auschwitz-Birkenau. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alma%20Ros%C3%A9" title="Alma Rosé">Alma Rosé</a>, <a href="https://publications.waset.org/abstracts/search?q=Auschwitz-Birkenau" title=" Auschwitz-Birkenau"> Auschwitz-Birkenau</a>, <a href="https://publications.waset.org/abstracts/search?q=camp%20life" title=" camp life"> camp life</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=Holocaust" title=" Holocaust"> Holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=O%C5%9Bwi%C4%99cim" title=" Oświęcim"> Oświęcim</a>, <a href="https://publications.waset.org/abstracts/search?q=Poland" title=" Poland"> Poland</a>, <a href="https://publications.waset.org/abstracts/search?q=women%E2%80%99s%20orchestra" title=" women’s orchestra "> women’s orchestra </a> </p> <a href="https://publications.waset.org/abstracts/102510/the-womens-orchestra-and-music-in-auschwitz-birkenau-a-qualitative-study-on-nazi-manipulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102510.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">185</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">28</span> Effect of Concentration of Alkaline and Curing Temperature on Compressive Strength of Geopolymer Concert</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nursah%20Kutuk">Nursah Kutuk</a>, <a href="https://publications.waset.org/abstracts/search?q=Sevil%20Cetinkaya"> Sevil Cetinkaya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Geopolymers are becoming new concrete materials to use alongside cement, which are formed due to reaction between alumino-silicates and oxides with alkaline media. Silicates obtained from natural minerals or industrial wastes are used for geopolymer synthesis. Geopolymers have recently received wide attention because of their advantages over other cementitious material like Portland cement. Some of the advantages are high compressive strength, low environmental impact, chemical and fire resistance and thermal stability. In this study, geopolymers were prepared by using inorganic materials such as kaolinite and calcite. The experiments were carried out by varying the concentration of NaOH as 5, 10, 15 and 20 M, and at cure temperature of 22, 45 and 65 °C. Compressive strengths for each mixes at each cure temperature were measured. Results of the analyses indicated that the compressive strength of geopolymers did not increase steadily with increasing concentration of NaOH, but did increase steadily with increasing cure temperature. We examined the effect Na2SiO3/NaOH weight ratio on the properties of the geopolymers, too. It was seen that Na2SiO3/NaOH weight ratio was also important to prepare geopolymers that can be applied to construction industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=geopolymers" title="geopolymers">geopolymers</a>, <a href="https://publications.waset.org/abstracts/search?q=compressive%20strength" title=" compressive strength"> compressive strength</a>, <a href="https://publications.waset.org/abstracts/search?q=kaolinite" title=" kaolinite"> kaolinite</a>, <a href="https://publications.waset.org/abstracts/search?q=calcite" title=" calcite"> calcite</a> </p> <a href="https://publications.waset.org/abstracts/37489/effect-of-concentration-of-alkaline-and-curing-temperature-on-compressive-strength-of-geopolymer-concert" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37489.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">301</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">27</span> Multimodal Direct Neural Network Positron Emission Tomography Reconstruction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=William%20Whiteley">William Whiteley</a>, <a href="https://publications.waset.org/abstracts/search?q=Jens%20Gregor"> Jens Gregor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent developments of direct neural network based positron emission tomography (PET) reconstruction, two prominent architectures have emerged for converting measurement data into images: 1) networks that contain fully-connected layers; and 2) networks that primarily use a convolutional encoder-decoder architecture. In this paper, we present a multi-modal direct PET reconstruction method called MDPET, which is a hybrid approach that combines the advantages of both types of networks. MDPET processes raw data in the form of sinograms and histo-images in concert with attenuation maps to produce high quality multi-slice PET images (e.g., 8x440x440). MDPET is trained on a large whole-body patient data set and evaluated both quantitatively and qualitatively against target images reconstructed with the standard PET reconstruction benchmark of iterative ordered subsets expectation maximization. The results show that MDPET outperforms the best previously published direct neural network methods in measures of bias, signal-to-noise ratio, mean absolute error, and structural similarity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deep%20learning" title="deep learning">deep learning</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20reconstruction" title=" image reconstruction"> image reconstruction</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=neural%20network" title=" neural network"> neural network</a>, <a href="https://publications.waset.org/abstracts/search?q=positron%20emission%20tomography" title=" positron emission tomography"> positron emission tomography</a> </p> <a href="https://publications.waset.org/abstracts/126580/multimodal-direct-neural-network-positron-emission-tomography-reconstruction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/126580.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">111</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">26</span> Optimizing Logistics for Courier Organizations with Considerations of Congestions and Pickups: A Courier Delivery System in Amman as Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nader%20A.%20Al%20Theeb">Nader A. Al Theeb</a>, <a href="https://publications.waset.org/abstracts/search?q=Zaid%20Abu%20Manneh"> Zaid Abu Manneh</a>, <a href="https://publications.waset.org/abstracts/search?q=Ibrahim%20Al-Qadi"> Ibrahim Al-Qadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traveling salesman problem (TSP) is a combinatorial integer optimization problem that asks "What is the optimal route for a vehicle to traverse in order to deliver requests to a given set of customers?”. It is widely used by the package carrier companies’ distribution centers. The main goal of applying the TSP in courier organizations is to minimize the time that it takes for the courier in each trip to deliver or pick up the shipments during a day. In this article, an optimization model is constructed to create a new TSP variant to optimize the routing in a courier organization with a consideration of congestion in Amman, the capital of Jordan. Real data were collected by different methods and analyzed. Then, concert technology - CPLEX was used to solve the proposed model for some random generated data instances and for the real collected data. At the end, results have shown a great improvement in time compared with the current trip times, and an economic study was conducted afterwards to figure out the impact of using such models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=travel%20salesman%20problem" title="travel salesman problem">travel salesman problem</a>, <a href="https://publications.waset.org/abstracts/search?q=congestions" title=" congestions"> congestions</a>, <a href="https://publications.waset.org/abstracts/search?q=pick-up" title=" pick-up"> pick-up</a>, <a href="https://publications.waset.org/abstracts/search?q=integer%20programming" title=" integer programming"> integer programming</a>, <a href="https://publications.waset.org/abstracts/search?q=package%20carriers" title=" package carriers"> package carriers</a>, <a href="https://publications.waset.org/abstracts/search?q=service%20engineering" title=" service engineering"> service engineering</a> </p> <a href="https://publications.waset.org/abstracts/73379/optimizing-logistics-for-courier-organizations-with-considerations-of-congestions-and-pickups-a-courier-delivery-system-in-amman-as-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/73379.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">25</span> Performants: A Digital Event Manager-Organizer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ioannis%20Andrianakis">Ioannis Andrianakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Manolis%20Falelakis"> Manolis Falelakis</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20Pavlidou"> Maria Pavlidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Konstantinos%20Papakonstantinou"> Konstantinos Papakonstantinou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ermioni%20Avramidou"> Ermioni Avramidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Dimitrios%20Kalogiannis"> Dimitrios Kalogiannis</a>, <a href="https://publications.waset.org/abstracts/search?q=Nikolaos%20Milios"> Nikolaos Milios</a>, <a href="https://publications.waset.org/abstracts/search?q=Katerina%20Bountakidou"> Katerina Bountakidou</a>, <a href="https://publications.waset.org/abstracts/search?q=Kiriakos%20Chatzidimitriou"> Kiriakos Chatzidimitriou</a>, <a href="https://publications.waset.org/abstracts/search?q=Panagiotis%20Panagiotopoulos"> Panagiotis Panagiotopoulos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Artistic events, such as concerts and performances, are challenging to organize because they involve many people with different skill sets. Small and medium venues often struggle to afford the costs and overheads of booking and hosting remote artists, especially if they lack sponsors or subsidies. This limits the opportunities for both venues and artists, especially those outside of big cities. However, more and more research shows that audiences prefer smaller-scale events and concerts, which benefit local economies and communities. To address this challenge, our project “PerformAnts: Digital Event Manager-Organizer” aims to develop a smart digital tool that automates and optimizes the processes and costs of live shows and tours. By using machine learning, applying best practices and training users through workshops, our platform offers a comprehensive solution for a growing market, enhances the mobility of artists and the accessibility of venues and allows professionals to focus on the creative aspects of concert production. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=event%20organization" title="event organization">event organization</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title=" creative industries"> creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=event%20promotion" title=" event promotion"> event promotion</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a> </p> <a href="https://publications.waset.org/abstracts/170627/performants-a-digital-event-manager-organizer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170627.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">24</span> Oxytocin and Sensorimotor Synchronization in Pairs of Strangers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yana%20Gorina">Yana Gorina</a>, <a href="https://publications.waset.org/abstracts/search?q=Olga%20Lopatina"> Olga Lopatina</a>, <a href="https://publications.waset.org/abstracts/search?q=Elina%20Tsigeman"> Elina Tsigeman</a>, <a href="https://publications.waset.org/abstracts/search?q=Larisa%20Mararitsa"> Larisa Mararitsa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The ability to act in concert with others, the so-called sensorimotor synchronisation, is a fundamental human ability that underlies successful interpersonal coordination. The manifestation of accuracy and plasticity in synchronisation is an adaptive aspect of interaction with the environment, as well as the ability to predict upcoming actions and behaviour of others. The ability to temporarily coordinate one’s actions with a predictable external event is manifested in such types of social behaviour as a synchronised group dance to music played live by an orchestra, group sports (rowing, swimming, etc.), synchronised actions of surgeons during an operation, applause from an admiring audience, walking rhythms, etc. Both our body and mind are involved in achieving the synchronisation during social interactions. However, it has not yet been well described how the brain determine the external rhythm and what neuropeptides coordinate and synchronise actions. Over the past few decades, there has been an increased interest among neuroscientists and neurophysiologists regarding the neuropeptide oxytocin in the context of its complex, diverse and sometimes polar effects manifested in the emotional and social aspects of behaviour (attachment, trust, empathy, emotion recognition, stress response, anxiety and depression, etc.). Presumable, oxytocin might also be involved in social synchronisation processes. The aim of our study is to test the hypothesis that oxytocin is linked to interpersonal synchronisation in a pair of strangers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=behavior" title="behavior">behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=movement" title=" movement"> movement</a>, <a href="https://publications.waset.org/abstracts/search?q=oxytocin" title=" oxytocin"> oxytocin</a>, <a href="https://publications.waset.org/abstracts/search?q=synchronization" title=" synchronization"> synchronization</a> </p> <a href="https://publications.waset.org/abstracts/172103/oxytocin-and-sensorimotor-synchronization-in-pairs-of-strangers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172103.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">62</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">23</span> The Role of Uzbek Music Culture in Tourism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Odina%20Omonjonova">Odina Omonjonova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Uzbek people have a rich history and a rapidly developing music culture for several centuries. Monuments, shrines, places of culture and spirituality, which are the most beautiful proofs of history, show that this country has been a center of wisdom since ancient times. Nowadays, Uzbekistan is opening its face to the world with its unique spiritual heritage, historical monuments, peaceful corners and beautiful landscapes. Tourists from many countries visit and get acquainted with Uzbek culture and history and acknowledge it with great respect. The place of traditional music in describing the national color on the world scale is incomparable. Oral folk works that have reached this period, lapar, yalla, songs and ‘Shashmaqom’ are the intangible spiritual wealth of the Uzbek people. They embody the ancient and great history, spiritual world, artistic philosophy, spirit and values of our nation. National music is the main part of the culture of the nation, and here it is worth emphasizing the importance of music in the tourism of Uzbekistan. Foreign guests can enjoy our national music in various ways: (1) Concerts: There are many concert halls and cultural centers in the cities of Uzbekistan, where many concerts and events are held. Well-known musicians, singers and ensembles add more beauty to the beauty of these places, performing musical samples in Shashmaqom and other traditional styles. In these concert programs, tourists will have the opportunity to listen to works of art in an attractive live performance. (2) Festivals: Many music festivals are held in Uzbekistan throughout the year. The ‘Sharq Taronalari’ international music festival is a unique holiday where musicians from all over the world gather to celebrate the diversity of musical traditions. In recent years, traditional music has been played regularly in a number of festivals such as the ‘International Maqom Festival’, ‘International Craft Festival’ and ‘Boysun Bahari’ held in our country, which has increased the attention of travelers to our music culture. (3) Cultural seminars. Tourists interested in hands-on musical experience can participate in musical workshops. These classes allow tourists to learn to play traditional musical instruments and even participate in group activities. (4) Street musicians: In the central places and ancient streets of Uzbekistan's cities, we can meet street musicians playing soulful tunes. Performing and singing folklore samples on modern instruments directly attracts foreign guests. In Uzbekistan, national music and tourism have a direct and indirect connection. Music serves as a bridge between the country's history and its modern identity and enriches the travel experience. The impact of national music on tourism goes beyond mere statistics. Although tourist arrivals have increased significantly due to music-related attractions, the real impact lies in the stories and live testimonies of visitors. Travelers often say that the rhythms of Uzbekistan touched their hearts and broadened their worldview. In addition, music tourism strengthens the country's economy, provides employment, supports local artisans and performers, and provides an opportunity to showcase their talents to a global audience. In short, Uzbekistan is not only a place of interest, but it is among the countries that attract travelers with its unique national music. Uzbek music, folklore, songs, from the wonderful melodies of ‘Shashmaqom’ to the attractive sounds of traditional musical instruments, give aesthetic and spiritual pleasure and are important in organizing a large-scale trip for tourists visiting the country. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20music" title="traditional music">traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=folklore" title=" folklore"> folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=shashmaqom" title=" shashmaqom"> shashmaqom</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=street%20musicians" title=" street musicians"> street musicians</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20musical%20instruments" title=" traditional musical instruments"> traditional musical instruments</a> </p> <a href="https://publications.waset.org/abstracts/188283/the-role-of-uzbek-music-culture-in-tourism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188283.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">39</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">22</span> Real-Time Recognition of Dynamic Hand Postures on a Neuromorphic System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qian%20Liu">Qian Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Steve%20Furber"> Steve Furber</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To explore how the brain may recognize objects in its general,accurate and energy-efficient manner, this paper proposes the use of a neuromorphic hardware system formed from a Dynamic Video Sensor~(DVS) silicon retina in concert with the SpiNNaker real-time Spiking Neural Network~(SNN) simulator. As a first step in the exploration on this platform a recognition system for dynamic hand postures is developed, enabling the study of the methods used in the visual pathways of the brain. Inspired by the behaviours of the primary visual cortex, Convolutional Neural Networks (CNNs) are modeled using both linear perceptrons and spiking Leaky Integrate-and-Fire (LIF) neurons. In this study's largest configuration using these approaches, a network of 74,210 neurons and 15,216,512 synapses is created and operated in real-time using 290 SpiNNaker processor cores in parallel and with 93.0% accuracy. A smaller network using only 1/10th of the resources is also created, again operating in real-time, and it is able to recognize the postures with an accuracy of around 86.4% -only 6.6% lower than the much larger system. The recognition rate of the smaller network developed on this neuromorphic system is sufficient for a successful hand posture recognition system, and demonstrates a much-improved cost to performance trade-off in its approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=spiking%20neural%20network%20%28SNN%29" title="spiking neural network (SNN)">spiking neural network (SNN)</a>, <a href="https://publications.waset.org/abstracts/search?q=convolutional%20neural%20network%20%28CNN%29" title=" convolutional neural network (CNN)"> convolutional neural network (CNN)</a>, <a href="https://publications.waset.org/abstracts/search?q=posture%20recognition" title=" posture recognition"> posture recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=neuromorphic%20system" title=" neuromorphic system"> neuromorphic system</a> </p> <a href="https://publications.waset.org/abstracts/20330/real-time-recognition-of-dynamic-hand-postures-on-a-neuromorphic-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20330.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">472</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">21</span> Tornado Disaster Impacts and Management: Learning from the 2016 Tornado Catastrophe in Jiangsu Province, China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Huicong%20Jia">Huicong Jia</a>, <a href="https://publications.waset.org/abstracts/search?q=Donghua%20Pan"> Donghua Pan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a key component of disaster reduction management, disaster emergency relief and reconstruction is an important process. Based on disaster system theory, this study analyzed the Jiangsu tornado from the formation mechanism of disasters, through to the economic losses, loss of life, and social infrastructure losses along the tornado disaster chain. The study then assessed the emergency relief and reconstruction efforts, based on an analytic hierarchy process method. The results were as follows: (1) An unstable weather system was the root cause of the tornado. The potentially hazardous local environment, acting in concert with the terrain and the river network, was able to gather energy from the unstable atmosphere. The wind belt passed through a densely populated district, with vulnerable infrastructure and other hazard-prone elements, which led to an accumulative disaster situation and the triggering of a catastrophe. (2) The tornado was accompanied by a hailstorm, which is an important triggering factor for a tornado catastrophe chain reaction. (3) The evaluation index (EI) of the emergency relief and reconstruction effect for the ‘‘6.23’’ tornado disaster in Yancheng was 91.5. Compared to other relief work in areas affected by disasters of the same magnitude, there was a more successful response than has previously been experienced. The results provide new insights for studies of disaster systems and the recovery measures in response to tornado catastrophe in China. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=China" title="China">China</a>, <a href="https://publications.waset.org/abstracts/search?q=disaster%20system" title=" disaster system"> disaster system</a>, <a href="https://publications.waset.org/abstracts/search?q=emergency%20relief" title=" emergency relief"> emergency relief</a>, <a href="https://publications.waset.org/abstracts/search?q=tornado%20catastrophe" title=" tornado catastrophe"> tornado catastrophe</a> </p> <a href="https://publications.waset.org/abstracts/77717/tornado-disaster-impacts-and-management-learning-from-the-2016-tornado-catastrophe-in-jiangsu-province-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77717.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">270</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">20</span> Expression-Based Learning as a Starting Point to Promote Students’ Creativity in K-12 Schools in China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yanyue%20Yuan">Yanyue Yuan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, the author shares the findings of a pilot study that examines students’ creative expressions and their perceptions of creativity when engaged in project-based learning. The study is based on an elective course that the author co-designed and co-taught with a colleague to sixteen grade six and seven students over the spring semester in 2019. Using the Little Prince story as the main prompt, they facilitated students’ original creation of a storytelling concert that integrated script writing, music production, lyrics, songs, and visual design as a result of both individual and collaborative work. The author will share the specific challenges we met during the project, including learning cultures of the school, class management, teachers' and parents’ attitude, process-oriented versus product-oriented mindset, and facilities and logistical resources. The findings of this pilot study will inform the ongoing research initiative of exploring how we can foster creative learning in public schools in the Chinese context. While K-12 schools of China’s public education system are still dominated by exam-oriented and teacher-centered approaches, the author proposes that expression-based learning can be a starting point for promoting students’ creativity and can serve as experimental efforts to initiate incremental changes within the current education framework. The paper will also touch upon insights gained from collaborations between university and K-12 schools. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity" title="creativity">creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=expression-based%20learning" title=" expression-based learning"> expression-based learning</a>, <a href="https://publications.waset.org/abstracts/search?q=K-12" title=" K-12"> K-12</a>, <a href="https://publications.waset.org/abstracts/search?q=incremental%20changes" title=" incremental changes"> incremental changes</a> </p> <a href="https://publications.waset.org/abstracts/120987/expression-based-learning-as-a-starting-point-to-promote-students-creativity-in-k-12-schools-in-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120987.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">19</span> Thailand and Sino-Japanese Relations in the Early Twentieth Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mizuno%20Norihito">Mizuno Norihito</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study attempts to examine Japanese views of Thailand primarily in the 1920s and 1930s through the analysis of documents published by the Office of Governor-General of Taiwan (Taiwan Sotokufu) and its affiliated organizations. Japan regarded Taiwan, under its control since 1895, as a foothold to making inroads into the South, and The governor-general office was active in investigations and intelligence gathering in Southeast Asia, as well as the southern part of the Chinese continent. Documents published by the governor-general office and its related organizations, especially those in a couple of decades following the First World War, reveal that the Japanese paid attention to the presence of the-Thai-Chinese during the time period. It would not be surprising that the desiring to penetrating into the Thai market, as well as the markets of the rest of Southeast Asia, the Japanese could not ignore the presence of the Thai-Chinese because of their local economic influences. The increased Japanese concern about the Thai-Chinese toward the end of the 1920s and throughout the 1930s was, moreover, intertwined with the increased tension between China and Japan. In other words, Thailand, as well as the rest of Southeast Asia, became another arena of Sino-Japanese confrontation. The rise of nationalism against Japan in China infected the Thai-Chinese communities and threatened Japanese economic activities in the country. However, the Japanese simultaneously found out that Thai-Chinese concert with anti-Japanese in China did not necessarily match their business interests and that the Thai government’s efforts to assimilate the Thai-Chinese into the Thais society and strategic approach to Japan in the late 1930s hampered their anti-Japanese actions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Japanese-Thai%20Relations" title="Japanese-Thai Relations">Japanese-Thai Relations</a>, <a href="https://publications.waset.org/abstracts/search?q=Sino-Japanese%20relations" title=" Sino-Japanese relations"> Sino-Japanese relations</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20Chinese" title=" Thai Chinese"> Thai Chinese</a>, <a href="https://publications.waset.org/abstracts/search?q=Overseas%20Japanese" title=" Overseas Japanese"> Overseas Japanese</a> </p> <a href="https://publications.waset.org/abstracts/58376/thailand-and-sino-japanese-relations-in-the-early-twentieth-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58376.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">334</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Music Tourism for Identity and Cultural Communication in Qualitative Analysis with MAXQDA</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yixuan%20Peng">Yixuan Peng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music tourism is the phenomenon of people visiting a place because of their association with music, as well as the process of creating an emotional attachment to a place through the connection between people and music. Music offers people the opportunity to immerse themselves in the local culture. Music tourism is increasingly recognized as an industry with economic and social impacts. People often come together for a common purpose of music at a certain time and place, such as concert, opera, or music workshop. This is very similar to the act of pilgrimage: the process of participation evokes strong emotions; it takes time and money to get to the destination; the gathering, and the emotional co-frequency. This study conducted further qualitative research using MAXQDA by applying the musical topophilia model with East Asians as interview subjects. There are three steps to traveling: before, during and after the trip. To date, 53 individuals living in East Asia have been interviewed one-on-one (online/offline) about their travel experiences. This part of the interview is limited to the two stages that are before and after travel. Based on the results of the interviews above, and as Europe has the most representative music industry and the richest variety of music genres. The " during the trip" phase of the observations and interviews were conducted in Europe and involved on-site music in Salzburg and London, including musical theater, street music, and musical pilgrimages. Interviews with 24 people were conducted in English, Chinese and Japanese. This study will use data to demonstrate the followings: the irreplaceability of music in faraway places; the identity and sense of belonging that music brings; the ethnic barriers that music crosses; and the cultural communication that music enables. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=belongingness" title="belongingness">belongingness</a>, <a href="https://publications.waset.org/abstracts/search?q=gathering" title=" gathering"> gathering</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20pilgrimage" title=" modern pilgrimage"> modern pilgrimage</a>, <a href="https://publications.waset.org/abstracts/search?q=anthropology%20of%20music" title=" anthropology of music"> anthropology of music</a>, <a href="https://publications.waset.org/abstracts/search?q=sociology%20of%20music" title=" sociology of music"> sociology of music</a> </p> <a href="https://publications.waset.org/abstracts/174134/music-tourism-for-identity-and-cultural-communication-in-qualitative-analysis-with-maxqda" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174134.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">81</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">17</span> Anton Bruckner’s Requiem in Dm: The Reinterpretation of a Liturgical Genre in the Viennese Romantic Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sara%20Ramos%20Contioso">Sara Ramos Contioso</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The premiere of Anton Bruckner's Requiem in Dm, in September 1849, represents a turning point in the composer's creative evolution. This Mass of the Dead, which was dedicated to the memory of his esteemed friend and mentor Franz Sailer, establishes the beginning of a new creative aesthetic in the composer´s production and links its liturgical development, which is contextualized in the monastery of St. Florian, to the use of a range of musicals possibilities that are projected by Bruckner on an orchestral texture with choir and organ. Set on a strict tridentine ritual model, this requiem exemplifies the religious aesthetics of a composer that is committed to the Catholic faith and that also links to its structure the reinterpretation of a religious model that, despite being romantic, shows a strong influence derived from the baroque or the Viennese Classicism language. Consequently, the study responds to the need to show the survival of the Requiem Mass within the romantic context of Vienna. Therefore, it draws on a detailed analysis of the score and the creative context of the composer with the intention of linking the work to the tradition of the genre and also specifying the stylistic particularities of its musical model within a variability of possibilities such as the contrasting precedents of Mozart, Haydn, Cherubini or Berlioz´s requiems. Tradition or modernity, liturgy or concert hall are aesthetic references that will condition the development of the Requiem Mass in the middle of the nineteenth century. In this context, this paper tries to recover Bruckner's Requiem in Dm as a musical model of the romantic ritual of deceased and as a stylistic reference of a creative composition that will condition the development of later liturgical works such as Liszt or DeLange (1868) ones. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=liturgy" title="liturgy">liturgy</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20symbolism" title=" religious symbolism"> religious symbolism</a>, <a href="https://publications.waset.org/abstracts/search?q=requiem" title=" requiem"> requiem</a>, <a href="https://publications.waset.org/abstracts/search?q=romanticism" title=" romanticism"> romanticism</a> </p> <a href="https://publications.waset.org/abstracts/63264/anton-bruckners-requiem-in-dm-the-reinterpretation-of-a-liturgical-genre-in-the-viennese-romantic-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63264.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">338</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">16</span> Manodharmam: A Scientific Methodology for Improvisation and Cognition in Carnatic Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghavi%20Janaswamy">Raghavi Janaswamy</a>, <a href="https://publications.waset.org/abstracts/search?q=Saraswathi%20K.%20Vasudev"> Saraswathi K. Vasudev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is ubiquitous in human lives. Ever since the fetus hears the sound inside the mother’s womb and later upon birth, the baby experiences alluring sounds, the curiosity of learning emanates and evokes exploration. Music is an education than mere entertainment. The intricate balance between music, education, and entertainment has well been recognized by the scientific community and is being explored as a viable tool to understand and improve human cognition. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da, and Ni in the Carnatic music system that are analogous to C, D, E, F, G, A, and B of the western system. The Carnatic music builds on the conscious use of microtones, gamakams (oscillation), and rendering styles that evolved over centuries and established its stance. The complex but erudite raga system has been designed with elaborate experiments on srutis (musical sounds) and human perception abilities. In parallel, ‘rasa’- the emotions evoked by certain srutis and hence the ragas been solidified along with the power of language in combination with the musical sounds. The Carnatic music branches out as Kalpita sangeetam (pre-composed music) and Manodharma sangeetam (improvised music). This article explores the Manodharma sangeetam and its subdivisions such as raga alapana, swara kalpana, neraval, and ragam-tanam-pallavi (RTP). The intrinsic mathematical strategies in it’s practice methods toward improvising the music have been explored in detail with concert examples. The techniques on swara weaving for swara kalpana rendering and methods on the alapana development are also discussed at length with an emphasis on the impact on the human cognitive abilities. The articulation of the outlined conscious practice methods not only helps to leave a long-lasting melodic impression on the listeners but also onsets cognitive developments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carnatic" title="Carnatic">Carnatic</a>, <a href="https://publications.waset.org/abstracts/search?q=Manodharmam" title=" Manodharmam"> Manodharmam</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20cognition" title=" music cognition"> music cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=Alapana" title=" Alapana"> Alapana</a> </p> <a href="https://publications.waset.org/abstracts/140422/manodharmam-a-scientific-methodology-for-improvisation-and-cognition-in-carnatic-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140422.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">203</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">15</span> Adding Business Value in Enterprise Applications through Quality Matrices Using Agile</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Afshan%20Saad">Afshan Saad</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Saad"> Muhammad Saad</a>, <a href="https://publications.waset.org/abstracts/search?q=Shah%20Muhammad%20Emaduddin"> Shah Muhammad Emaduddin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays the business condition is so quick paced that enhancing ourselves consistently has turned into a huge factor for the presence of an undertaking. We can check this for structural building and significantly more so in the quick-paced universe of data innovation and programming designing. The lithe philosophies, similar to Scrum, have a devoted advance in the process that objectives the enhancement of the improvement procedure and programming items. Pivotal to process enhancement is to pick up data that grants you to assess the condition of the procedure and its items. From the status data, you can design activities for the upgrade and furthermore assess the accomplishment of those activities. This investigation builds a model that measures the product nature of the improvement procedure. The product quality is dependent on the useful and auxiliary nature of the product items, besides the nature of the advancement procedure is likewise vital to enhance programming quality. Utilitarian quality covers the adherence to client prerequisites, while the auxiliary quality tends to the structure of the product item's source code with reference to its practicality. The procedure quality is identified with the consistency and expectedness of the improvement procedure. The product quality model is connected in a business setting by social occasion the information for the product measurements in the model. To assess the product quality model, we investigate the information and present it to the general population engaged with the light-footed programming improvement process. The outcomes from the application and the client input recommend that the model empowers a reasonable evaluation of the product quality and that it very well may be utilized to help the persistent enhancement of the advancement procedure and programming items. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agile%20SDLC%20Tools" title="Agile SDLC Tools">Agile SDLC Tools</a>, <a href="https://publications.waset.org/abstracts/search?q=Agile%20Software%20development" title=" Agile Software development"> Agile Software development</a>, <a href="https://publications.waset.org/abstracts/search?q=business%20value" title=" business value"> business value</a>, <a href="https://publications.waset.org/abstracts/search?q=enterprise%20applications" title=" enterprise applications"> enterprise applications</a>, <a href="https://publications.waset.org/abstracts/search?q=IBM" title=" IBM"> IBM</a>, <a href="https://publications.waset.org/abstracts/search?q=IBM%20Rational%20Team%20Concert" title=" IBM Rational Team Concert"> IBM Rational Team Concert</a>, <a href="https://publications.waset.org/abstracts/search?q=RTC" title=" RTC"> RTC</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20quality" title=" software quality"> software quality</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20metrics" title=" software metrics"> software metrics</a> </p> <a href="https://publications.waset.org/abstracts/103463/adding-business-value-in-enterprise-applications-through-quality-matrices-using-agile" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103463.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">174</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Building a Comprehensive Repository for Montreal Gamelan Archives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laurent%20Bellemare">Laurent Bellemare</a> </p> <p class="card-text"><strong>Abstract:</strong></p> After the showcase of traditional Indonesian performing arts at the Vancouver Expo 1986, Canadian universities inherited sets of Indonesian gamelan orchestras and soon began offering courses for music students interested in learning these diverse traditions. Among them, Université de Montréal was offered two sets of Balinese orchestras, a novelty that allowed a community of Montreal gamelan enthusiasts to form and engage with this music. A few generations later, a large body of archives have amassed, framing the history of this niche community’s achievements. This data, scattered in public and private archive collections, comes in various formats: Digital Audio Tape, audio cassettes, Video Home System videotape, digital files, photos, reel-to-reel audiotape, posters, concert programs, letters, TV shows, reports and more. Attempting to study these documents in order to unearth a chronology of gamelan in Montreal has proven to be challenging since no suitable platform for preservation, storage, and research currently exists. These files are, therefore, hard to find due to their decentralized locations. Additionally, most of the documents in older formats have yet to be digitized. In the case of recent digital files, such as pictures or rehearsal recordings, their locations can be even messier and their quantity overwhelming. Aside from the basic issue of choosing a suitable repository platform, questions of legal rights and methodology arise. For posterity, these documents should nonetheless be digitized, organized, and stored in an easily accessible online repository. This paper aims to underline the various challenges encountered in the early stages of such a project as well as to suggest ways of overcoming the obstacles to a thorough archival investigation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archival%20work" title="archival work">archival work</a>, <a href="https://publications.waset.org/abstracts/search?q=archives" title=" archives"> archives</a>, <a href="https://publications.waset.org/abstracts/search?q=Balinese%20gamelan" title=" Balinese gamelan"> Balinese gamelan</a>, <a href="https://publications.waset.org/abstracts/search?q=Canada" title=" Canada"> Canada</a>, <a href="https://publications.waset.org/abstracts/search?q=Gamelan" title=" Gamelan"> Gamelan</a>, <a href="https://publications.waset.org/abstracts/search?q=Indonesia" title=" Indonesia"> Indonesia</a>, <a href="https://publications.waset.org/abstracts/search?q=Javanese%20gamelan" title=" Javanese gamelan"> Javanese gamelan</a>, <a href="https://publications.waset.org/abstracts/search?q=Montreal" title=" Montreal"> Montreal</a> </p> <a href="https://publications.waset.org/abstracts/118566/building-a-comprehensive-repository-for-montreal-gamelan-archives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118566.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">119</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">13</span> Investigating Role of Novel Molecular Players in Forebrain Roof-Plate Midline Invagination</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Ali%20Abbas%20Zaidi">Mohd Ali Abbas Zaidi</a>, <a href="https://publications.waset.org/abstracts/search?q=Meenu%20Sachdeva"> Meenu Sachdeva</a>, <a href="https://publications.waset.org/abstracts/search?q=Jonaki%20Sen"> Jonaki Sen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the vertebrate embryo, the forebrain anlagen develops from the anterior-most region of the neural tube which is the precursor of the central nervous system (CNS). The roof plate located at the dorsal midline region of the forebrain anlagen, acts as a source of several secreted molecules involved in patterning and morphogenesis of the forebrain. One such key morphogenetic event is the invagination of the forebrain roof plate which results in separation of the single forebrain vesicle into two cerebral hemispheres. Retinoic acid (RA) signaling plays a key role in this process. Blocking RA signaling at the dorsal forebrain midline inhibits dorsal invagination and results in the absence of certain key features of this region, such as thinning of the neuroepithelium and a lowering of cell proliferation. At present we are investigating the possibility of other signaling pathways acting in concert with RA signaling to regulate this process. We have focused on BMP signaling, which we found to be active in a mutually exclusive domain to that of RA signaling within the roof plate. We have also observed that there is a change in BMP signaling activity on modulation of RA signaling indicating an antagonistic relationship between the two. Moreover, constitutive activation of BMP signaling seems to completely inhibit thinning and partially affect invagination, leaving the lowering of cell proliferation in the midline unaffected. We are employing in-silico modeling as well as molecular manipulations to investigate the relative contribution if any, of regional differences in rates of cell proliferation and thinning of the neuroepithelium towards the process of invagination. We have found expression of certain cell adhesion molecules in forebrain roof-plate whose mRNA localization across the thickness of neuroepithelium is influenced by Bmp and RA signaling, giving regional rigidity to roof plate and assisting invagination. We also found expression of certain cytoskeleton modifiers in a localized small domains in invaginating forebrain roof plate suggesting that midline invagination is under control of many factors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bone%20morphogenetic%20signaling" title="bone morphogenetic signaling">bone morphogenetic signaling</a>, <a href="https://publications.waset.org/abstracts/search?q=cytoskeleton" title=" cytoskeleton"> cytoskeleton</a>, <a href="https://publications.waset.org/abstracts/search?q=cell%20adhesion%20molecules" title=" cell adhesion molecules"> cell adhesion molecules</a>, <a href="https://publications.waset.org/abstracts/search?q=forebrain%20roof%20plate" title=" forebrain roof plate"> forebrain roof plate</a>, <a href="https://publications.waset.org/abstracts/search?q=retinoic%20acid%20signaling" title=" retinoic acid signaling"> retinoic acid signaling</a> </p> <a href="https://publications.waset.org/abstracts/80622/investigating-role-of-novel-molecular-players-in-forebrain-roof-plate-midline-invagination" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80622.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">155</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=concert&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=concert&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div 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